JANU

ARY 2

018

THE SORAYA THE VALLEY’S CENTER FOR THE PERFORMING ARTS

AT CALIFORNIA STATE UNIVERSITY, NORTHRIDGE

GAUTIER CAPUÇON

3

MARIACHI VARGAS DE TECALITLÁN

Cruzar la Cara de la Luna (To Cross the Face of the Moon)

An Original Los Angeles Production

Feb 16, 17 | 8PM Feb 18 | 3PM

A mariachi opera about three generations of two families, with one border that divides them

VPACatCSUN

THE SORAYA The Valley’s Center for the Performing Arts

YOUNES & SORAYA NAZARIAN CENTER FOR THE PERFORMING ARTS

180102_BookletAD_Cruzar_5.5x8-v2.indd 1 1/5/18 10:33 AM

A NOTE FROM THE EXECUTIVE DIRECTOR

uman migration—