Carolina Performing Arts 2010-11 Season - Program Book 4

Carolina
Performing
Arts 2010/11
BeijingDance/LDTX
Tuesday & Wednesday, April 12 & 13 at 7:30pm
carolina performing arts 10/11 1

Dear Friends
For the last several months, we at Carolina Per forming Arts have been working to finalize the
schedule for our 2011-12 season. Every year, I find this process exhilarating and challenging,
rewarding and frustrating.
2010/11 season
Our 2010-11 season has been filled with per formances from legendary, established artists such
as Yo-Yo Ma, Chick Corea and McCoy Tyner, as well as emerging voices like Nicola Benedetti, Sidi
Larbi Cherkaoui (with his Sutra), and the young virtuosi who make up Gidon Kremer’s Kremerata
Baltica. And there is much more to come in these last months.
As we work to craft our new season, selecting works that engage, delight and enliven our
audiences, I am constantly reminded of the budgetary considerations that make curating a
season so difficult. As you probably know, the costs associated with bringing the caliber of art
we have all come to expect from this series far exceed the revenue brought in from ticket sales
alone. As we handpick each per formance, I am constantly forced to consider cost, to weigh our
curatorial mission against our bottom line, to ask myself, “Can we afford to bring this work to our
audiences?” Many exciting artists do not make the cut.
All told, ticket sales make up about 45% of the money needed to keep Carolina Per forming Arts
running. In a surrealist thought experiment, my colleagues in development and I often wonder
what our season would look like at 45%. We picture the St. Petersburg Philharmonic Orchestra
playing with only 45 of its breathtaking musicians. We imagine only eight of 17 Shaolin monks
per forming Sutra, in half-built spruce boxes. We imagine the left half of Yo-Yo Ma playing the right
half of a two-stringed cello, flanked by 45% of The Silk Road Ensemble.
Thought experiments aside, this is a serious concern. The gap between ticket revenue and costs
is enormous. We remain enormously grateful to the University for its generous support, but these
are difficult times for our state and we must turn to you. The only way we can fill the gap is with
private giving, with generous support from you, our patrons.
So, as we look toward the end of our current season and to the beginning of our next, I ask you
to consider supporting Carolina Per forming Arts. I invite you to join the Carolina Per forming Arts
Society to give back to the arts that have given so much to all of us. Please join us in helping
make sure that this series, and the cultural landscape in this community, remain 100% vibrant.
Sincerely,
Emil J. Kang
Executive Director for the Arts
Director, Carolina Performing Arts
in•spi•
Professor of the Practice, Department of Music
www.carolinaper formingar ts.org

(919)843-3333
season
10/11season Carolina
ACKNOWLEDGMENTS
Carolina Performing Arts gratefully acknowledges the generous Performing
Arts
contributions of time, energy and resources from many individuals
and organizations including the Office of the Provost, Office of the
Chancellor, University Advancement, Department of Public Safety, the
2010/11
Faculty Council, Student Body Government and UNC News Services.
Elite Coach is the of ficial transpor tation provider for Carolina
Performing Arts’ artists.
tableofcontents
Administrative staff
Emil J. Kang – Executive Director
Kelly Boggs – Audience Services Manager
Michelle Bordner –Director of Artist Relations
Priscilla Bratcher – Director of Development 6 iD – Cirque Éloize
Barbara Call – Finance and Human Resources Manager
Amy Clemmons – Development Assistant 10 Leon Fleisher, piano
Reed Colver – Director of Campus and Community Engagement
Jennifer Cox – Administrative Assistant 12 The Andersen Project – Ex Machina
Mary Dahlsten – Box Office Manager
Butch Garris – Production Manager 16 Nederlands Dans Theater
Erin Hanehan – Campus and Community Engagement Coordinator
Matt Johnson – Production Manager 20 Woyzeck on the Highveld –
Melchee Johnson – Development and Stewardship Manager Handspring Puppet Company
Mike Johnson – Director of Operations
Sean McKeithan – Marketing and Communications Coordinator 24 St. Petersburg Philharmonic Orchestra
Dan McLamb – Tessitura Systems Administrator
Meghan McNamara – Artistic Coordinator with Yuri Temirkanov, conductor
Melody Pineda – Artistic Assistant and Alisa Weilerstein, cello
Mark Steffen – Events Manager
Aaron Yontz – Production Manager 28 BeijingDance/LDTX
Memorial Hall student staff 32 Bach and Beyond – Jennifer Koh
Carolina Performing Arts is grateful for the over 100 students
who work in our Box Office, House and Tech staffs. It is their 34 Tony Allen’s Afrobeat Orchestra
hard work and dedication that make every performance at
Memorial Hall a success. 36 Branford Marsalis, saxophone with the
North Carolina Jazz Repertory Orchestra
Advertisers Make This Book Possible
This program book would not be possible without the advertisers
who support it. Their patronage means this information is available 38 Important Information
to you without cost to Carolina Performing Arts. We extend our
39 Board, Endowment, Society
gratitude and encourage you to thank them, as well.
40 Donor Spotlight
•ra•tion
The Carolina Performing Arts programs are published and designed
41 Donors
by Opus 1, inc., in cooperation with Carolina Performing Arts. If you
are interested in reaching our audience with your message in the 48 Student View
Carolina Performing Arts program book, please call or email Amy
49 Advertisers Index
Scott at (919) 834-9441 or amys@opus1inc.com.
50 The Last Word

dance
“Stunningly beautiful…”
- Newsday
Photo credit: Valérie Remise
iD – Cirque Éloize
Tuesday & Wednesday, March 1 & 2 at 7:30pm
The Wednesday, March 2 performance of iD – Cirque Éloize is dedicated to Kim and Clarence Perszyk by
Carol and Rick McNeel.
dance
This performance is supported, in part, by sponsors of the International Theater Festival, Tom Kearns and
Joseph and Beatrice Riccardo.

(919)843-3333
dance
Word from the author and director
At Cirque Éloize, we have always nurtured
our shows through encounters with creators
from different horizons. We have always
favored a multidisciplinary artistic approach,
which is enriched by artists of several
nationalities. No exception lies in this new
creation. Sixteen artists on stage, ten circus
disciplines, and the discovery of a world
TUES & WED mar 1 & 2 | 7:30 PM
touring that major network of theaters since
2007. In addition to its tour performances,
Cirque Éloize develops custom-made con-
cepts for international special events. To
date, more than 1000 events have taken
place. Since 2004, Cirque Éloize’s head
office and creative studio are located in the
Dalhousie Station, a historic building in the
heart of Old Montréal, departure station
and powerful show that mixes urban dance
with the new art circus universe. iD is Cirque
Éloize’s 7th creation.
The TROUPE
In addition to their disciplines, all performers
take part in group choreographies.
NICOLAS FORTIN - Juggling, Trampowall

of the first train going from Montréal to MELISSA “MELLY MEL” FLERANGILE -
that is new to us – urban dances such as
Vancouver in 1886. In order to maintain this Urban Dances
breakdance and hip-hop. I imagined this
site as a place for dialogue and encounters CHRISTIAN “SANCHO” GARMATTER -
show at the heart of a futuristic city, where
for the circus community, Cirque Éloize Urban Dances
the omnipresence of image causes us to
invites up-and-coming artists to visit. Today, XUAN LE - In-line Skating
lose our reference points. I sought to create
the company hires more than 100 individu- JOSIANNE LEVASSEUR - Cyr Wheel,
an estheticism at the crossroads of comic
als working in various teams and projects. Trampowall
books, science-fiction movies and the rich
universe of graffiti. The decidedly rock, elec- RICHARD MAGUIRE - Urban Dances,
tronic and poetic music, coupled with the Jeannot Painchaud, CEO and Hand Balancing, Trampowall
presence of video, highlight the show’s play- Artistic Director, Cirque Éloize BAPTISTE MONTASSIER - Urban Dances
Director
ful, energetic, youthful and urban aspects. HUGO OUELLET-CÔTÉ - Straps, Trampowall,
In the middle of this surreal megalopolis A graduate of Montréal’s National Circus Juggling
exists a public place. A public place as a School, Jeannot Painchaud began as a IRIS PELZ - Hand to Hand
spot where one can seek refuge and escape performing artist with circuses and multidis- THIBAUT PHILIPPE - Trial Bike
anonymity, express one’s individuality and ciplinary artistic troupes. He was an acrobat, MANDA RYDMAN - Contortion, Aerial Hoop
affirm one’s identity, in order to reclaim juggler and actor with a specialty in artistic bi- FLETCHER SANCHEZ - Chinese Pole,
possession of public space, and to dance cycle, for which he won a bronze medal at the Trampowall
the city… An area for encounters, a site of prestigious Paris Festival Mondial du Cirque CHRISTOPHER SCHLUNK - Hand to Hand
passage, a hood where clans confront one de Demain in 1992. In 1993, he became a RYAN SHINJI MURRAY - Trampowall, Stilts
another, where friendships are woven, where founder of Cirque Éloize, gathering the best EMI VAUTHEY - Aerial Silks, Contortion
love is created and dissolved. I am proud to performers and designers over 17 years. In
invite you to join us on this new adventure. 2001, he staged the first version of Cirque
Orchestra, mixing contemporary dance, acro- TECHNICAL Team on Tour
- Jeannot Painchaud
batics and a live symphony orchestra. ALICE KOP - Tour Director
In 2002, he met director Daniele Finzi ALEXIS BEAUDET-ROY - Technical Director,
Cirque Éloize
Pasca, whose poetic style was an important Head Sound Technician
Éloize is a word that comes from the PATRICK ALLARD - Head Light Technician
contribution to Cirque Éloize. He staged
Magdalen Islands and means “flashes NICOLAS BELLE-ISLE - Head Rigger
three Cirque Éloize shows from 2002-07,
of heat lightning seen on the horizon.” An MYLÈNE CAYA - Stage Manager
Nomade and Rain for Cirque Éloize and
inspiration for the troupe’s seven founding ERICK GALIPEAU - Head Stage Carpenter
Nebbia in co-production with Teatro Sunil,
members, this lightning symbolizes the heat SIMON METHOT - Head Video Technician
Finzi Pasca’s own company. In 2006, Finzi
and energy that feed the troupe’s spirit.
Pasca and Teatro Sunil invited Jeannot to join
Positioned at the heart of the renewal of the creative team of the 20th Olympic Winter
CREATIVE Team
circus arts, Cirque Éloize has been creating Games closing ceremonies in Turin, Italy. As
moving performances filled with magic since assistant director, Jeannot was in charge of JEANNOT PAINCHAUD - Director
1993. Continually striving for artistic perfec- the acrobatic components. Jeannot is also JONATHAN ST-ONGE - Executive Producer
tion, it is one of the leaders in contemporary head of Special Events at Cirque Éloize, ROBERT MASSICOTTE - Set Designer,
circus arts. Based on the multidisciplinary overseeing tailor-made concepts for large- Illustrator and Video Projections
talents of its artists, Cirque Éloize expresses scale international shows, galas, corporate Co-Designer
its innovative nature through theatricality events, special television presentations and KRZYSZTOF SOROCZYNSKI - Show Acrobatic
and humanity, and combines circus arts with more. In 2009, he became president of the Designer, Head-trainer and Trampowall
music, dance and theater in a path-breaking board of En Piste, the Circus arts national Act Designer
and original manner. With seven original network. With 24 years’ experience in the MOURAD MERZOUKI - Artistic Contributor
productions to its credit, Cirque Éloize has new arts circus, Jeannot has made Cirque PIERRE BERNARD - Artistic Consultant
presented almost 4,000 performances in Éloize a world leader in contemporary circus JEAN-PHI GONCALVES - Co-Composer
395 cities over 31 countries. Cirque Éloize movement. Having traveled to more than ALEX McMAHON - Co-Composer
has taken part in numerous prestigious 30 countries, he continues his dream of LINDA BRUNELLE - Costume Designer
international festivals and recently seduced bringing the new circus art form to the world. NICOLAS DESCOTEAUX - Light Designer
Broadway with its show Rain, which has been He is back to directing with iD, a dynamic ALEXIS LAURENCE - Video Projections
Co-Designer
SUZANNE TRÉPANIER - Make-up Designer JEAN-PHILIPPE BÉNARD, HUGO BOURQUE, MARIE-FRANCE LEFEBVRE - Head Rigger
MARIE-ÈVE SOUTIÈRE - Assistant Director LIONNEL DECHAMPS, YANICK DÉCARIE, SIMON WATKINS-DONALD - Head Video
JACQUES POULIN-DENIS - Sound Designer – VALÉRIE DESROSIERS,MARILYSE FILLION, Technician
Urban Ambiance LOUIS HÉON, CHRISTIAN LECLERC, PASCAL LEBLANC - Technical Director, Head
VÉRONIQUE ALLARD - Production Director – FRANCIS LECLERC, FRANÇOISMORIN, Sound Technician
phase 2 DIOGO PINTO, JEAN-LOUIS ROBERT, ZAKI- CLARA FEFERBERG - Production Assistant
MARC-ANDRÉ LECLERC - Assistant PAUL SALIB, SEBASTIEN SAVOIE, STÉPHANE TIAGO CHASQUEIRA - Acrobatic Carpenter
Production Director, Technical Director ST-JEAN - Technicians FRANÇOIS DESROCHERS - Video Consultant
CATHERINE LEBOEUF & LOUISE BOURRET - JEAN-LOUIS ROBERT, SAMUEL MALLIÉ,
Assistants & Costume Coordinators NANCY BOUCHER, CHRISTIAN CLAVEAU,
SIMON GAUTHIER - Video System Designer COSTUME Shop STEEVE CARON - Technicians
MARC-ANDRÉ GILBERT - Sound Technology CHANTAL BACHAND - Costume Assistant REAL DORVAL, FRANCIS LECLERC, LUC-
Consultant MICHEL PROULX, JULIE SAURIOL - Cutters VINCENT OUELLET - Video Technicians
PIERRE LAFONTAINE - Hair Styler MATHIEU AUDY - Tailor MARIO NOËL - Key-Grip & Runner
JOSIANNE LEVASSEUR - Assistant to the ATELIER D À COUDRE LINDA PROULX - Trainee – Stage Manager
Show Acrobatic Designer ANDRÉE POITRAS - Graphic Designer MARC “MARCUS” GAUTHIER & MARIE-
and Head Trainer FRANCE LEFEBVRE – Riggers
OLIVIER LEMIEUX - Trampoline Trainer
CHRISTIAN “SANCHO” GARMATTER
Make-Up
Responsible for Choreography ANNE POULIN - Make-up Assistant CO-COMMISSIONERS
CHRISTIAN “SANCHO” GARMATTER,
ELON HÖGLUND, EMMANUELLE LEPHAN,
Image, Promotion & iD’s
RICHARD MAGUIRE, KONE THONG
Communication
VONGPRASEUTH – Choreographic
Collaborators ÉRIC BEAUSÉJOUR - Graphic Artist
RENÉ BIBAUD - Coach – Skipping Rope VALÉRIE REMISE/RAMIRO COLOMA
MARIÈVE HÉMOND - Coach – Aerial Silk - Photographers
ALBERT RUDNICKI - Producer & Director of PROJECT MANAGER
Photography – Promotional Video MARIYA MONEVA, Project Manager
PRODUCTION Team VINCENT HOSS-DESMARAIS - Editor mmoneva@cirque-eloize.com
MARIYA MONEVA - Project Manager and Translator 514 596-3838 ext. 263
ALICE KOP - Tour Director COMUNIKA - iD Poster and Logo Design
ALEXIS BEAUDET-ROY - Technical Director,
PRESS & PUBLICITY
Head Sound Technician
Participants in iD’s creation - NICOLE BOUCHARD,
MYLÈNE CAYA - Stage Manager
Phase 1 Communications Director
PATRICK ALLARD - Head Light Technician
ERICK GALIPEAU - Head Stage Carpenter Troupe nbouchard@cirque-eloize.com
SIMON METHOT - Head Video Technician MASON AMES - Hand to Hand, Trampowall +1 514 596-3838 ext. 240
ROBERT OUELLETTE - Head Rigger VALÉRIE BENOÎT-CHARBONNEAU -
CAROLE LAPOINTE - Production Accountant Hand to Hand, Trampowall
CLAIRE BREGEON - Assistant to the Project STACEY CARLSON - Flying Hammock BOOKING
Manager FLORIAN ZUMKEHR - Chinese Pole, SYLVIE BAUMANN, Assistant Director,
NATASHA DROUIN-BEAUREGARD - Trampowall International Development -
Assistant – Casting Touring Shows
sbaumann@cirque-eloize.com
CREATIVE Team +1 514 596-3838 ext. 226
SOUNDTRACK
NADIA LABRIE - Director’s Assistant
JORANE, BETTY BONIFASSI, BOOGAT, MARC BEAUDRY - Delegate Producer, VINCENT MESSAGER
ARIANE MOFFATT, SYLPHIR CHAREST, Production Manager and Agent, International Development -
GEORGI LAZAROV, MILENA BOZOUKOVA Technical Director Touring Shows
- Vocals NATHALIE ENAULT - Production Stage vincent@cirque-eloize.com
Manager +1 514 596-3838 ext. 232
CLAUDIA COUTURE - Stage Manager,
STAGECRAFT Shop
Director’s Assistant
SCÈNE ÉTIQUE - Sets Workshop FLORENCE CORNET - Make-up Designer
– Trampowall
ACMÉ SERVICES SCÉNIQUES -
Accessories Workshop PRODUCTION Team
R & R TREMBLAY - Transport KATHERINE RIVA GUERRA - Tour Director &
JOËL NORTON - Technical Consultant Project Manager
– Trampowall MATHIEU URVOY-LETELLIER - Head Sound
Technician
(919)843-3333
on Cirque Éloize evan mitchell
While I didn’t have University of North Carolina School of the Cirque Éloize is no exception. The feats they
the chance to train in Arts. From juggling to plate spinning, hat perform inspire wonder. They are especially
circus arts until I was manipulation and basic tumbling, it got me remarkable to a person like me who has
seventeen, my marvel hooked no longer just on the spectacle but trained in many of these disciplines (trust me
of them has been with the practice as well. when I say these are no simple tricks, but
me from a very early Now at UNC-Chapel Hill, despite there being the result of hours and hours spent training
age. From watching no specific class devoted to the circus arts, in order to provide for you – in that wonderful
street performers I still continue to train, learn new skills and circus tradition – the belief that anything is
across the nation from practice with fellow students. Friends and possible).
New Orleans to Boulder, Colorado, to seeing I even amassed all our circus apparatuses As the performers take the stage, all this will
the traveling Ringling Brothers Circus at age in order to provide recent workshops to the soon become clear. The body has no limits if
five, I was instantly hooked by the art form’s dramatic art community. It’s an important you allow yourself to believe in it.
ability to expand human possibility. The study to promote because, for me, it’s not Enjoy the show!
circus has the power to leave the audience just a hobby, not just something fun and
breathless without tricks or gimmicks, but by entertaining, but an activity that inspires the Evan Mitchell (’11) is majoring in Dramatic Arts
the sheer capability of the human body. at UNC-Chapel Hill and founded the After Hours
imagination. Few other performances allow Ensemble to provide ensemble-based workshops on
When I was seventeen, I had the opportunity the spectator (young or old) to question the performance techniques including circus skills.
to receive training in circus skills at the limits of what is or is not possible.

classical recitals classica
“…rhapsodic
and affecting…”
- The New York Times
Credit: Eli Turner
Leon Fleisher, piano

classical recitals
Thursday, March 3 at 7:30 PM
Classical music performances are made possible by the William R. Kenan, Jr. Charitable Trust. We thank the
Trustees for their visionary generosity and for encouraging others to support Carolina Performing Arts.

(919)843-3333
al recitals
Leon Fleisher Program
thurs mar 3 | 7:30 PM
When pianist/conductor Leon Fleisher

accepted the 2007 Kennedy Center Honor, “Sheep May Safely Graze” from Cantata No. 208 (1713) J.S. Bach
Caroline Kennedy recognized him as “a arr. Egon Petri (1685-1750)
piano prodigy ... who rose to the heights,
embraced adversity and became a musician Capriccio in B-flat Major “On the Departure of a Most Beloved Brother”
for all seasons.” His inspiring story Nine
BWV 992 (1703-1706)
I. Arioso. Ist eine Schmeichelung der Freunde, um denselben von seiner
Lives, written with Washington Post critic
Reise abzuhalten.
Anne Midgette, was published by Doubleday
II. Andante. Ist eine Vorstellung unterschiedlicher Casuum, die ihm in der
in late 2010.
Fremde könnten vorfallen.
Fleisher’s musicianship is the stuff of leg- III. Adagissimo. Ist ein allgemeines Lamento der Freunde.
end, and his personal story is as heartbreak- IV. Allhier kommen die Freunde, weil sie doch sehen, dass es anders nicht
ing as it is life-affirming. Well on his way to sein kann, und nehmen Abschied.
conquering the music world at 16, singled V. Aria di Postiglione. Adagio poco.
out in The New York Times as “one of the VI. Fuga all´imitatione della cornetta di Postiglione
most gifted … keyboard artists” and soon
hailed as “the pianistic find of the century” Chromatic Fantasia and Fugue in D minor, BWV 903 (1720)
by the great conductor Pierre Monteux, he
was cruelly sidelined at the height of his Chaconne for the Left Hand from Violin Partita No. 2 in D minor BWV 1004 (1717-1723)
powers by a rare neurological disease that arr. Brahms (1877)
lost him the use of his right hand at the age
of thirty-seven. Treatments have restored INTERMISSION
mobility, winning him enormous acclaim for
Sonata in B-flat Major, D. 960 (1828) Schubert
his 2004 recording Two Hands. His story is
Molto moderato (1797-1828)
the subject of the 2006 Oscar-nominated Andante sostenuto
documentary Two Hands, written and Allegro vivace con delicatezza
directed by Nathaniel Kahn (My Architect). Allegro ma non troppo
Fleisher’s Sony recordings continue to be
among the most admired in the catalogue.
His first two-hand performances in over
forty years, as soloist with the London
Philharmonic conducted by Vladimir Jurowski,
were hailed as among the most moving and
memorable performances of the season.
Recent and forthcoming appearances include
his acclaimed Carnegie Hall workshops;
conducting the Irish Chamber Orchestra, the
Brazilian Symphony and Osaka Philharmonic;
and appearances at the Aldeburgh and
Ravinia Festivals and the Hollywood Bowl.
He will perform and conduct in a series of
concerts at New York’s 92nd Street Y and
will appear as a conductor, soloist, recitalist,
chamber music artist, master class mentor
and invaluable resource in college and uni-
versity residencies around the world.

world theater world t “...dazzling...”
- The Guardian (UK)
Credit: Emmanuel Valette
The Andersen Project – Ex Machina

world theater
Thursday, March 17 at 7:30pm & Friday, March 18 at 8pm

This performance is supported, in part, by sponsors of the International Theater Festival,
Tom Kearns and Joseph and Beatrice Riccardo.

(919)843-3333
theater
Written and directed by
Robert Lepage
Performed by Yves Jacques
Script Collaborators: Peder Bjurman,
Marie Gignac
Thur Mar 17 | 7:30pm | Fri mar 18 | 8pm
Arts, Milan; Emerson College, Boston; La

Comète (scène nationale de Châlons-en-
Champagne); La Coursive, La Rochelle;
Le Festival d’automne à Paris; Le Grand
Théâtre de Québec; Le Théâtre du Nouveau
Monde, Montréal; Le Théâtre du Trident,
The Andersen Project:
A Modern Fairy Tale
Having come to Paris at the behest of the
Opéra Garnier, which has commissioned him
to write the libretto for a children’s opera
Assistant Director: Félix Dagenais Québec; Le Théâtre français du Centre based on a fairy-tale by Hans Christian
national des Arts d’Ottawa; Le Théâtre Andersen, a Québécois songwriter settles
Associate Set Designer: Jean Le Bourdais
National de Bordeaux Aquitaine; Le Théâtre
Associate Lighting Designer: Nicolas Marois down in a friend’s apartment on Rue Saint-
National de Chaillot; Le Théâtre National
Denis. During his stay, he necessarily meets
Sound Designer: Jean-Sébastien Côté de Toulouse Midi-Pyrénées; Le Volcan -
Scène nationale du Havre; LG Arts Center, people: one of the Opéra’s senior managers
Costume Designer: Catherine Higgins (a man with some odd and unusual likings),
Seoul; Maison des Arts, Créteil; MC2 :
Properties: Marie-France Larivière Maison de la Culture de Grenoble; National a young janitor and graffiti artist of North
Puppeteer: Jean-Nicolas Marquis Chiang Kai-Shek Cultural Centre, Taipei; African descent, as well as a dog who could
Pilar de Yzaguirre - Ysarca Art Promotions, well be guiding the tale along its way.
Images produced by: Jacques Collin, Madrid; Setagaya Public Theatre, Tokyo;
Véronique Couturier, David Leclerc spielzeiteuropa I Berliner Festspiele; Teatre Freely inspired from two stories by Andersen
Wig Master: Richard Hansen Lliure, Barcelona; The Hans Christian (“The Dryad” and “The Shadow”) and from
Robert Lepage’s agent: Lynda Beaulieu Andersen 2005 Foundation; The Sydney anecdotes drawn from the famed Danish
Festival; Théâtre de Caen author’s Parisian travels, The Andersen
Production Manager: Louise Roussel
Project calls on some of Lepage’s recurring
Production Manager (touring):
Associate Producer – Europe, Japan: themes: the confrontation between romanti-
Marie-Pierre Gagné
Richard Castelli cism and modernism, between recognized
Tour Manager: Isabelle Lapointe and underground art forms, between past
Associate Producer – United Kingdom:
Technical Director: Serge Côté Michael Morris and present. However, in this new solo work,
Technical Director (touring): Eric Gautron Associate Producer –The Americas, Asia he also explores more troubling territories:
Stage Manager: Nathalie Godbout (except Japan), Australia, NZ: questions about sexual identity, unfulfilled
Menno Plukker fantasies and a thirst for recognition and
Lighting Manager: Félix Bernier Guimond
Producer for Ex Machina: Michel Bernatchez fame that are drawn from Andersen’s life
Sound Manager: Caroline Turcot
and writings, only to serve as a filigree to the
Video Manager: Nicolas Dostie modern tale.
Wardrobe and Prop Manager: Isabel Poulin
Music Once again, Lepage tells the story of a
Head Stagehand: Simon Cloutier Québécois whose travels abroad and meet-
Donizetti’s “Una furtiva lagrima”
Technical Consultant: Tobie Horswill ings with others allow him to find out what
Performed by Vincenzo La Scola
Collaboration on the improvisational and defines, motivates and inspires him.
Used by arrangement with Naxos of America
creative process: Normand Poirier
Grieg’s Sonata No. 1 for violin and piano Robert Lepage
Make-up: Nathalie Gagné
in F major
Assistant to the Costume Designer: Versatile in ever y form of theater craft,
Performed by Olivier Charlier and
Jennifer Tremblay award-winning Robert Lepage is equally
Brigitte Engerer
Costumes Cutter: Nicole Fortin talented as a director, scenic artist, play-
Used by arrangement with Harmonia Mundi
Seamstress: Hélène Ruel wright, actor and film director. His original
Sarah McLachlan’s “Sweet Surrender” approach to theater has won him interna-
Set building: Les Conceptions visuelles (DJ Tiësto Remix)
tional acclaim and shaken the dogma of
Jean-Marc Cyr
Used by arrangement with Tyde Music & classical stage direction to its foundations,
Horse’s cart maker: Martin Beausoleil Nettwerk Productions especially through his use of new technolo-
Sculpture Maker (“Femme piquée par Offenbach’s “Pas de deux” (from the ballet gies. Contemporar y histor y is his source of
un serpent”)” Patrick Binette Le Papillon) inspiration, and his modern and unusual
Lighting Designer’s Trainee (creation): Performed by John Georgiadis work transcends all boundaries.
Jennifer Jimenez (Theatre Ontario’s
Professional Theatre Training Program) Used by arrangement with Universal Music His plays include Circulations (1984), The
Canada for Decca London Dragons’ Trilogy (1985), Vinci (1986),
Audioguide voice: Ulla Henningsen
Acknowledgements: Le-Maillon, Théâtre Polygraph (1987) and Tectonic Plates (1988).
Production: Ex Machina
de Strasbourg; Odense City Museums From 1989-93 he was Artistic Director of the
Coproduction: Carolina Performing Arts, Théâtre français at the National Arts Centre
Auckland Festival; Bite:06, Barbican, Ex Machina is funded by the Canada Council in Ottawa, meanwhile pursuing his own cre-
London; Bonlieu Scène Nationale, Annecy; for the Arts, Quebec’s Arts and Literature ative projects, Needles and Opium (1991),
Festival de Otoño de la Comunidad de Council and the City of Quebec.
Madrid; Cal Performances, Berkeley; Coriolanus, Macbeth, A Midsummer Night’s
Canadian Stage, Toronto; Célestins, www.lacaserne.net Dream and The Tempest (1992).
Théâtre de Lyon; Change Performing

In 1994, he founded Ex Machina, produc- La Damnation de Faust (1999), 1984 Goldoni’s Les Jumeaux vénitiens. In 1999
ing The Seven Streams of the River Ota (2005), The Rake’s Progress (2007), The and 2000, he earned coveted nominations
(1994), A Midsummer Night’s Dream Nightingale and Other Short Fables (2009), for Québec’s Métrostar and Jutra awards for
(1995) and Elsinore (1995). In 1994, he and Rheingold, Wagner’s Ring prelude, which his parts in André Melançon’s hit TV series
wrote and directed his first feature film, Le premiered in 2010 at The Metropolitan Ces enfants d’ailleurs II and Jean Beaudin’s
Confessional, going on to direct Polygraph Opera with the cycle being presented during film Souvenirs intimes.
(1996), Nô (1997), Possible Worlds (2000) 2010-11 and 2011-12.
He has appeared in movies including
and a film adaptation of his play The Far Side
Patrice Leconte’s La veuve de Saint-Pierre
of the Moon (2003). In 1997, he opened Yves Jacques with Juliette Binoche, Gabriel Pelletier’s La
La Caserne, a multidisciplinary production In 1984, Yves Jacques’ part in Denys vie après l’amour, Nuit de noces by Émile
center, creating and producing Geometry of Arcand’s The Decline of the American Empire Gaudreault, Yves Simoneau’s Napoléon
Miracles (1998), Zulu Time (1999), The Far confirmed his standing as an actor and was with John Malkovich, Gérard Depardieu and
Side of The Moon (2000), a new version of followed by a succession of hits in film, tele- Isabella Rossellini, Claude Miller’s La Petite
The Dragons’ Trilogy (2003), The Busker’s vision and on stage. Appearances include Lilly (2003) and Denys Arcand’s Oscar-
Opera (2004), The Andersen Project (2005), Les Feluettes, French-language versions winning The Barbarian Invasions (2004).
Lipsynch (2007), The Blue Dragon (2008) of Brecht’s Galileo and The Threepenny From 2001-05, he has orbited the earth with
and Eonnagata (2009). Opera, Brad Fraser’s Unidentified Human Robert Lepage’s The Far Side of the Moon,
He directed Peter Gabriel’s Secret World Remains and the True Nature of Love, the winning Montreal’s Theatre du Nouveau
Tour (1993) and Growing Up Tour (2002) Denys Arcand film Jésus de Montréal and Monde’s Best Actor Award (Prix Gascon-Roux)
and designed and directed Cirque du Soleil Luc Plamondon’s rock opera La Légende in 2003. Recently, he appeared in Sébastien
shows KÀ (2005), a permanent show in Las de Jimmy. Rose’s Le Banquet, Léa Pool’s La Dernière
Vegas, and TOTEM (2010). For Québec City’s He has lived in Paris since 1993, appearing Fugue, Alain Desrochers’ Cabotins and Kevin
400th anniversary in 2008, Lepage and Ex alongside Rupert Everett in Jérome Savary’s Tierney’s French Immersion. He has worked
Machina created the largest architectural production of Oscar Wilde’s The Importance extensively with French director Claude Miller
projection ever achieved: The Image Mill™, of Being Earnest (1996) and in Savary’s hit on films including Voyez comme ils dansent
followed by Aurora Borealis (2009). Paris production of Molière’s Le Bourgeois (2010), Un secret (2006), Betty Fisher
gentilhomme. Montréal appearances include et autres histoires (International Critics’
Lepage’s opera productions include
Oscar Wilde’s An Ideal Husband (1999) and Award 2001), La chambre des magiciennes
Bluebeard’s Castle and Erwartung (1993),
(International Critics’ Award, Berlin, 2000)
and La classe de neige (Prix du Jury, Cannes
1998). He was awarded the Chevalier de
l’Ordre des Arts et des Lettres (2001) and
the Officier de l’Ordre du Canada (2009).
Ex Machina
In 1994, when Robert Lepage asked his
collaborators to help find a name for his
new company, he had one condition: the
word “theater” could not be part of the
name. Ex Machina is thus a multidisciplinary
company bringing together actors, writers,
set designers, technicians, opera singers,
puppeteers, computer graphic designers,
video artists, contortionists and musicians.
Ex Machina’s creative team believes that
the performing arts – dance, opera, music
– should be mixed with recorded arts – film-
making, video art and multimedia. That there
must be meetings between scientists and
playwrights, set painters and architects, and
between artists from Québec and the rest
of the world. New artistic forms will surely
emerge from these gatherings. Ex Machina
wants to rise to the challenge and become a
laboratory, an incubator for a form of theater
that will reach and touch audiences from this
new millennium.

(919)843-3333
about the andersen project Laurence Deschamps-Laporte
In Québec, when one more universally, he centers his produc- told as a cute children’s tale time after time.
mentions Robert tions on the exploration of individuals’ The Little Prince was intended as a cruel story
Lepage, no questions tor tured aspirations. He reveals people’s about the lack of humanity in Saint-Exupéry’s
are asked. He is the profound identity and debates through World War II society, and I believe Andersen’s
emblem of theater, his characters, but also scrutinizes Nor th stories are not unlike those of Saint-Exupéry.
performance, artistic American and European contemporar y Lepage puts an end to the simplistic exploita-
production and non- societies through his transient and ever- tion of Andersen’s stories, and reclaims the
conformism in the evolving multimedia direction. original essence of Andersen’s life and his
province. He is a great
The Andersen Project breaks our preconcep- creations in all their complexity. He uses the
source of inspiration for artists of all media,
tions on space, individuals and children’s premise of Andersen’s life to tell the story
and with every new project, he pushes the
stories. In this play, Lepage unveils the life of of multiple individuals. Through Andersen,
boundaries of traditional artistic creation,
a man we thought of as a Danish storyteller he tells the story of many Québécoises – the
multimedia and storytelling techniques.
who loved children. Andersen was in fact a story of me, and probably of you.
As a Québécoise, I am filled with pride to see solitary man with a narcissistic and destruc- Laurence Deschamps-Laporte (’11), from Québec,
Robert Lepage succeeding internationally – tive sexuality, incredibly talented but also is completing a degree in International Studies at
no matter the medium, I find inspiration in his troubled. He admitted disliking children. UNC-Chapel Hill. In the fall, she will begin a master’s
work. Whether it’s multimedia ar t, print-mak- degree in Development Studies at Oxford University
Always skeptical when the works of storytell- as a Rhodes Scholar.
ing or per formance, Lepage is an incredible
ers are told only through the superficiality
source of vitality and creation. He can
of children’s stories, I cannot bear seeing
capture vividly the hybrid, multicultural soul
Antoine de Saint-Exupéry’s The Little Prince
of Montreal or the ever yday Québécois. But

dance
“…inventive, bold
and always fabulously danced.”
- The New York Times
Photo credit: Joris-Jan Box Photography
Nederlands Dans Theater

Tuesday & Wednesday, March 29 & 30 at 7:30pm
The March 29 performance of Nederlands Dans Theater
is supported by Wyndham Robertson, Performance Benefactor.
Program
Silent Screen
INTERMISSION
dance
The Second Person

(919)843-3333
dance
Silent Screen
Choreography: Paul Lightfoot and Sol León
Music: Philip Glass, Glassworks (1982)
Why does someone have to die?
from The Hours (2002)
The Second Person
TUES & WED mar 29 & 30 | 7:30 PM
Choreography: Crystal Pite

Assistant to the choreographer:
Maurice Causey
Music: Owen Belton (new composition)
by programming in such a way that the per-
formance becomes a complete experience
for the public. It is important to Vincent to
expose dance to influences from other art
disciplines, to break new ground together.
Concept film: Lightfoot León Text: Crystal Pite
Realization film: Metropolis Film Voice: Kate Strong Nederlands Dans Theater I
and Dicky Schuttel Light: Kees Tjebbes This company was founded in 1959 and
Decor: Paul Lightfoot and Sol León Costumes: Joke Visser, Crystal Pite consists of 30 dancers. They vary in age
Costumes: Paul Lightfoot and Sol León Decor: Crystal Pite from 23 to 42 and each one of them excels
(Big thank you to Joke Visser and Painting canvas: Vorm & Dekor, in their solo qualities. These phenomenal
Hermien for realization and support) Roelf Visscher dancers and the multifaceted repertoire they
Lighting: Tom Bevoort Production of dolls: Rob’s Prop Shop, bring to the stage attract full houses all over
World premiere: April 28, 2005 – Willeke Smit the world.
Lucent Danstheater Den Haag World premiere: February 15, 2007 –
Lucent Danstheater Den Haag Nederlands Dans Theater II
The Tuesday, March 29 performance of This company was founded in 1978 for
Nederlands Dans Theater is supported Nederlands Dans Theater
young upcoming talent with astonishing
by Wyndham Robertson, Performance Nederlands Dans Theater originated in technique and endless energy and currently
Benefactor. 1959 when 22 people broke free from consists of 16 dancers up to the age of 23.
the Nederlands Ballet. These rebels were Nederlands Dans Theater II is a revolution-
Program Notes impassioned by dance and the desire to ar y breeding ground of talent and dance
give it a style all their own. Under the direc- repertoire by established and up-and-
Never before have Paul Lightfoot and Sol
tion of Carel Birnie and Benjamin Harkarvy, coming choreographers.
León made a piece as long as this – 45
they steadily built a different repertoire of
minutes – and the result has rarely been so
modern dance. Fifty years later, Nederlands
compelling and well balanced. Silent Screen Paul Lightfoot and Sol León
Dans Theater has become one of the lead-
is set to the abstract and yet emotional Paul Lightfoot (Kingsley, England) trained at
ing dance companies in the world. A rich
music of Philip Glass. The piece begins with the Royal Ballet School in London. In 1985,
repertoire has been built up with works
a fascinating duet against the background of he joined Nederlands Dans Theater II and
from master choreographers Jiří Kylián and
a solitary man vanishing into the sea. When two years later moved on to Nederlands
Hans van Manen as well as from resident
the dancers disengage themselves from the Dans Theater I, where he was vital to the
choreographers Sol León and Paul Lightfoot,
images, they display harmony and happi- image of the company. He also took up
associate choreographers Crystal Pite and
ness. Then the sea transforms into a forest choreography, his talent for which stood
Johan Inger and many other guest choreogra-
and the atmosphere changes. Despite its out in 1988 during the annual workshop
phers including Ohad Naharin, Nacho Duato
high degree of technicality, the ballet refers of Nederlands Dans Theater. After this
and William Forsythe. Under the direction
to great themes of life and has a profound workshop he created The Bard of Avon for
of Artistic Director Jim Vincent, Nederlands
emotional overtone. Nederlands Dans Theater II (1989), the first
Dans Theater attracts full houses worldwide.
This time the inspiration is the art of silent Through the years, but particularly in its hey- of many pieces for Nederlands Dans Theater
movies, the amazing way of acting emotions, day under former artistic director Jiří Kylián, I as well as Nederlands Dans Theater II, and
the beauty of the body’s expression without Nederlands Dans Theater has done pioneer- also for Nederlands Dans Theater III at the
words and the power of these actors, who ing work in contemporary dance. Ballets time. His choreographies were made in close
project their drama in a symbolic way. It has originally made for Nederlands Dans Theater collaboration with Sol León – an alliance that
been a beautiful and emotional experience are still danced all over the world. Numerous continues to this day.
that makes us improve our way of communi- dancers and choreographers that once Sol León (Córdoba, Spain) finished her dance
cating through the art of dance. started with the company have set up their training at the National Ballet Academy of
– Sol León own dance companies worldwide. While cher- Madrid and came to The Hague in 1987
ishing what has been built up, Nederlands to dance with Nederlands Dans Theater II
“One never realizes an emotion at the time.
Dans Theater looks to the future. Jim under Arlette van Boven. In 1989, she joined
It expands and thus we don’t have complete
Vincent wants to strengthen the connection Nederlands Dans Theater I. She danced
emotions about the present, only about the
between dance and society, which he does many works by masters of choreography
past.” (Virginia Woolf)
– Paul Lightfoot

including Jiří Kylián, Hans van Manen, Mats Pivot tours nationally and internationally
Ek and Ohad Naharin until she stopped with productions that include Dark Matters
dancing in 2003. From 1989, Sol León and (2009), Fault (2008), Lost Action (2006),
Paul Lightfoot have worked together produc- Uncollected Work (2002) and Double Story
ing choreographies for Nederlands Dans (2004), created with Richard Siegal. In
Theater. In 2002, the couple were appointed 2010, Kidd Pivot became the resident
resident choreographers of Nederlands company of Kunstlerhaus Mousonturm in
Dans Theater. Together they have made 40 Frankfurt, Germany and is now known as
choreographies for this dance company. Kidd Pivot Frankfurt RM. Crystal Pite is an
In 2007, they started a charity project for Associate Dance Artist of Canada’s National
street children in Bangladesh. Arts Centre and Associate Choreographer
of Netherlands Dance Theater. She is the
Crystal Pite recipient of the 2008 Governor General’s
Vancouver-based choreographer and Mentorship Award.
performer Crystal Pite has created works
for Netherlands Dance Theatre 1, Cullberg
Ballet, Ballett Frankfurt, Les Ballets Jazz
de Montréal (Resident Choreographer
2001–04), Cedar Lake Contemporary Ballet, Exclusive North American Representation:
Ballet British Columbia, Alberta Ballet, The IMG Artists
National Ballet of Canada and several inde-
Carnegie Hall Tower, 152 West 57th Street,
pendent dance artists, the most recent of
5th Floor, New York, NY 10019
whom is Louise Lecavalier. Pite is a former
company member of Ballet British Columbia Ph: 212-994-3500, Fx: 212-994-3550,
and Ballett Frankfurt. In 2001, she formed www.imgartists.com
her own company, Kidd Pivot, and continues
to create and perform in her own work. Kidd

(919)843-3333
On Nederlands Dans Theater Amanda K. Miller
About twenty years The work I am creating with the dancers is a

ago, I choreographed challenging process because of the different
two ballets for improvisational tools I use to create the
Nederlands Dans choreography. Each dancer reveals more
Theater II, when Jiří and more of him/herself with this language,
Kylián was the artistic as if writing a poem with physical language
director. At the time, and expression. These dancers approach
the dancers and I were the process with open minds and hearts.
close to the same I can understand and appreciate their
age. Here I am again, creating a piece for intellectual intelligence and curiosity and
Nederlands Dans Theater I. Jim Vincent, the their ability to translate and transform this
current artistic director, was my schoolmate into their bodies. Dancers’ bones talk, and
at University of North Carolina School of the throughout our bodies is the democracy of a
Arts. This time, I am much older than the strange sort of freedom.
dancers, but my sensations of happiness As an audience member, just sit back,
are the same. relax and be engulfed in Nederlands Dans
Being a dancer is a very difficult job. It Theater’s generosity as performers, with all
requires so much precision, self-discipline, that they give as individual human beings to
musicality, passion, and most importantly, their art – dancing.
a sense of humor about oneself and one’s
Born and raised in Chapel Hill, Amanda K. Miller
community. We laugh a lot every day, and this is founder of the Pretty Ugly Dance Company.
keeps things very real and compassionate. I Recently, she led a workshop series at UNC-Chapel
have always found this to be the case with Hill as a part of Carolina Performing Arts’ Dance
Master Class Series.
Nederlands Dans Theater.
ackland art museum

1/2 pg

world t
world theater
“…consistently
innovative…” Credit: XXX
- Boston Globe
Photo Credit: John Hodgkiss
Woyzeck on the Highveld –

Handspring Puppet Company
Friday & Saturday, April 1 & 2 at 8pm
A play for puppets and animated projections
world theater
voices of dissent
This performance is supported, in part, by sponsors of the International Theater Festival,

Tom Kearns and Joseph and Beatrice Riccardo.

(919)843-3333
theater
Based on the play by GEORGE BÜCHNER
Directed by WILLIAM KENTRIDGE
Restaged by LUC DE WIT
Designed by ADRIAN KOHLER &
ROLES & PLAYERS
FRI & Sat Apr 1 & 2 | 8pm
Woyzeck ....................HAMILTON DHLAMINI

Maria ...................................BUSI ZOKUFA Director’s Note
(1992 Original Production)
– William Kentridge
The Barker, The Miner, Margaret, Andries

WILLIAM KENTRIDGE I first came across the play Woyzeck in
MNCEDISI SHABANGU
Animation WILLIAM KENTRIDGE Barney Simon’s remarkable production in
The Captain .................. NKOSINATHI GAAR
Lighting Design WESLEY FRANCE the old Arena Theatre in Doornfontein in
The Doctor .....................JASON POTGIETER
the 1970s. Characters and images from
The Company Director’s Note (2008 Revival) the play have floated on the edges of my
In the strange, convoluted world of oppression consciousness since then. For many years,
Actor MNCEDISI SHABANGU
and enlightenment that constituted Prussia I have wanted to do some form of produc-
Puppeteers NKOSINATHI GAAR,
in the 19th century, there was a law which tion of the work as it seemed to me that
JASON POTGIETER,
stated that anyone condemned to death had the anguish and desperation of Büchner’s
HAMILTON DHLAMINI,
first to be examined by a psychiatrist before text does not need to be locked into the
BUSI ZOKUFA
he could be executed. The psychiatric report context of Germany in the 19th century, and
Technical Director WESLEY FRANCE
of one such person, a private in the army that the similar circumstances that exist in
Sound Engineer SIMON MAHONEY
condemned to death for the murder of his South Africa today make this play completely
Stage Manager BRUCE KOCH
common law wife, formed the basis of the eloquent in a local setting.
Music produced by STEVE COOKS, play Woyzeck, written by Georg Büchner in The second source of this production is to be
EDWARD JORDAN 1875. The play was an unfinished series of found in the desire to work with puppetry in
Sound Design WILBERT SCHOUBEL fragments at the time of the author’s death at general and the Handspring Puppet Company in
Cello CLARA HOOYBERG the age of 25, and it was not performed until particular – to work in an area in which perfor-
Piano accordions ALFRED MAKGALEMELE, . some 40 years later. Since then, its mixture mance and drawing come together, to try to see
ISAAC VAN GRAAN of fragmentation, rationality and irrationality if one could find an emotional depth and weight
have made it a central text in 20th century without recourse to the obvious techniques of
Puppet Maker ADRIAN KOHLER theater. Handspring Puppet Company and I psychological transformation of an actor’s face.
Assistant Puppet Makers FRANCOIS .......... were drawn to the text both for its substance
The third source is the animated films that
VILJOEN, ERICA ELK but also for its abbreviated, fragmentary form.
I have been making. The cumbersome and
Assistant Animator ERICA ELK Both puppetry and animation are short forms,
archaic technique of charcoal drawing and
Video Editor THABO NEL puppetry because of the conflict between the
erasure that I use imposes severe limita-
Original Lighting Design MANNIE MANIM weight of a puppet and the strength of an
tions on the mobility and interaction of the
Set Builder FRANCOIS VILJOEN arm, animation because of the hours of labor
drawn figures. Working with puppets and
Costumes HAZEL MAREE needed to draw even short sequences.
these animated films attempts to bring the
This production was my first collaboration possibilities of versatile three-dimensional
Producer BASIL JONES with Handspring Puppet Company, and movements into the work I have been doing.
Production Manager WESLEY FRANCE when we made it some 15 years ago, we
This is my first experience of working with
had the blessing of absolutely not knowing
puppets and the discoveries have been enor-
Major Revival 2008. Original Production what we were doing, making the form, and
mous. Each day of rehearsal has brought
1992: The Standard Bank National Arts the grammar of the form, as we went along.
revelations of the things that puppets can
Festival, the Johannesburg City Council, the In the subsequent productions of Faustus
do better than their living counterparts (try
Foundation for the Creative Arts, the German in Africa!, Ubu Tells the Truth, Il Ritorno
training a rhinoceros to write or an infant to
Embassy in South Africa, the Department of d’Ulisse and Confessions of Zeno, we have
fly on cue). Also worth watching out for is
National Education and Art Bureau (Munich). always worked with the disadvantage of
that strange condition where the manipula-
hindsight. In this presentation, there are
www.handspringpuppet.co.za tion of the puppets is completely transpar-
some changes of puppetry controls, some
ent, where, in spite of seeing the palpable
changes of manipulation, but essentially we
artificiality of the movement of the puppet,
Handspring Puppet Company’s activities in are making a restaging of the original produc-
one cannot stop believing in the puppet’s
the Americas and in Asia are produced by tion. We hope new audiences find pleasure
own volition and autonomy.
Deirdre Valente, Lisa Booth Management, Inc. both in Buchner’s remarkable text and our
production of it. But in truth this restaging – William Kentridge
is a gift to ourselves, as we try to rediscover
some of the things we did not know.

Handspring Puppet Company earned Handspring Olivier, Evening Standard through an innovative use of charcoal draw-
and London Critic’s Circle awards in 2007 for ing, prints, collages, stop-animation, film,
Exploring the boundaries of puppet theater
their magnificent life-size puppets. Joey, the opera and theater. Kentridge see his work
within an African context since 1981,
lead horse of the production, has also made as rooted in Johannesburg – the city in which
Handspring Puppet Company is directed by
several special appearances including a visit he was born and continues to work today. In
Adrian Kohler and Basil Jones. Based in Kalk
with Queen Elizabeth II at Windsor Castle 2010, he was awarded the Kyoto Prize and
Bay on the outskirts of Cape Town, South
and at the 2011 TED conference in Long made his debut at the Metropolitan Opera,
Africa, the company provides an artistic
Beach, CA. The Broadway production opens staging and designing Dmitri Shostakovich’s
home and professional base for a core group
on April 14. In 2010, the National commis- The Nose. Five Themes, a large-scale exhibi-
of performers, designers, theater artists and
sioned and produced Or You Could Kiss Me, tion that surveys nearly three decades of work
technicians. Their work has been presented
which Handspring created in collaboration and underscored the inter-relatedness of his
in more than 30 countries around the world.
with playwright/director Neil Bartlett. mediums and disciplines, was presented in
Handspring has been regularly produced 2010 at NYC’s MOMA; Jeu de Paume, Paris;
In conjunction with Cape Town’s Out the Box
in the USA since 1994, when the company Albertina Museum, Vienna and in 2009 at
Festival, the company has established the
made its debut with Woyzeck on the Highveld, the San Francisco Museum of Art; Modern
Handspring Puppetry Awards, five cash prizes
the first of six collaborations with William Art Museum of Fort Worth, Texas; Norton
awarded annually to recognize and celebrate
Kentridge. This team’s subsequent produc- Museum of Art, West Palm Beach, Florida.
the work of those engaged in the art form.
tions – Faustus in Africa (1994), Ubu and His recent work also includes I am not me,
Handspring Puppet Company, a compre-
the Truth Commission (1998), Zeno at 4AM the horse is not mine, a solo lecture/per-
hensive survey and catalog raisonné of the
(2001), Confessions of Zeno (2002, 2003) formance piece and installation, and Black
company’s work with essays, drawings and
and Il Ritorno d’Ulisse (1998, rev 2004) – Box/Chambre Noire, a miniature piece with
hundreds of detailed full-color photographs,
have also been presented here. Tall Horse, mechanized puppets and projection with
was published by David Krut in 2010.
made in collaboration with Yaya Coulibaly’s original music by Philip Miller, commissioned
Sogolon from Mali, toured the USA in 2005. by Deutsche Guggenheim in Berlin.
William Kentridge
Handspring has also partnered with
William Kentridge is a South African artist
London’s National Theatre. War Horse, a
whose work tracks a personal route across
long-running hit on London’s West End,
the legacy of apartheid and colonialism

(919)843-3333
on Handspring Puppet company priscilla bratcher
Puppets keep dancing both performances and was, once again,

in and out of my life, enthralled. I wanted more and was rewarded
layering impressions in 2009 and 2010 with the National
of magical moments. Theatre’s production of War Horse in London.
Although some Using Handspring’s life-sized puppets for the
scholars argue that animals in the play, War Horse knocked me
puppetry is as ancient out with its powerful story-telling. This time I
as 30,000 years old, was not alone in my weeping. It was reported
I am not. I do have a that even Her Majesty the Queen shed a tear
fuzzy childhood memory of seeing a puppet when she saw it.
show, but can’t remember where or when. It This spring brings another puppet experience,
may have been during the year we spent in Handspring’s Woyzeck on the Highveld.
England when I was six years old. I dredge up Based on the Georg Büchner classic play,
a scene at someone’s birthday party, which this performance promises to be powerful
included an outdoor Punch and Judy show. and moving as well as inventive under the
The study of puppetry was part of my direction of artist and filmmaker William
coursework for a BA in theater, but at the Kentridge. I can’t wait.
time, it was considered an art form for And here’s what I’ve come to understand
children only. Fortunately, puppetry artists from my lifelong dance with puppets. This art
and audiences have come a long way since form has power because it resonates with
then and a new appreciation for this ancient childhood memories. But performances that
global art form has emerged. artfully use puppets transcend sentimentality.
In 1998, I began to work on the Memorial By asking the audience to suspend disbelief
Hall renovation campaign. Chair Jim Heavner and invest cloth, wood and clay with breath
used his wide network to ensure our success. and the ability to think, feel and react, puppet
One of his pals was Debbie Ellis of Atlanta. artists can take us on magical journeys of
Both Debbie’s parents were Carolina alumni delight, pathos, joy and wonder. I hope you
and she honored them by generously naming will travel with me on April 1 and 2.
two of the brand new dressing rooms. After
Priscilla Bratcher, Anglophile and theater devotee
the campaign, Debbie joined the board of with a weakness for Shakespeare, is Director
the Center for Puppetry Arts in Atlanta, an of Development for Carolina Performing Arts at
amazing museum/school/performance UNC-Chapel Hill.
troupe. Through Debbie, my interest in and
knowledge of puppetry was rekindled.
A couple of years later, I began working
for Britain’s Royal Shakespeare Company.
There, I met the amazing Chief Associate
Director Gregory Dorn, who had learned of
the Bunraku puppet tradition while touring
Macbeth in Japan a few years earlier. He
creatively integrated the art form into a
production of Venus and Adonis, one of the
Bard’s two long poems. It used hand and
shadow puppets, marionettes and Bunraku.
I was lucky enough to see it in Stratford
in 2004 and it stunned me. It was funny,
outrageous, erotic, tragic and moving. For the
first time since childhood, puppets made me
weep.
In 2005, I was back at UNC-Chapel Hill
working for Carolina Performing Arts.
The Grand Opening Season included
Handspring and Sogolon Puppet Companies’
production of Tall Horse, featuring life-sized
puppets interacting with actors. I saw

classical
classical ensembles
“…music in the
purest form possible…”
- The Washington Post
Credit: Colin Bell
St. Petersburg Philharmonic Orchestra

with Yuri Temirkanov, music director & conductor,
classical ensembles
and Alisa Weilerstein, cello

Tuesday, April 5 at 7:30 PM

(919)843-3333
ensembles Tues, Apr 5 | 7:30 PM
Program orchestra’s repertoire and touring interna-

tionally. In 1976, he became artistic director
Russian Easter Overture, Op. 36 Rimsky-Korsakov and chief conductor of the Kirov (Mariinsky)
(1844-1908) Theatre, actively touring abroad and creat-
ing classic productions of Prokofiev’s War
Concerto for Cello No. 1 in E-flat major, Op. 107 Shostakovich and Peace, Tchaikovsky’s Eugene Onegin
Allegretto (1906-1975) and Queen of Spades, Petrov’s Peter I and
Moderato Shchedrin’s Dead Souls.
Cadenza
Allegro con moto He also began collaborating with many world-
famous orchestras, becoming chief conduc-
INTERMISSION tor of the Royal Philharmonic Orchestra
(RPO) in 1992, principal guest conductor of
Symphony No. 4 in E minor, Op. 98 Brahms the Dresden Philharmonic (1992-97), prin-
Allegro non troppo (1833-1897) cipal guest conductor of the Danish Radio
Andante moderato Symphony Orchestra (since 1998), chief con-
Allegro giocoso ductor of the Baltimore Symphony Orchestra
Allegro energico e passionato (2000-06) and guest conductor of the Bolshoi
Theatre (2007-08). He tours regularly with
the St. Petersburg Philharmonic Orchestra
and performs the traditional opening and
closing concerts of the season. Under his
direction, the Orchestra became the first
The St. Petersburg Continuing the Orchestra’s 125th anniver- Russian orchestra to perform at Carnegie
Philharmonic Orchestra sary celebrations, this season features Hall’s opening concerts of the season.
two subscription series (Yuri Temirkanov
Founded in 1882, The St. Petersburg The People’s Artist of the USSR, he has
and his Orchestra and The First Russian
Philharmonic Orchestra, Russia’s oldest received State Awards and Orders including
Symphony Orchestra) and the winter festival
symphonic ensemble, has undertaken the the President of Russia award and the Abbiati
“Arts Square,” opening with Evgeny Kissin.
first Russian performances of Tchaikovsky’s award, Best Conductor of the Year. Last sea-
In the newly refurbished Philharmonic Hall,
Symphony No 6 (“Pathetique”), Richard son, he was elected Honorary Member of the
the Orchestra will perform with Krzysztof
Strauss’ symphonic poems Ein Heldenleben Academy of Santa Cecilia and was honored
Penderecki the first St. Petersburg per-
and Also Sprach Zarathustra, Mahler’s First by the St. Petersburg government.
formance of his Polish Requiem and a
Symphony, Bruckner’s Ninth Symphony,
concert with Rodion Shchedrin in which the Temirkanov has made the preservation
Prokofiev’s Classical Symphony, Skryabin’s
composer will play his First Piano Concerto. and nurturing of St. Petersburg’s spiritual
Poem of Ecstasy and many Shostakovich
It will also per form at the Marathon- and cultural inheritance the subject of an
symphonies. Conductors have included
Concert for International Music Day and International Foundation for Cultural
Tchaikovsky, Prokofiev, Richard Strauss,
celebrate Stravinsky’s 125th anniversar y. Initiatives in his name. In 1998, he created
Arthur Nikisch, Alexander Glazunov, Serge
The Orchestra also tours the US, including the Temirkanov award for talented young
Koussevitsky, Otto Klemperer, Bruno Walter,
three Carnegie Hall per formances. The musicians. In 1999, he founded the new
Felix Weingartner, Leopold Stokowski, Georg
season closes in June with a traditional Arts Square international winter festival,
Solti and many others.
festival, The Music Collection, featuring featuring the world’s greatest soloists with
In 1917, the Orchestra became the State Serge Baudo, Hans Graf, Freddy Kempf and the Orchestra.
Orchestra. Soloists Vladimir Horowitz Paata Burchuladze.
and Sergey Prokofiev appeared with the Alisa Weilerstein
Orchestra, which began to play modern Yuri Temirkanov
repertoire – Stravinsky, Schoenberg, Berg, Cellist Alisa Weilerstein has attracted wide-
One of the most sought-after conductors of spread attention for her virtuosity, technical
Hindemith, Honegger, Poulenc – while con-
his generation, Yuri Temirkanov became ar- precision and impassioned musicianship.
tinuing to premiere the music of contempo-
tistic director and chief conductor of the St. 2009-10 milestones included performing
rary Russian composers. In 1938, conductor
Petersburg Philharmonic Orchestra in 1988. Elgar’s Cello Concerto with the Berliner
Evgeny Mravinsky joined the Orchestra and
In 1967, Evgeny Mravinsky offered him Philharmoniker and Daniel Barenboim,
for the next 50 years transformed it into
the position of assistant conductor at the participating in a White House classical
one of the best in the world. In 1988, Yuri
Philharmonic Hall. From 1968, Temirkanov music event, touring Venezuela with Gustavo
Temirkanov became principal conductor, giv-
was head of the Academic Symphony Dudamel and the Simón Bolívar Symphony
ing numerous world premieres and opening
Orchestra of the Philharmonia, widening the Orchestra and making her LA Philharmonic
Carnegie Hall’s 2005-2006 season.

Photo Credit: Lucio Lecce
debut with Dudamel, performing Dvoř ák’s

Cello Concerto.
Highlights of her 2010-11 season include
touring with the St. Petersburg Philharmonic
Orchestra led by Yuri Temirkanov, recitals
with pianists Inon Barnatan and Gabriel
Kahane, performing the Beethoven Triple
Concerto with pianist Jeremy Denk, violinist
Chee Yun and conductor Marek Janowski
with the San Francisco Symphony, and de-
buting with the National Orchestra of Spain,
the Danish Radio Symphony Orchestra and
the Royal Stockholm Philharmonic Orchestra
performing Osvaldo Golijov’s Azul.
A dedicated chamber musician, she
performs regularly in prestigious festivals
and with her parents as the Weilerstein
Trio, the New England Conservatory’s Trio-
in-Residence. In 2008, she was awarded
Lincoln Center’s Martin E. Segal prize for ex-
ceptional achievement and in 2006 she won
the Leonard Bernstein Award. She received a
2000 Avery Fisher Career Grant and in 2000-
01 was selected for the prestigious ECHO
(European Concert Hall Organization) “Rising
Stars” recital series and the Chamber Music
Society of Lincoln Center’s Chamber Music
Society Two. In 2000, she recorded a CD for
EMI Classics’ “Debut” series.
Born in 1982, she made her Cleveland
Orchestra debut in 1995 and her Carnegie
Hall debut with the New York Youth
Symphony in 1997. A graduate of the Young
Artist Program at the Cleveland Institute
of Music, where she studied with Richard
Weiss, she graduated from New York’s
Columbia University in 2004 with a degree
in Russian histor y.

(919)843-3333
dance
“…the coming of age

of new Chinese dance…”
- Dance Europe
Photo credit: Zhang He Ping
BeijingDance/LDTX
Tuesday & Wednesday, April 12 & 13 at 7:30pm
Artistic Director: Willy Tsao

Deputy Artistic Director: Li Hanzhong
Technical Director and Lighting Designer: Godzilla Tan
Production Manager: Chen Lin
Stage Manager: You Hu
dance
Company Manager: Liu Siwen
Dancers: Ma Bo, Zuo Yan, Song Tingting, Zhao Kexin, Xu Yiming, Zi Wei,
Liu Bin, Liang Yu, Liu Yifeng, Zheng Zhi, He Yao, Li Yue, Guo Wei, Qian Kun

(919)843-3333
dance
Program
April 12 Program
Unspeakable
April 13 Program
The Cold Dagger

Sky
One Table N Chairs (excerpt)
INTERMISSION
TUES & WED APR 12 & 13 | 7:30 PM
choreographers. It reflects the development

of contemporary dance in 20th-century
China. All River Red is not a comfortable
fusion of East and West, but rather, a direct
and violent confrontation between those
adhering to tradition and those inspired
to innovate.
All River Red About the Company

The birth of BeijingDance/LDTX (Lei Dong Tian
Xia, literally translated as Thunder Rumbles
Under Heaven) in September of 2005 not
only caught widespread international atten-
April 12 Program player, strategy and sacrifice, and cause and tion, but also captured the imagination of
effect are shown to be one and the same. many artists in China. BeijingDance/LDTX
Unspeakable
Choreographer: Sang Jijia Sky was born out of a controversial and exciting
Costume Designer: Sang Jijia & Gao Jie Choreography: Liu Bin time of rapid cultural change in China, be-
Set Designer: Sang Jijia Music Producer: Mao Liang coming China’s first non-governmental and
Lighting Designer: Goh Boon Ann Dancers: Zuo Yan, Song Tingting, independent professional dance company.
Music Arrangement: Sang Jijia Zhao Kexin, Liu Bin, Xu Yiming,Li Yue Founded by veteran choreographers and
and Qian Kun a new generation of dancers in China,
All music is arranged by Sang Jijia, from the BeijingDance/LDTX is a platform for contem-
works of Pan Sonic, Thom Willems, Ryoji To embrace, to trust, to hope and to continue… porary creations. Under the artistic direction
Ikeda and John Adam. of Willy Tsao, China’s foremost figure in
One Table N Chairs (excerpt) modern dance, and deputy artistic director
Dancers: Full Company Choreographers: Willy Tsao, Li Hanzhong Li Hanzhong, the company boasts an en-
and Ma Bo semble of 14 technically exquisite dancers
What is expected is not a person, not a Music: Traditional Chinese Opera recordings and a diverse repertoire. Based in China’s
story, not anything. from Beijing and Guangdong capital, BeijingDance/LDTX serves as both
Dancers: Full Company a leader and a catalyst for the modern and
A world that can be explained even with bad contemporary dance and dance appreciation
This excerpt is one of nine scenes that
reasons is a familiar world. But, on the other movement. By nurturing young talent and
together compose the full evening version
hand, in a universe suddenly divested of illu- exclusively working with Chinese choreogra-
of One Table N Chairs. Inspired by the local
sions and lights, man suddenly feels an alien, phers, BeijingDance/LDTX pioneers China’s
operas in different parts of China, the nine
a stranger. His exile is without remedy since most cutting edge choreography.
scenes represent the different sentiments
he is deprived of the memory of a lost home
and situations of life. It is estimated that Since it’s creation in 2005, BeijingDance/
or the hope of a promised land. This divorce
China has over one hundred kinds of local LDTX has traveled extensively throughout
between man and his life, the actor and his
opera, each with its unique singing and act- Mainland China, Hong Kong, Europe and
setting, is properly the feeling of absurdity.
ing style. The nine most distinctive types of North America. In addition, BeijingDance/
- Albert Camus
operas and their highlights are adapted and LDTX hosts the annual Beijing Dance
deconstructed in One Table N Chairs to give Festival, which brings the world’s most
April 13 Program a kaleidoscopic picture of contemporary and innovative work to the nation’s capital.
The Cold Dagger (excerpt) traditional China. Through per formance seasons, educa-
Choreographers: Li Hanzhong and Ma Bo tional programs, commercial engagements,
Music: Henryk Gorecki INTERMISSION technique classes, and outreach activities,
Dancers: Full Company BeijingDance/LDTX attracts aspiring danc-
All River Red
The Cold Dagger (excerpt) is an explosive Choreography: Li Hanzhong and Ma Bo ers and artists to contemporar y dance and
staging of confrontation and humanity. This Music: Igor Stravinksy ser ves as an important voice in the evolu-
ten-minute version of an evening-length work Dancers: The Full Company tion of modern Chinese thought and society.
plays with the Chinese idiom that likens life Willy Tsao (Company Director/Artistic Director)
Stravinsky’s Rite of Spring was premiered
to a game of chess, wherein dancers act has been a major figure in China’s modern
in 1913, signifying the dawn of a new era
as life-sized pieces in an intricately choreo- dance community for over 25 years. Born
in music writing. This music has inspired
graphed match of the traditional Chinese and educated in Hong Kong, Tsao received
many western masters of choreography to
Weiqi (go) game. The work is a mesmerizing his modern dance training in the US from
create innovative dances. All River Red is the
look at the “game of life,” in which piece and 1973-1977. In 1979, he graduated from the
version offered by contemporary Chinese

University of Hong Kong with an MBA and es- to the development of local arts. Other International Choreographers Showcase
tablished the Hong Kong City Contemporary awards and honors include the “Dancer of (1999). Li joined the Beijing Modern Dance
Dance Company. the Year Award” from the Hong Kong Artists’ Company as the Deputy Artistic Director in
Guild (1988), the “Ten Outstanding Young 1999. In 2005, Li left the Beijing Modern
Tsao has dedicated endless effort towards
Persons” Award (1990), “The Badge of Dance Company and, along with Willy Tsao,
the development of modern dance in China.
Honor” from HRH Queen Elizabeth II (1993) founded BeijingDance/LDTX.
In 1986, he was invited to teach modern
and the “Louis Cartier Award of Excellence –
dance at the Beijing Dance Academy, and His major choreographic works have toured
Outstanding Choreographer”(1998).
served later as the Artistic Advisor for internationally with Guangdong Modern
their Youth Dance Company. In 1987, he Li Hanzhong Dance Company, Beijing Modern Dance
became an advisor for the Guangdong Dance (Deputy Artistic Director/ Choreographer) Company and most recently, BeijingDance/
School and was instrumental in creating the was born in the western province of Yunnan. LDTX. Some of his most acclaimed works
Guangdong Modern Dance Company, the He is hailed as part of China’s first gen- include All River Red (2000), Undetermined
first professional modern dance company in eration of modern dancers. Li Hanzhong Domain (1997), Rear Light (2002) and The
China. He served as their Artistic Director graduated with a bachelor’s degree from Cold Dagger (2006).
from 1992-1998 and was invited back to the Beijing Dance Academy (Chinese Ethnic
serve as Company General Manager in 2004. Dance) in 1991. Upon graduation, he joined
Tsao has conducted intensive modern dance the Guangdong Modern Dance Company as www.BeijingLDTX.com
workshops in many cities throughout China. a dancer, artistic assistant and choreog- Exclusive North American Tour
In 1999, he was invited to be the Artistic rapher. He toured with the company to the Representation
Director for Beijing Modern Dance Company. US, France, Germany, Switzerland, Austria, Rena Shagan Associates, Inc
In 2005, he re-established the company Korea, Singapore and the Philippines. In 16A West 88 Street
under the name BeijingDance/LDTX. As a 1996, he received the Asian Cultural Council New York, NY 10024
choreographer, his works have been pre- Scholarship to study at the American Dance tel. 212.873.9700 fax. 212.873.1708
sented in the US, Canada, Korea, Japan, Festival. Along with his prolific choreographic www.shaganarts.com
Israel, Germany, France and China. Tsao’s creations in mainland China, Li has been
contribution to modern dance has been invited to stage works for the Center for International Tour Coordinator, Sandy Garcia
widely recognized. In 1999, he was awarded the Performance Arts, Adelaide (1998 and
the “Bronze Bauhinia Star” by the Hong Kong 2000), Cloud Gate Dance Theatre, Taiwan
Government for his significant contribution (1999) and the American Dance Festival’s

(919)843-3333
On BeijingDance/LDTX Jiayun Zhuang
My parents took me to personal memories of the performers. Sitting There are so many stories, and I expect that
see a modern dance in the audience, it has become my personal BeijingDance/LDTX will bring more stories to
performance when “ritual” to constantly try to figure out to which us. This drastically changing time has created
I was in junior high. degree these stories are interwoven and told a wonderful storytelling stage for Chinese
Putting aside the hints through dance. artists. Isn’t now the best-ever time for us
of irony embedded in In Nederlands Dans Theater III, a dance- to get to know the dancing storytellers who
this “adventure” for a theater company for experienced dancers mix reality with hope, euphoria with everyday
moment, I was stunned older than 40 years, one of the members struggle, tradition with future, and individual
and almost upset by recalls, “When I was 45, and empty-handed, stories with those of a bigger society? This
the inexplicable compositions and movements I wanted to become a ballet teacher and rising company has performed a dynamic
of dancers’ bodies. More than that, I was then I started [...] so here I am (as a ballet collection of works and has been actively
extremely puzzled because of the lack of a teacher).” Pina Bausch and Tanztheater involved in a range of dance festivals and
storyline: “What do I make out of this?” Well, Wuppertal’s production Ten Chi looks like, workshops, both in China and internationally.
my parents asked me the same question. as someone perfectly described, “a series In addition to providing a variety of aesthetic
Today, even though I have become of postcards.” And yes, the story fragments experiences and sensory impressions, LDTX
someone who can “comfortably” talk captured in the cards are inspired by a visit to also brings into contemporary Chinese
about modern dance and almost have the Japan, amusingly translated by the German society modern dance as the most direct,
tendency to spit out such terms as “the dancer-tourists, into a celebration about the diverse and thought-provoking vocabulary
body,” “expressionist,” and “challenge the plenitude and the loss of meaning. When for telling the new stories. I hope to have
established” to describe modern dance, I talking about his new work, Listening to the the chance to have a cup of Longjing tea
know I am still secretly looking for stories River, Lin Hwai-min, the founder of Taiwan’s with them, and to discuss their physical
when watching a performance. Besides the Cloud Gate Dance Theatre, tells us that he is movements and choreographic structures.
narrative of the dance, I tend to search for in hope of planting a tree somewhere along Then, I will ask: “What is your story?”
anecdotes in the rehearsal room, some real- the Tamsui River and always wonders what Jiayun Zhuang is an Assistant Professor in the
life fantasies evoked in a dance field trip, and type of tree it would be. Department of Dramatic Art at UNC-Chapel Hill.

classical recitals classica
“An endearing presence,
Koh has chops aplenty.”
- The Star-Ledger
Photo credit: Janette Beckman
Bach and Beyond – Jennifer Koh, violin

Thursday, April 14 at 7:30pm
classical recitals
Co-Commissioned by Carolina Performing Arts

(919)843-3333
al recitals
Program
thurs apr 14 | 7:30 PM
Jennifer Koh
Beloved by audiences and critics for her
Partita No. 3 in E major, BWV 1006 J.S. Bach
consummate musicianship and daring pas-
Preludio (1685-1750)
Loure sion, Jennifer Koh is unique in her genera-
Gavotte en Rondeau tion, bringing a probing intellectual acuity to
Menuet I contemporary and traditional repertoire in
Menuet II equal measure. Committed to exploring
Bourrée connections between the pieces she plays,
Giga searching for similarities of voice among
composers as well as within the works of
Sonata No. 2 in A minor, Op. 27 No. 2 Ysaÿe a single composer, her programs often
Obsession (1858-1931) present rare and revealing juxtapositions,
Malinconia offering composers as divergent as Mozart
Danse des ombres and Ligeti, Schubert and Saariaho.
Les furies
Her Rhapsodic Musings recording (2010)
features 21st-centur y solo violin works and
Nocturne – In memory of W. Lutoslawski Kaija Saariaho
includes a film by Tal Rosner on Esa-Pekka
(b. 1952)
Salonen’s Lachen Verlernt for solo violin.
Other recordings include the Grammy-
Fantasy – Remembering Roger Elliott Carter
(b. 1908) nominated String Poetic, an acclaimed CD
of the complete Schumann violin sonatas,
Lachen verlernt (with video by Tal Rosner) Esa-Pekka Salonen works by Bach, Schuber t, Szymanowski,
(b. 1958) Mar tin, Schoenberg and jazz great Ornette
Coleman, and Por traits, featuring the
INTERMISSION Szymanowski and Mar tinů violin concer-
tos with the Grant Park Orchestra under
Partita No. 2 in D minor, BWV 1004 J.S. Bach Carlos Kalmar.
Allemande (1685-1750) Since 1994-95, when she won the
Corrente International Tchaikovsky Competition
Sarabande
in Moscow, the Concert Artists Guild
Giga
Competition and the Avery Fisher Career
Ciaccona
Grant, Ms. Koh has appeared with leading
orchestras and conductors around the world.
A prolific recitalist, she appears frequently
at major music centers and festivals includ-
ing Carnegie Hall, the Kennedy Center, the
Kimmel Center in Philadelphia, Marlboro,
Wolf Trap, Spoleto, and The Festival
International de Lanaudiere in Canada.
Born in Chicago of Korean parents, Ms. Koh
currently resides in New York City. She is a
graduate of Oberlin College and an alumna
of the Curtis Institute, where she worked
extensively with Jaime Laredo and Felix
Galimir. She is grateful to her private spon-
sor for the generous loan of the 1727 Ex
Grumiaux Ex General DuPont Stradivari she
uses in per formance.

world music world
Photo credit: Bernard Benant
Tony Allen’s Afrobeat Orchestra

Tuesday, April 19 at 7:30pm
world music
voices of dissent

(919)843-3333
d music
Musicians the classic stream of discs documenting
the post-colonial iniquities of Nigerian
tues apr 19 | 7:30 PM
and recorded No Discrimination. From

1981-83 he led the Mighty Irokos before
Drums and Lead Vocal: Tony Allen society and the band’s increasingly bloody moving to London and then Paris, where he
Bass: Cesar Anot conflicts with the authorities: Alagbon Close, remained. In 1984, he recorded N.E.P.A. –
Rhythm Guitar: Claude Dibongue Everything Scatter, Expensive Shit, Yellow Never Expect Power Always – with his band
Tenor Guitar: Kologbo Fever, Zombie, Kalakuta Show, Before I Jump Afrobeat 2000 and toured with juju superstar
Keyboards: Amp Fiddler Like Monkey Give Me Banana, Sorrow Tears Sunny Ade. Throughout the 1990s, Allen was
Trumpet: Albert Leusink And Blood and Fear Not For Man. Massively a sought-after session drummer, collaborat-
Tenor Saxophone: Paul Carlon popular, the band was subject to constant ing with Randy Weston, Groove Armada, Air,
Baritone Saxophones: Dimitri Moderbacher harassment and brutal physical attacks from Charlotte Gainsbourg, Manu Dibango and
the army and police. Grace Jones. Since Fela Kuti’s death, Allen
Tony Allen is recognized as Afrobeat’s torch bearer with
Allen recorded his own albums Jealousy
Born in Lagos, Nigeria in 1940 of mixed albums including Black Voices (1999), Home
(1975), Progress (1976) and No
Nigerian and Ghanaian parentage, Tony Allen Cooking, Tony Allen Live, Lagos No Shaking
Accommodation For Lagos (1978) with Afrika
taught himself to play drums by listening and his latest, Secret Agent (2009).
70, produced by Kuti. By 1978 he was ready
to Art Blakey and Max Roach recordings. for a change and soon parted company with Three decades after the classic Afrika 70
Long acknowledged as one of Africa’s most Kuti – their final studio collaboration was albums, Nigeria remains riven by the same
influential musicians, he created Afrobeat Centre Of The World (1981). In 1979, he injustices that the band had protested
with Fela Kuti, performing with him in Afrika formed Tony Allen and the Afro Messengers against so courageously.
70 for 15 years. Together they recorded
on tony allen David Pier
Once in a great while, I encountered music inspired by Tony Allen crucial. Listening closely you may be surprised
I hear a groove so long before I heard Allen himself. One of my at how busy Allen’s playing is: he has the
powerful on WXYC favorite LPs growing up was Remain In Light, chatty snare drum style of a bebop drummer,
that I have to pull over, an album composed by the Talking Heads his left hand keeping up a steady stream of
as I did on Franklin and Brian Eno in a state of intoxication with jokes and asides. Yet his dynamic finesse
Street the other day. the music and theatrics of Fela and his band is such that you might never notice all that
“Wow, this drummer (Eno has called Allen “perhaps the greatest activity. Nothing sticks out where it shouldn’t.
really manages to drummer who has ever lived”). What Allen’s Allen, like Fela, sees music as a tool for raising
sound like Tony Allen!” grooves distinctly had, and the Talking Heads consciousness, not just for entertainment.
Of course, it turned out to be Allen himself managed to borrow, was an atmospheric In “Elewon Po” he sings, “everywhere I
– who else could even come close? It was quality balanced with propulsive funk. The look I find / too many prisoners.” Can we
“Elewon Po,” off his 2009 release Secret funk of James Brown is like being in a street console ourselves that he is talking about
Agent, which I hadn’t heard before. Like many fight; you know you’re getting hit. Tony Nigeria, not our own land-of-the-free? On
fans, I’m most familiar with Allen’s work with Allen’s funk is something more subtle and a deeper level, Allen, like all performers of
Fela Kuti in the ’70s. This felt different – enveloping, a dark fire all around you. You can the highest caliber, has something to show
looser and more jovial than the controlled, think inside its spaces. No one understood us about the feeling of freedom – a freedom
even ascetic grooves on Fela’s songs this quality better than the late Fela. Over of motion and invention attainable only by a
“Shuffering and Shmiling” or “Zombie.” Yet Allen’s churning beats, he led his disciples total commitment to precision and discipline.
it was potent enough to force me off the on meditative journeys, tracking flows of Tonight, we are lucky to witness him and
road, and unmistakeably Allen – even after commodities and corrupt politicians in and his band at work, live. I’m certainly looking
four decades’ worth of emulation by other out of Nigeria. The cinematic effect of Fela’s forward to it!
drummers. There will only be one Elvin Jones, music required Allen’s steady, energetic, yet
one Art Blakey, one Tony Allen. Tonight we are unobtrusive timekeeping. David Pier is an Assistant Professor in the
Department of African and Afro-American Studies at
in the presence of one of the all-time masters What is the secret to Allen’s atmospheric UNC-Chapel Hill.
of the drum set. groove? A thousand drummers would love to
know. One thing for sure is that his touch is

special
special event
Photos Courtesy of Ted Kurland Associates
Branford Marsalis, saxophone, Branford Marsalis

with the North Carolina Jazz Long known as a jazz luminary, Grammy Award-winning saxophonist
Branford Marsalis is a man of numerous musical interests, from
special event
Repertory Orchestra jazz, blues and funk to classical music projects. He has continued
to expand his skills as an instrumentalist, composer and head of
Thursday, April 21 at 7:30pm Marsalis Music, the label he founded in 2002. Born into one of New
Program to be announced from the stage. Orleans’ most distinguished musical families, he gained acclaim
with Art Blakey’s Jazz Messengers and his brother Wynton’s quintet
before forming his own ensemble. He has performed and recorded
with jazz giants including Miles Davis, Dizzy Gillespie, Herbie Hancock
and Sonny Rollins. Known for his innovative spirit, he has performed
jazz with his Quartet, his own unique contemporary popular music
with his band Buckshot LeFonque, and classical works with acclaimed
orchestras. His nearly two dozen recordings include Music Redeems
(2010), Metamorphosen (2009), Braggtown (2006), Eternal (2004)
and the DVD Coltrane’s “A Love Supreme” Live in Amsterdam (2004).
(919)843-3333
event
Dedicated to changing the future of jazz in the
classroom, Marsalis has shared his knowl-
edge at universities around the country, with
his full quartet participating in an innovative
extended residency at the NCCU campus. He
Creole Jazz Band and Jelly Roll Morton’s
Red Hot Peppers to the contemporary jazz
of Pat Metheny, Maria Schneider and Kenny
Werner. Of particular interest to the NCJRO
thurs apr 21 | 7:30 PM
is the music of Duke Ellington. The orchestra

serving as clinicians to elementary, middle
and high schools across the state.
North Carolina Jazz Repertory

Orchestra
also brings a new jazz education approach to has mounted two large-scale Duke Ellington James Ketch, Music Director
colleges and high schools through Marsalis Sacred Concerts including one program Kathy Gelb, vocals
Jams, in which leading jazz ensembles pres- documented for Public Television by UNC-TV.
ent concert/jam sessions in mini-residencies. Saxophones
The members of the NCJRO possess a Jeff Bair, lead alto
Marsalis spent years touring and recording wealth of jazz experience and many work David Reid, alto and clarinet
with Sting, served as musical director of The actively as music educators across the Gregg Gelb, tenor sax and clarinet
Tonight Show with Jay Leno, collaborated with state at such institutions as UNC-Chapel Wally West, tenor sax
the Grateful Dead and Bruce Hornsby, acted Hill, UNC-Greensboro, UNC-Wilmington, East William Fritz, baritone sax, bass clarinet
in films including Throw Mama from the Train Carolina University, North Carolina Central
and School Daze, provided music for Mo’ University, Duke University, UNC-Pembroke, Trombones
Better Blues and other films, hosted National and the North Carolina School of the Arts. George Broussard, Lucian Cobb,
Public Radio’s Jazz Set, and was nominated The NCJRO has recorded three CDs includ- Caren Enloe, Mike Kris
for a 2010 Tony Award and Drama Desk Award ing the holiday jazz CD Blizzard! and tribute Trumpets
for his participation in the Broadway revival of CDs exploring the musical legacies of Benny Jerry Bowers, Jim Ketch, Leroy Barley
August Wilson’s Fences. Goodman and Duke Ellington. The NCJRO is Christian McIvor
operated by the not-for-profit organization
Rhythm Section
North Carolina Jazz Repertory The Jazz Foundation of North Carolina, Inc.
Ed Paolantonio, piano
Orchestra (NCJRO) The mission of the foundation is to promote
Baron Tymas, guitar
Since 1993, the NCJRO has been North and preserve jazz in all its forms across
Jason Foureman, bass
Carolina’s premier jazz orchestra. Embracing the state of North Carolina and to promote
Thomas Taylor, drums
the entire history of jazz, the NCJRO has jazz education through programs like The
championed music ranging from King Oliver’s Jazz Express, which brings NCJRO members
on Branford Marsalis and the North Carolina Jazz Repertory Orchestra Jim ketch
What is it about the Newport Jazz Festival crowd to near-riotous Orchestra offers Memorial Hall listeners
saxophone in jazz? As levels by stomping a 27-chorus blues solo several musical treats. The NCJRO, founded in
a young professional in as an impromptu interlude between sections 1993, has explored music from the 1920s to
the early 1920s, Duke in Ellington’s Diminuendo and Crescendo in the present and features 18 gifted musicians
Ellington heard Sidney Blue. The performance re-ignited Ellington’s from across our state. The band has recorded
Bechet perform on so- career. From that moment forward, Ellington three CDs and produced two events for UNC-
prano saxophone and would introduce himself to audiences thusly: TV. Twice, the band has presented Ellington’s
clarinet in his home- “Hello, I’m Duke Ellington and I was born in Sacred Music concert in Duke Chapel. Many
town of Washington 1956 at the Newport Jazz Festival.” of you will hear the NCJRO for the first time
DC. Ellington was deeply touched by the Branford Marsalis joins Sidney Bechet, Ben tonight. We hope you will become followers
soulfulness and expressiveness of Bechet’s Webster, Paul Gonsalves, and so many other of the orchestra. The other treat is having
horn playing that evening, so much so, that it brilliant jazz saxophonists as being a soulful the opportunity to showcase the amazing
would impact his hiring practices throughout and expressive musician able to transform talents of Branford Marsalis against the rich
his long career as a band leader. All things sounds and musical gesture into flights of and musically colorful backdrop of a 17-piece
being equal, Ellington would seek musicians improvisational inspiration and deep meaning. jazz orchestra. When I teach Ellington in
with very distinctive solo voices henceforth. His music and his playing embrace the Past, jazz history classes I talk about Ellington as
Nearly two decades later (1939), Ellington Present and Future of jazz in significant ways. a painter. Ellington used the musicians in
would add tenor saxophonist Ben Webster His dedication to studying the saxophone his band like a painter blending colors from
to his orchestra. His band would now feature family as both a classical and jazz artist and his palette. With Branford Marsalis and the
five saxophonists in the section. Ellington to listening extensively to an exceptionally NCJRO we hope to share with you music that
knew Basie had Lester Young and Jimmy broad palette of music from many centuries is soulful and expressive, music rich in color
Lunceford had Chu Berry. With Ben Webster enables Branford to draw on deep musical and contrast, and music that is both deeply
on board, the Duke proudly proclaimed, “we reservoirs during his performances. moving and meaningful.
are now a part of the swing era!” Nearly
Tonight’s show featuring Branford Marsalis Jim Ketch is Music Director of the NCJRO and
two decades later (1956), Duke’s tenor Director of Jazz Studies at UNC-Chapel Hill.
with the North Carolina Jazz Repertory
saxophonist Paul Gonsalves stirred up the

important information
Memorial Hall Box Office Hours All phone, fax and online orders must be charged by credit card as tickets
will not be held without payment.
• Monday-Friday: 10:00am - 6:00pm
• Weekday events: 10:00am - intermission All sales are final. No refunds or exchanges are allowed. Tickets that go
• Weekend events: 12 noon - intermission unused may be returned to the Box Office no later than one week prior to
the performance and will be considered a tax-deductible donation.
Memorial Hall Box Office A receipt for the donation will be issued. If a performance is
The University of North Carolina at Chapel Hill cancelled, patrons will be refunded the face value of the ticket.
CB#3276, 114 East Cameron Avenue
All tickets, other than those purchased in person, will be mailed.
Chapel Hill, NC 27599-3276
P: (919) 843‑3333; F: (919) 843‑2012 Please allow 7-10 days for delivery. All tickets purchased less than
E-mail: performingarts@unc.edu seven days prior to the performance will be held at Will Call. Patrons
must present photo identification to pick up tickets at Will Call.
House Policies All persons, regardless of age, must have a ticket for admission
to performances.
Late Arrivals
A current mailing address, e-mail address and phone number are
• Patrons arriving after the start of a performance will be seated at
required when purchasing tickets.
the discretion of the house staff, typically in between works.
All programs, dates, times and prices are subject to change.
Coat Check
• This service is available for patrons seasonally and is located on Subscriptions
the left side of the main lobby. Memorial Hall is not responsible for The Best Ticket Prices
lost, stolen or damaged items.
Purchase a subscription to receive a 15% discount off single
Lost and Found ticket prices.
• For lost items, please contact the Box Office. For found items, The Best Possible Seats
please notify an usher.
Renewing subscribers keep the same seats for future seasons as
Services for Persons with Disabilities long as they continue to subscribe. If they decide to make a seat
change, their request is given the highest priority and is handled
• If a patron has special needs, the Box Office staff should be before new subscribers.
notified by the patron in advance and arrangements will be made
for accommodations. Special needs include, but are not limited to, The Best Benefits
hearing or sight impairment, the use of a wheelchair, etc.
• Special events & single ticket pre-sale
• Ticket donation
Concessions
• Ticket exchange
• Concessions are available for purchase in the lobby prior to the • Insurance for lost or forgotten tickets
performance and during intermission. • Annual subscriber open house reception
• No outside food or beverage is allowed to be brought into • E-mail alerts to special offers and sales
Memorial Hall. For more details, visit the subscription section at
• No food or beverage is allowed inside the auditorium. carolinaperformingarts.org/tickets or call the Memorial Hall Box Office.
No Smoking Group Tickets

Groups of 10 or more receive 10% off the general public ticket price.
• Smoking is prohibited inside Memorial Hall and on the UNC campus.
No Electronic Devices Faculty and Staff Tickets

UNC-Chapel Hill faculty and staff may purchase tickets to all Carolina
• Use of cell phones, beepers and alarms of any kind is prohibited Performing Arts performances at a discount of 15% off the regular
during performances. Please remember to turn these items off ticket price. Faculty and staff may also purchase subscription
before the performance begins. packages at a discount of 20% off the regular ticket price.
• Photography, videography and recording devices of any kind are A valid UNC OneCard must be presented to receive the faculty and
prohibited during performances. staff discount.
Ticket Policies Student Tickets

• Tickets may be purchased by phone, fax, mail, in person or online. Students can attend regular season Carolina Performing Arts events
• Forms of payment accepted: Visa, MasterCard, UNC OneCard, for only $10. Each patron with a student ticket must display their
cash, personal checks, and travelers’ checks. valid UNC OneCard upon entry. Limit two (2) tickets per OneCard,
limit two (2) OneCards per order.
(919)843-3333
NATIONAL ADVISORY BOARD CAROLINA PERFORMING ARTS SOCIETY
The Carolina Performing Arts National Advisory The Carolina Performing Arts Society supports the University’s commitment to invite outstanding
Board of alumni and friends guides and champi- professional artists to perform and to teach; to foster a deep appreciation of a wide variety of the
ons a shared vision of Carolina as the nation’s performing arts in the University, in the local community, and throughout the region; and to establish
leading university in the arts. It is with profound Carolina as a national leader in the performing arts.
gratitude that we thank these outstanding and
Ticket sales cover only a portion of the total costs in presenting such a series. Support from
generous volunteers.
members is critical to maintain the artistic excellence of Carolina Performing Arts, its outreach
programs, and student ticket subsidies.
Tom Kearns, Darien, CT, Chair
Jane Ellison, Greensboro, Vice Chair Members enjoy a variety of special privileges as listed below. An annual membership begins at
Hodding Carter, Chapel Hill $125. We want to make your Carolina experience richer, more convenient, and more fun! Benefits
Munroe Cobey, Chapel Hill and privileges are listed within the various membership levels following:
Peter D. Cummings, Palm Beach Gardens, FL Undergraduate and Graduate Member: $35
Paula Flood, Chapel Hill • All benefits and privileges afforded to Sponsoring Members
Jim Heavner, Chapel Hill
Cheray Z. Hodges, Chapel Hill Sponsoring Member: $125-$999
Joan C. Huntley, Chapel Hill • Advance notice of season and individual tickets
Sally Johnson, Raleigh • Priority subscription processing
• An invitation to an annual Society event
Emil Kang, ex-officio
• Member recognition in our program book for all Carolina Performing Arts events
Anne C. Liptzin, Chapel Hill
Scott Maitland, Chapel Hill Silver Tier: $1,000-$2,499
Sara McCoy, Chapel Hill All benefits listed for Sponsoring Members, plus:
James Moeser, Chapel Hill • Opportunity to purchase single tickets in advance of the general public
Patty Morton, Charlotte • Complimentary parking passes for nearby lot
Josie Patton, Chapel Hill • An invitation to the season preview reception
• Priority seating for subscriptions to Carolina Performing Arts
Phil Phillips, Chapel Hill
Wyndham Robertson, Chapel Hill Gold Tier: $2,500-$4,999
Barbra Rothschild, New York, NY All benefits listed for Silver Tier, plus:
Dee Schwab, Charlotte • Complimentary reserved parking
Chancellor Holden Thorp, ex-officio • Receptions in the Pamela Heavner Gallery during intermission at each
Stacey Yusko, Chapel Hill Carolina Performing Arts series performance
Doug Zinn, Chapel Hill • Private tours
Priscilla Bratcher, Staff Liaison • Exclusive travel opportunities
Platinum Tier: $5,000-$9,999
All benefits listed for Gold Tier, plus:
CAROLINA PERFORMING • Use of the Pamela Heavner Gallery for your own private reception
• Opportunity to name a seat in Memorial Hall
ARTS ENDOWMENT
The David Lowry Swain Society: $10,000-$14,999
Through a generous $5 million challenge grant
The David Lowry Swain Society is the Performing Arts Society’s most exclusive membership
from the William R. Kenan, Jr. Charitable Trust
program, offering members first class benefits throughout the year. Membership in the Swain Society
made in 2005 and the inspirational leadership
is granted to those donors who generously contribute $10,000 or more to the Carolina Performing
of the Carolina Performing Arts Society National
Arts Society annually.
Advisory Board, generous donors enabled us to
meet that challenge by the challenge deadline All benefits listed for Platinum Tier, plus:
in 2007. Due to the economic turndown, our en- • Complimentary VIP valet parking pass with exclusive drop-off and pick-up area
dowment, although safe, will not provide fund- reserved for Swain Society members only
ing for our annual needs for the second year • Access to exclusive VIP/Stage Door entrance
in a row. However, many of our most generous • Personal coat check at the VIP/Stage Door entrance
endowment donors have given the equivalent • Opportunity to name two seats in Memorial Hall
of the interest we would have earned from our • Exclusive access to the Swain Society Concierge Desk at (919) 843‑1869 for assistance
invested funds. We anticipate that the fund with difficult-to-acquire tickets for all Carolina Performing Arts performances
will begin providing annual support in fiscal • Assistance with requests for special tours and rental of Memorial Hall for special functions
year 2012.
Performance Benefactor: $15,000 and above
Carolina Performing Arts has pressing needs to The Carolina Performing Arts Society has introduced a new program, Performance Benefactor, for
fund the difference between our ticket income individuals making gifts of $15,000 and above. A Performance Benefactor is an individual, couple or
and the actual cost of presenting our expanding family who has the opportunity to select a particular performance, then dedicated to you. Carolina
series. Right now, tickets provide only about Performing Arts will thank you for your generous gift by providing:
55% of the total cost of presenting artists on
our stages. The best way to do this is to build • All Carolina Performing Arts Society benefits including valet parking and invitations to
special events throughout the season, as described above in The David Lowry Swain Society
a permanent source of future funding through
our endowment. Whether it’s through naming • Recognition in the season ticket brochure distributed throughout the year
a seat ($5,000 gift), creating a named fund • Eight complimentary tickets to your selected performance, with valet parking and
reception privileges for your guests during the selected performance
($100,000 minimum) or making a deferred
estate commitment, your endowment gift will • Acknowledgment in the donor list for the season and an insert in the performance program
that evening
guarantee the excellence, variety and breadth
of programming, the student outreach, and the • Opportunity to meet the artist following the performance (when the artist is available)
investment in new creations that have become Gifts made at these specified levels automatically entitle you to all respective benefits and privileges
the hallmark of Carolina Performing Arts. afforded to University donors in all Annual Giving Leadership programs.

donor spotlight
James and Susan Moeser SPOTL
How did a music-obsessed boy from Lubbock, It may be hard for us to remember a time when the region. “In the back of my mind,” he says
Texas and a girl with a knack for math from the arts weren’t as valued and vibrant at the now, “I knew that the renovation of Memorial
Larned, Kansas end up championing the arts University as they are today, but that was the Hall presented us with a tremendous oppor-
at one of the nation’s great universities? The case when the Moesers arrived in Chapel Hill. tunity to fill a vacuum at UNC, in the Triangle
answer says a lot about the power of music, At the beginning of his tenure, James faced and in the state.”
a force that has certainly changed the course many urgent challenges. He took a very vis-
The next step was to commit University
of these two lives. ible role in the campaign for public support
resources, engage the leadership of major
for the higher education bond referendum,
Susan grew up in a very small town and was donors and find the right person to lead the
and early on made some critical investments
14 years old when it first occurred to her new program. With the hall’s renovation under
in Carolina’s science programs. The bond bill
that she might play the organ. “Someone’s way, Emil Kang was hired as the University’s
contained the base funding for Memorial Hall,
grandson was visiting from out of town and first Executive Director for the Arts. The
with significant additional private funds to
he was 14,” she says. “He played the organ William R. Kenan, Jr. Charitable Trust provided
be raised. He knew that if the bond passed,
postlude at church and it struck me that I significant funding in the form of a challenge
the hall would be the very first building to be
could do that!” She began taking organ les- grant to establish a permanent endowment.
completed. So while he was working on many
sons despite telling her high school guidance Five and a half years after the first notes were
important and urgent university issues, he
counselor she wanted to be a pharmacist, the played at the reopening of Memorial Hall, the
was thinking about what to do about the arts.
best job she could imagine for someone who series continues to grow and achieve new
was good at math. Susan and James candidly admit that they successes. It is something both Moesers are
were shocked to see how limited the perform- very proud of.
James, on the other hand, was a child prodigy,
ing arts presenting program was when they
falling in love with the organ at about age five. Early on, they established a pattern of giving
arrived. They could not believe that an institu-
His childhood home was filled with music; personally. They named two seats during the
tion of Carolina’s national and international
his mother was a trained singer and music Memorial Hall renovation campaign, urging
stature had such a small and underfunded
teacher. On Saturdays, he accompanied other former UNC chancellors to join them.
program. While the Student Union had done a
her to rehearsals at church and fell in love Next time you have a moment, see if you
good job of managing a program with limited
with the fantastic and powerful sound of the can find Chancellors’ Row, which honors all
resources, Carolina had never invested in the
organ. He started piano lessons before he living former chancellors who made gifts to
arts to a significant degree. If there is one
started school, but his goal was always to the campaign. The Moesers continue to buy
thing James Moeser understood, it was that
play the organ. their tickets and make annual donations,
the arts do not pay their own way through
never missing a chance to support Carolina
The two met at the University of Kansas, and ticket sales alone, and that significant uni-
Performing Arts in any way they can.
with six bachelors’, masters’ and doctoral de- versity investment, as well as robust private
grees in music performance between the two of giving, is critical. In addition to personal financial support,
them, they knew music would play a major role James now co-teaches a first-year seminar
But would the lessons learned in places
in their professional lives. Early in her career, with Emil Kang based on the series. He also
like Lawrence, State College, Columbia and
Susan took a full time organist-choirmaster serves on the CPA National Advisory Board,
Lincoln apply to Chapel Hill? After all, those
position at a Richmond, Va. church. As James’ and this year launched a small series of
college towns are not part of a larger metro-
career in higher education administration de- pre-performance lectures for members of the
politan area enlivened by lots of performing
veloped, he moved from Kansas to Penn State, Carolina Performing Arts Society.
arts competition. James’ way of answering
where they were married. Later moves took
that question was to hire consultant and uni- In the spirit of not saying “no” when Carolina
them to the Universities of South Carolina and
versity performing arts presenter Ken Foster Performing Arts turns to the Moesers for help,
Nebraska. At each university they observed
to conduct a study. The resulting advice was on April 16, they will perform on a custom-
and evaluated the institution’s performing arts
that this area could financially support an am- built organ in a private home at Governors
presenting program, learning lessons James
bitious, major performing arts program that Club at a dessert reception fundraiser for
would apply at Carolina when he arrived in
would bring artists of the highest caliber to Carolina Performing Arts. (Space is extremely
2000 as the University’s 9th chancellor.

(919)843-3333
LIGHT donors 10/11season donors
ENDOWMENT GIFTS
Leadership Gifts and Pledges

($500,000 and above)
The William D. and Dr. Sally C. Johnson
Music Enrichment Fund supporting
collaborations with the Department of
Music, and also supporting The 10x10
William R. Kenan, Jr. Charitable Trust Commissioning Series.
Ellison Family Foundation
Mr. and Mrs. James Heavner* The James Moeser Fund for Excellence
Luther and Cheray Hodges* in the Arts supporting artists’ fees
limited for this very unusual event; if you
Tom Kearns for the world’s most recognized and
would like an opportunity to attend, please
William and Sara McCoy outstanding performers.
contact Melchee Johnson at 919-843-1869.)
Anonymous
So why are they so generous with their time, The Mark and Stacey Yusko Performing
ideas, leadership and giving? They appreci- Major Gifts and Pledges Arts Fund supporting Carolina student
ate the level of the performances brought to ($25,000 and above) arts experiences.
the community, taking pride in the fact that
over 30% of the audience is comprised of Blanche Hamlet
Carolina students. They also like seeing the Anonymous CAROLINA PERFORMING
wide variety of people who attend various John W. Hughes III ARTS SOCIETY
performances. “They don’t all look like us,” Florence and James Peacock ANNUAL GIFTS
they say with pride. William D. and Dr. Sally C. Johnson Contributions received December 1,
Wyndham Robertson 2009 to December 31, 2010 as of date
But for the Moesers, it comes down to the Dr. Joan C. Huntley of printing.
performance experience and their love Professors Emeriti Charles M.
of music. They clearly enjoy the classical and Shirley F. Weiss*
Shirley J. Berger
Performance Benefactor
($15,000 and above)
Bobby and Kathryn Long
“Carolina Performing Paul and Sidna Rizzo Anonymous
Garry and Sharon Snook honoring the memory of Fred Fearing
Arts has gotten us out Top of the Hill Restaurant and Brewery Anonymous
of our comfort zone, and Elizabeth Willis Crockett Wyndham Robertson
Mr. and Mrs. Robert F. Murchison
that’s a good thing.” Dr. Charles B. Cairns & The Family David Lowry Swain Society
Mrs. Georgia Carroll Kyser ($10,000 - $14,999)
Kimberly Kyser The Abram Family
Amanda Kyser Rebecca and Munroe Cobey
programming, music they have studied
Drs. Michael and Christine Lee Ellison Family Foundation
and taught throughout their lives. But they
Anne and Mike Liptzin Luther and Cheray Hodges
have grown a great deal, too, expanding
Deborah and Ed Roach Mr. Thomas S. Kenan III
their interests to performances they had
Lee and Myrah Scott William R. Kenan, Jr. Charitable Trust
not previously sought out. “Our taste has
Crandall and Erskine Bowles Mrs. Georgia Carroll Kyser
clearly changed since the series began,”
Susan says. “If you looked in our CD player Kimberly Kyser
*Irrevocable deferred gift Amanda Kyser
at home to see what we play while making
dinner, you would see jazz and world music William and Sara McCoy
Named Endowed Funds
in addition to classical.” Chancellor Emeritus Carol and Rick McNeel
($100,000 and above)
James Moeser adds with a smile, “Carolina Mrs. Sidney Siegel
Performing Arts has gotten us out of our The Hamlet Family Performing Arts Charles Weinraub and Emily Kass
comfort zone, and that’s a good thing.” Student Enrichment Fund supporting Mark W. and Stacey M. Yusko
student engagement with artists.

10/11season donors
Platinum Tier Anonymous Deborah Hylton and Leland Webb

($5,000 - $9,999) Mr. Ted B. Seagroves Lisa and Theodore Kerner, Jr., M.D.
Jane McKee Slater Mack Koonce and Hope Thornton Koonce
Eleanor and James Ferguson
Lynn Smiley and Peter Gilligan Melissa LeVine
Eugene and Paula Flood
Michael and Amy Tiemann Alice and Sid Levinson
Lowell and Ruth Hoffman
Denise and Steve Vanderwoude Judith Lilley in memory of Al Lilley
Jaroslav F. Hulka and Barbara S. Hulka
Brad and Carole Wilson Harriet and Frank Livingston
Tom Kearns
Donald E. Luse
Mrs. Frank H. Kenan
Silver Tier Stephen J. and Karen S. Lyons
Otis Littlefield
($1,000 - $2,499) Stanley R. Mandel
John A. McLendon
James and Delight Allen Betty Manning
Christy and Joel Shaffer
Michael Barefoot and Tim Manale Anne and Bill McLendon
Professors Emeriti Charles M.
Neal and Jeanette Bench Esteban and Dana McMahan
and Shirley F. Weiss
Robert Benson Dr. and Mrs. Travis A. Meredith
Doug and Jacqueline Zinn
Dolores Bilangi Adele F. Michal
Kerry Bloom and Elaine Yeh Anonymous
Gold Tier
M. Robert Blum Mary and Ted Moore
($2,500 - $4,999)
William Bolen Lawrence Moray
Mary Bickers William Morton
Priscilla Bratcher
Betsy and Fred Bowman Barry Nakell
Timothy Bukowski and Naomi Kagetsu
Cliff and Linda Butler Paula Davis Noell
Rose G. Bynum
Leonard Cass Karl Nordling
Leigh Fleming Callahan
Castillo-Alvarez Fund of Triangle Dr. Etta D. Pisano and Jan Kylstra
Michael and Diana Caplow
Community Foundation Edwin and Harriet Poston
Art Chansky and Jan Bolick
Michael and June Clendenin William and Cathy Primack
G. Curtis and Sarah Clark
Mark and Marjorie Crowell Jolanta and Olgierd Pucilowski
Kathryn Conway
Peter D. Cummings Robin and Harold Quinn
Anonymous
Shirley Drechsel and Wayne Vaughn Elizabeth Raft
Frederic & Jane Dalldorf
Frank H. Dworsky Peter Croll Reichle
Jo Anne & Shelley Earp
Dr. Glen Elder, Jr. Russell and Ann Robinson
Pat and Jack Evans
and Ms. Sandy Turbeville David and Susan Rosenberg Family
Maryann Feldman
Jane Ellison Foundation
Fidelity Investments
Mrs. Frederick A. Fearing of the Triangle Community Foundation
Arthur and Deborah Finn in memory of
Dr. Harry Gooder and Ms. Sally Vilas Andrew and Barbra Rothschild
Pauline Radovsky
Susan Gravely and Bill Ross Patricia Shaw
Mimi and James Fountain
Mr. and Mrs. William H. Grumbles, Jr. Robert and Helen Siler
Diane Frazier
Nancy Joyner Mr. and Mrs. Alan C. Stephenson
Ray and Marcia Freeman
Lisa and Emil Kang Dr. Kenneth and Mary H. Sugioka
David G. Frey
Dr. Marcia Anne Koomen Kay and Richard Tarr
Burton and Kathleen Goldstein
Diana and Bob Lafferty Diane Vannais and Charles Waldren
Dr. Rebecca Goz
Dayna and Peter Lucas Kay and Van Weatherspoon
Frances C. Gravely and Haig
Keith Mankin and Julia Fielding Alan Harry Weinhouse
Khachatoorian
D.G. and Harriet Martin William Whisenant and Kelly Ross
William and Elizabeth Greenlee
David Kent Medlock Jesse L. White, Jr.
Robert and Dana Greenwood
Charles and Valerie Merritt John and Ashley Wilson
Dr. and Mrs. Joseph Gulla
James and Susan Moeser
Leesie and Bill Guthridge
Paul D. and Linda A. Naylor Sponsoring Member
Jim and Ann Guthrie
Josie Ward Patton ($125 - $999)
Richard Hendel
Francine and Benson Pilloff
William Edwin Hollan, Jr. Brigitte Abrams and Francis Lethem
Paula Rogenes and John Stewart
Charles House Anonymous
Coleman and Carol Ross
Marguerite Hutchins Elizabeth Anderson
Ernie and Mary Schoenfeld

(919)843-3333
Cutler and Cristin Andrews
Pete and Hannah Andrews
Nina Arshavsky
donors
Donna Cook and Matthew Maciejewski
Sally and Alan Cone in honor of
Anne and Mike Liptzin
Barbara and Paul Hardin
Robert S. and Leonne Harris
Martha Liptzin Hauptman in honor of
Denise Ashworth Brian Conlon Mike & Annie Liptzin
Ingram and Christie Austin Carolyn M. Conners, Ph.D. Clark and Karen Havighurst
Steven B. and Elizabeth Ayers Joanne and Michael Cotter Charles S. Head
Katherine Baer Adrienne Cox David and Lina Heartinger
Peter Baer Andrew Cracker in memory Gerardo and Jo Heiss
Larry and Vicky Band of Deborah Ann Cracker Hill Family Fund 2 of Triangle
Linda J. Barnard Anne-Marie Cuellar Community Foundation
Judith and Allen Barton William and Barbara Dahl Charles Hochman and Phyllis Pomerantz
James and Mary Beck John and Janina DeMasi Carol Hogue
John W. Becton and Christianna Williams and Henrik Dohlman Joan and David Holbrook in honor of
Nancy B. Tannenbaum Mr. and Mrs. Michael J. Donoghue Marvin Saltzman
Donna Bennick and Joel Hasen Mary C. Dowe Susan Hollobaugh and Richard Balamucki
Donna Bergholz Steven Dubois and Kathleen Barker Paul Holmes
Susan Bernstein Sam and Angela Eberts William and Mary Holmes
Sue Bielawski John R. Edwards Beth Holmgren and Mark Sidell
Lewis Niles Black and Elizabeth Anania Edwards Elizabeth M. Holsten
Sara Bleick in memory George and Blair Evans W. Jefferson Holt and Kate Bottomley
of Margaret Bleick Dillard Jerry and Adelia Evans Andrew and Charlotte Holton
Blythe Family Fund Rabbi Frank and Patricia Fischer John Hsu
Jack and Jennifer Boger Dr. and Mrs. E.S. Fishburne David and Sally Hubby
Bollen Family Jaroslav Thayer Folda III George William Huntley III
Barry L. Boneno Milton and Emerita Foust Marija Ivanovic
Natalie and Gary Boorman Linda Frankel and Lewis Margolis Christopher and Betsy James
P. Scott and Victoria Bouldin Donald and Elizabeth Frazer Kathryn E. Johnson
Thomas and Betty Bouldin Douglas and Judy Frey Dr. Norris Brock Johnson in honor of
Terrell Boyle James and Marcia Friedman Ms. Beatrice Brock
Rebecca Brick Bramlett Ed and Bonnie Fuchs Carrilea McCauley Joy
Joan Brannon Mr. and Mrs. J. Rex Fuqua Kevin and Michele Judge
Craig and Catherine Briner Maeda Galinsky Harry Kaplowitz
Lois Bronstein Greg Gangi Hugon Karwowski
Ken and Margie Broun The Joseph and Anna Gartner Foundation Howard Kastel
Raymond Brown Ann and David Gerber Thomas and Janet Kean
Howard and Patricia Brubaker Leonard and Ann Gettes Donna B. Kelly in memory of
Jamie and Anne Bryan Rose Marie Pittman Gillikin Georgia Carroll Kyser
Jean Buckwalter Bonnie B. Gilliom Moyra and Brian Kileff in honor of
Betsy Bullen Lallie M. and David R. Godschalk Caroline Borham
Thomas W. and Gail W. Bunn Dr. James E. Godwin R. David and Mary Ann Kimball
Bob Cantwell and Lydia Wegman and Dr. E.A. Campbell Anonymous
Byron Capps Dick and Barbara Gordon J. Larry Klein
Lawrence and Helen Cardman Mr. and Mrs. Walter Gordon Lynn Knauff
Philip and Linda Carl Charles and Karen Goss Gary Koch
Carolina Home Mortgage S. Elizabeth Grabowski and Barncy and Betsi Koszalka
Catharine Carter James R. Symon Anonymous
Hodding Carter and Patricia Derian Page Gravely G. Leroy Lail
Michael Case and Lewis Dancy Steve Gravely Ted and Debbie LaMay
Steve and Louise Coggins Alexis Groner Leslie and Barbara Lang
Thomas Cole Albert and Mary Guckes Annette Langefeld
Walter and Renate Coleshill Carol and Nortin Hadler Clara Lee
Donald and Eunice Collins Lee Hansley Ken and Frankie Lee

10/11season donors
R. Michael and Michelle Leonard Susan Rao Susan Wall

in honor of Kelly Stowe Boggs Ivan Remnitz Katherine Wang
Amy and Alan Levine Jan Rivero and Jeffrey Pugh Sue Anne Wells PhD
Richard and Jane Levy in honor of Gerry Riveros for Gay Bradley Wellspring Fund of Triangle
Annie Liptzin Dr. Michael and Sandra Roberts Community Foundation
Robert M. Lewis, Jr. Stephen and Patricia Roberts R.H. and Barbara Wendell
Joan Lipsitz and Paul Stiller Stephen and Esther Robinson Marlene and Roger Werner
Robert Long and Anne Mandeville-Long Andrea Rohrbacher Katherine White
Robert and Kathleen Lowman Margaret Rook Buck and Anne Williams
Richard Luby and Susan Klebanow Richard Rosenberg John W. Williams, Jr. and Margaret Gulley
Mary R. Lynn Brian and Linda Sanders Louise B. Williams and Richard Silva
Edwin H. Mammen Robert Schreiner Glenn and Helen O. Wilson
Richard Mann John and Anna Schwab Ron and Beverly Wilson
Anonymous Ms. Marjorie Moses Schwab Dr. Derek and Louise Winstanly
Randall Martin Carol and David Sclove Bill and Amy Wofford
Mr. and Mrs. Uzal H. Martz, Jr. Jennifer and Bill Selvidge Eliza M. Wolff
Karol Mason Robert and Pearl Seymour Anonymous
William Mattern Robert Shipley John and Joan Wrede
John and Janine McGee Mr. and Mrs. Keith Silva Anna Wu and George Truskey
A. Gramling McGill Mark and Donna Simon Virginia Lee Wu
Tim and Roisin McKeithan Charles Simpson David and Heather Yeowell in honor
Daniel D. McLamb Rosemary Simpson of Tom Kearns
Dr. and Mrs. Robert McLelland Kathy and Paul Singer David and Dee Yoder
Philip and Sue Meyer Anne H. Skelly Betty York
The Lawrence and Sylvia Mills Dana L. Smith Ann B. Young
Family Fund Charles and Judith Smith Lisa Zannoni
Charles and Barbara Milone Martha Smith
John Morrison and Barbara Archer Wiley Smith Undergraduate and Graduate
Benny and Ann Morse Claude and Sarah Snow Student Members
Bob Esther and Emily Moseley Kenneth Soo ($35)
Charles Mosher and Pamela St. John Daniela Sotres Fernando D. Chague
Christopher and Helga Needes Jane Stein Keith Glassbrook
Steve and Susan Nelson Gary and Anne Leslie Stevens Adrian Greene
John and Dorothy Neter Ron Strauss and Susan Slatkoff Laura Hamrick
Elisabeth and Walter Niedermann Leslie and Paul Strohm Amy Soyeon Kim
Patrick and Mary Norris Oglesby Frank and Geraldine Stutz Michael Krouse
Newland and Jo Oldham James and Sandra Swenberg Joseph Harrison Lee
John V. Orth Helen Szuluk Charles McLaurin
Vickie Owens Ellyn and Jimmy Tanner John D. Millett
Robert and Mercy Pastor Sumner and Charlotte Tanson Christopher Nickell
Pamela and Gene Pease Sally & Nick Taylor Temple Northup
Larry E. Peterson Colin G. Thomas, Jr. Lily Roberts
Dick and Jean Phillips Charles and Patricia Thompson Jamie Serkin
Raymond Phillips, Jr. in memory of Ruth A. Richard Lauren Schultes
Kaola and Frank Phoenix Rollie Tillman Evan Shapiro
Carlyn and Ivan Pollack M.E. Van Bourgondien Emily Simon
David and Peggy Poulos Todd Vision David Spanos
Dr. and Mrs. Thomas E. Powell III G. Burkhard Mackensen and Alexandra Vargas
David Prince Jutta Von Stieglitz Natalie Watanasiriroch
Lilian and James Pruett Sejal Prabodh Vora Brendan and Tamara Watson
Steve Prystowsky M.D.

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Yoo Jeong Yang
OTHER CONTRIBUTIONS
donors
Linda Cooper
Kerry-Ann da Costa
Richard Hardy
Wade Harrison
Jennifer Cox Olivia Lawton Henderson
(Less than $125) Richard Craddock Susan Henley
Martha Alexander Laura Crane Joyce Williams Hensley
Meg Alexander Michael Crosa Brian Edward Hill
James V. and Maria Del Mastro Allen Richard Crume Gary P. Hill
James and Susan Anthony Carlos Cruz Jonathan Hill
Tony Armer Evan and Elisabeth Dellon Alison Sue Rose Hilton
Mr. Baird John and Jill DeSalva Tyler Hoke
O. Gordon Banks Dawne Deuterman Rosemary Holland
Arnold Barefoot, Jr. Hannah Bell Diedrick Howard Holsenbeck
Michael Barnes Caroline Hume Dilweg James and Elizabeth Hooten
Eddie and Joan Bass Janice Dodds Kathleen Hopkins
Zane Beckwith Linda and Mike Dore Mitchell and Deborah Horwitz
Barbara E. Bergquist Doris Downing Julia Howland-Myers
Pat and Thad Beyle John Duckett in memory of Marc Howlett
Aditi Bhattacharjee Ralph B. Garrison Rife Hughey III
Mr. and Mrs. D.A.Birnbaum Noel and Shelby Dunivant Michael Iwanski and Deborah Maloney
Jerri Bland Ramona Dunlap Mohamed Jalloh
Kelly Stowe Boggs Ryan Ebright Drs. Everette James and Nancy Farmer
Michelle M. Bordner H. Jack and Betsy Edwards Jonathan James
Donald Boulton Ralph and Audrey Edwards Charles Jeffers
M. Blair Bowers Susan Egnoto Melchee Johnson
Renae Braddy Anonymous Mike Johnson
Michael Brady Class of 2010 Baynor Elston Chip Johnston
Hope Breeze Matthew Ewend Rebecca Jones
Robert Brinkley Katherine Fitch Charles Kahn
Ellen Smith Broad Elizabeth Flake James Kalagher
Teresa Broome Elisabeth Fox Phyllis Kammer
David Brown Matthew Franke Jonathan Karpinos
Virginia Brown Anna Freeman John and Joy Kasson
Aimee Peden Burke Susan Gallinari Nathan Katzin
Jennifer Butler O. Ganley Laura A. Keenan
Dana Cain Debra Garcia John Kennedy
Steven Cann Bob Garner Jeanette Kimmel in honor of
Christy Cappelletti Butch Garris Mrs. Anne C. Liptzin
Jennifer Carbrey John and Kathy Gibson Deborah C. Klein
Margaret Carmody Durral Gilbert Andrea Knowlton
Dulce Castillo Natasha Gillyard Margot Dodge Kohler
Dr. Gillian T. Cell Dylan Gilroy Leslie Kreizman
Jooyeon Chon Mary Kirk Goeldner Gregory and Laura Lane
James and Brenning Cheatham David Goodman John Langstaff
Billy Chow and Penny Oslund Lynne Graham Robert and Geraldine Laport
Sandra Cianciolo Carl and Anne Granath Joel Laskey
Dianne Clinton Russell and Mary Graves Jeffrey Lawson
James Abernethy Cobb, Jr. Kelsey Greenawalt Cameron Lee
George Collias A. Glenn and Carolyn Griffin Joycelyn Powell Leigh
Linda Convissor Douglas Griffin Sharon Leonard
Sandra Cook Ephraim Gur Nate Lerner
Jerry and Kathryn Gurganious

10/11season donors
Margot Lester Monica Pallett Josephine Stipe

Madeline G. Levine Robert and Martha Paterson Cheryl Stone
Gene Liau James Paul Stuart Lee Stroud
Alison Linas Jeremy Peterman Xiaowu Sun
Ray and Mary Ann Linville Marilyn Pfefferkorn Thor Svendsen
Peizhu Liu Phyllis Post Sally Swanson
Monique Lockett Mallorie Price Annie Talbert
George Logan Veshana Ramiah Barry and Margaret Teasley
Elizabeth Lokey Catalina Ramirez and D.J. Dore Jennifer Tenlen
Kenneth Lorenz Patricia Ramos Class of 2010 Rod Thompson
Richard Lupton in memory of David Rathel Claire J. Thomson
Mildred C. Lupton, M.A. 1969 Emily and William Ray Gregory Timmons
Young Kyung Lyoo Jacob Reardon Caroline W. Treadwell
Jheanne Malit Robert Reed John Trexler
Dr. Patrick T. and Elaine L. Malone Mary Regan Chris Trull in honor of Erika Barrera’s
Raleigh Mann Anthony and Terry Reger 25th Birthday
Emily Turner Marsland Class of 2010 Suzanne Reiss in memory of Carol Tyndall
Timothy Mason Charles Colver Rachel Van Patten
Clare Matti Hallie Ringle Barbara Vance
Kevin and Karen Mattingly Maureen J. Robinett Jay and Leslie Walden
Lawrence McCabe M. Burdette Robinson Daryl Farrington Walker
Paul McCarthy John Rosenfeld David Walker
Emily McCloy Barbara Rowan Wheaton Family
Deborah McDermott Eric McKinley Sain Rebecca Wheeler
Harriet McGraw Margie Satinsky Marguerita Whitney
John McKeever Sara Satinsky Joan F. Widmer
Sean McKeithan Emily Scarborough Robert Wirth
Elizabeth McKenna Leah Schinasi and Ghassan Hamra Brent Wissick
Robert McLeod Eric Schlotterbeck Peter and Joan Witt
Meghan McNamara Marisa Sears Merrill Wolf
Laurie E. McNeil David and Linda Seiler Jennifer Cantwell Wood
Ann Meadows Debra Senchak Lindsay Wrenn
Thomas and Sandra Meyer Jayana Shah Sarah Younger Class of 2010
Andrew Miklos Sarah Shapard
Julie Mikus Tatjana Shapkina Carolina Performing Arts
Staff Contributions
Taylor Miles Foy J. Shaw, Jr.
Kelly Stowe Boggs
Charles Miller Robert Shepard
Michelle M. Bordner
Robert Millikan Marjorie Shoemaker
Priscilla Bratcher
Solon Minton III David and Jacqueline Sices
Jennifer Cox
Christian Moe William Siddall
Butch Garris
Coolie and Thad Monroe Frances Simms
Melchee Johnson
Margaret Moore Nikolai Skiba
Mike Johnson
Paul Morgan Page Smith
Emil Kang
Grant Morine Dr. Patrick Carlsten Smith
Harry Kaplowitz
Paul and Barbara Nettesheim Simone Smith
Sean McKeithan
Laura Newman Harriet Solomon
Daniel D. McLamb
Michael Nutt Gina Song
Meghan McNamara
Larisa Oktyabrsky Jacob Spencer
Mark Steffen
Ryan and Hannah Ong Mark Steffen
Tammy S. Womack
Jerry Oster Lauren Stevens
Iris L. Padgett Stephen Stimpson

(919)843-3333
SPECIAL THANKS
TO OUR SPONSORS
donors
General and Mrs. Arthur W. Clark
Richard Craddock
S. Davis and Katherine Phillips
William and Cathy Primack
Tom Kearns and Joseph Dr. James W. Crow Teresa Prullage
and Beatrice Riccardo Robert Marion Daniel John Allen Quintus
Elite Coach Elizabeth Chewning Deacon Anonymous
Mary Duke Biddle Foundation M’Liss and Anson Dorrance Margaret Ferguson Raynor
Sponsor of the 2011 Carolina Woody and Jean Durham Deborah and Ed Roach
Performing Arts Student Matinee Elizabeth H. T. Efird Wyndham Robertson
University Florist Jane Ellison Rebecca and Rick Rosenberg
Sharon M. Emfinger Andrew and Barbra Rothschild
Mrs. Frederick A. Fearing Bev Saylor
STUDENT TICKET ANGEL
Eleanor and James Ferguson Ernie and Mary Schoenfeld
FUND CONTRIBUTIONS
Susan Ferguson Ms. Marjorie Moses Schwab
Received as of December 31, 2010.
Sandra Strawn Fisher Foy J. Shaw, Jr.
in memory of William Beecher Strawn Mark Sidell
Angel Mimi and James Fountain Mrs. Sidney Siegel
($25,000 and above) John W. Fox Nancy Howard Sitterson
Robert and Mary Ann Eubanks Rose Marie Pittman Gillikin Jane McKee Slater
Joseph and Beatrice Riccardo Joan Heckler Gillings Alan Clements Stephenson
Mark W. and Stacey M. Yusko Jonathan and Deborah Goldberg Warren and Sara Sturm
Carolyn Bertie Goldfinch John and Joe Carol Thorp
Patron R. McDonald Gray III Patti and Holden Thorp
($5,000 - $9,999) Wade and Sandra Hargrove John and Marree Townsend
Tim Hefner David Venable
Tom Kearns
George R. Hodges and Kay and Van Weatherspoon
Mr. Thomas S. Kenan III
Katherine W. Hodges Alan Welfare
John and Martha Hsu Barbara Smith White
Booster
Dr. Joan C. Huntley Ronald White
($2,000 - $4,999)
Mrs. Frank H. Kenan Tom and Lyn White
Terrell Boyle Sharon May Kessler Eliza M. Wolff
Patti and Eric Fast Jeanette C. Kimmel Ruth Ann Woodley
Paula Flood Kimball and Harriet King Doug and Jacqueline Zinn
Dorothy Shuford Lanier Dr. Marcia Anne Koomen *Scott Garcia and Debbie McDermott
Dawn Andrea Lewis
Donor W. Cooper and Lorie Lewis *deferred gift
(Less than $2,000) Anne and Mike Liptzin
Hannah Kennedy Albertson Walker Long
K. Dean Amburn Richard B. Lupton
Elizabeth A. Ayers Knox Massey Family
Judith and Allen Barton O. Kenton and Carol McCartney
Susan Bickford William and Sara McCoy
Dolores Bilangi G.W. McDiarmid
Lewis Niles Black Adele F. Michal
Robin Lenee Broadnax Melanie Ann Modlin
Roy Burgess Brock Michele Natale
Maria Browne Stephen Andrew Oljeski
Meredith Bryson in honor of Josie Ward Patton
Sandra Hardy Bryson Florence and James Peacock
Leslie Anne Bunce John Atlas Pendergrass
Hodding Carter and Patricia Derian Kenneth Lawing Penegar
John and Barbara Chapman Earl N. Phillips, Jr.

STUDENT
STUDENT VIEW VIEW
Amanda Ziesemer
“...I have come to realize the

importance of two pursuits:
prioritizing genuineness and being
uncomfortable.”
Within a university such as Carolina, indi- leads the mind to an emphasis on initiative Throughout my career as a student, I have
vidual experiences are in part contingent on that extends beyond the final curtain fall. come to realize the importance of two
a student’s ability to create her or his own pursuits: prioritizing genuineness and being
The combination of extreme sport and dance
path by fully employing the resources given uncomfortable. Both come from a construc-
by STREB presented an engaging form of
to her. Inventive creativity drives the student tive point of vulnerability and have the power
boundar y-pushing that was artfully con-
experience. Carolina Performing Arts is a to be the most defining and influential forces
structed, yet not reckless. The implications
venue that facilitates the intersection of behind my education. Genuineness provides
of this responsible “boundar y-pushing”
cultures and inspires this inventive creativity. a solid foundation and being uncomfortable
moved me beyond the physicality of it,
initiates change, progress and learning.
Each performance questions the status and challenged me to apply this attitude in
quo and challenges students to view things social, cultural and educational spheres. Carolina Performing Arts has played an
from a new perspective. The performing arts Sutra combined the tradition of kung fu with active role in challenging me to apply these
possess a unique capability to confront an modern musical composition, and wrapped pursuits to my education via the lens of art. I
audience with the thought-provoking, and my mind in a beautiful interaction between did not come to UNC describing myself as an
sometimes uncomfortable, challenge to re- old and new. Beyond the aesthetics of the artist, but through Carolina Performing Arts
assess convention. per formance, I was particularly struck by I have been shown that the way I carry my
the understated yet constant role of the experience as an audience member beyond
During my time at UNC, the performing
young boy. As I related to him, I saw the the doors of Memorial Hall becomes a
arts have constantly challenged me to look
stage as a microcosm of where I stand in continuation of artistic expression. Allowing
honestly at my own perceptions, forced me
time. I am a student on the cusp of my fu- a performance the chance to be enriching
to broaden my views of the world beyond
ture and I was reminded, and in some ways to you is a responsible employment of
Chapel Hill, and exposed me to various
cautioned, that the ancient plays an integral resources, and the extent to which you are
expressions of beauty. Being a part of the
role in the contemporar y. open to inspiration is an exciting springboard
audience and therefore implicitly engaged in
for inventive creativity.
the performance, even if at various degrees,
Amanda Ziesemer (’13) is studying Public Policy,
Arabic and Chemistry at UNC-Chapel Hill.

(919)843-3333
n•spi•ra•tio
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LAST WORD
the last word
Buck Goldstein
Having spent most of my professional life involved in innovation, I to see on network television. Who can forget John, Paul, George and
welcome the opportunity to discuss how the most innovative perform- Ringo, as they stood next to Ed Sullivan, a bastion of the establish-
ing artists of our time changed the way we look at the world. Just as ment, preparing to sing “I Want to Hold Your Hand” or “All My Loving”?
entrepreneurs and scientists convert science fiction into reality with Nothing in those early, innocuous songs suggests a body of work that
pioneering work in fields such as nano-technology and information would include well over 200 songs, most of them hits, and a pres-
science, performing artists transform our culture in ways that, in ence that would dominate popular culture for decades. A peek at the
retrospect, seem unimaginable. I can’t think of better examples than iTunes store as this is being written reveals almost total domination
Bob Dylan, The Beatles and The Rolling Stones. of the home page by The Beatles as a result of the recent release in
electronic format of their entire catalogue.
Bob Dylan taught us that a songwriter could actually be a poet, not
just a lyricist. His writing will be enshrined alongside Walt Whitman, The Rolling Stones did something that only true innovators can ac-
Ralph Waldo Emerson and Emily Dickinson as work that combines complish. They taught Americans about themselves and introduced
artistic brilliance with social commentary, providing a mirror on the an American art form to the entire world. Determined to become a
British-styled Chicago blues band, they labored for years to learn the
techniques pioneered by Muddy Waters, Robert Johnson, Jimmy Reed
“...performing artists transform and Howlin’ Wolf – legends to Mick Jagger and Keith Richards but
virtually unknown in the United States where they lived and attempted
our culture in ways that, to make a living. When The Stones crashed upon the scene in a cloud
of sexuality tinged with illicit drugs, their vehicle was songs written by
in retrospect, seem unimaginable. black American blues singers who, until then, performed on the side
at night while doing manual labor during the day to earn a living. Even
today, in their late ’60s, The Rolling Stones embody anti-establishment
tumult of the last half-century. In the ’60s he gave us “The Times They fervor and their work continues to be rooted in a uniquely American
Are A-Changin’” as a first indication of a generational shift that would foundation that was essentially unknown until they discovered it and
manifest itself in the civil rights movement and the anti-war movement revealed it to the world.
which he chronicled with “Blowing in the Wind” and “Masters of War.”
Each time Kay and I trek across campus to Memorial Hall we do so
Later he plugged in his guitar, to the great consternation of most of
with the expectation that we will be transported somewhere we haven’t
his fans, and suggested that pop music did not have to be relegated
been before and we will think new thoughts, feel new emotions or be
to three-minute songs as he turned out long lyrical works such as
re-introduced to some old ones. It’s a safe bet we won’t be seeing The
“Visions of Johanna.” He still hasn’t stopped performing and exploring
Beatles at our favorite performance venue but knowing Emil Kang, Bob
and if there is one thing we can always expect from Dylan it is the
Dylan and The Stones aren’t outside the realm of possibility.
unexpected.
Buck Goldstein is The University Entrepreneur in Residence and a Senior Lecturer
The Beatles cracked wide open the conventional post-World War II in the Department of Economics at UNC-Chapel Hill.
culture of the “organization man” and the results were there for all

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Carolina Performing Arts 2010-11 Season - Program Book 4

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Carolina

carolina performing arts 10/11 1

www.carolinaper formingar ts.org

carolina performing arts 10/11 5

Photo credit: Valérie Remise

www.carolinaper formingar ts.org

NICOLAS FORTIN - Juggling, Trampowall

carolina performing arts 10/11 9

Credit: Eli Turner

Leon Fleisher, piano

Thursday, March 3 at 7:30 PM

www.carolinaper formingar ts.org

When pianist/conductor Leon Fleisher

carolina performing arts 10/11 11

Credit: Emmanuel Valette

The Andersen Project – Ex Machina

Thursday, March 17 at 7:30pm & Friday, March 18 at 8pm

www.carolinaper formingar ts.org

Arts, Milan; Emerson College, Boston; La

carolina performing arts 10/11 13

www.carolinaper formingar ts.org

carolina performing arts 09/10 15

Photo credit: Joris-Jan Box Photography

Nederlands Dans Theater

The Second Person

www.carolinaper formingar ts.org

Choreography: Crystal Pite

carolina performing arts 10/11 17

www.carolinaper formingar ts.org

About twenty years The work I am creating with the dancers is a

ackland art museum

carolina performing arts 10/11 19

Woyzeck on the Highveld –

This performance is supported, in part, by sponsors of the International Theater Festival,

www.carolinaper formingar ts.org

Woyzeck ....................HAMILTON DHLAMINI

The Barker, The Miner, Margaret, Andries

carolina performing arts 10/11 21

www.carolinaper formingar ts.org

Puppets keep dancing both performances and was, once again,

carolina performing arts 10/11 23

Credit: Colin Bell

St. Petersburg Philharmonic Orchestra

and Alisa Weilerstein, cello

www.carolinaper formingar ts.org

Program orchestra’s repertoire and touring interna-

carolina performing arts 10/11 25

debut with Dudamel, performing Dvoř ák’s

www.carolinaper formingar ts.org

“…the coming of age

Photo credit: Zhang He Ping

Artistic Director: Willy Tsao

Company Manager: Liu Siwen

www.carolinaper formingar ts.org

The Cold Dagger

choreographers. It reflects the development

All River Red About the Company

carolina performing arts 10/11 29

www.carolinaper formingar ts.org

carolina performing arts 10/11 31

Photo credit: Janette Beckman

Bach and Beyond – Jennifer Koh, violin

Co-Commissioned by Carolina Performing Arts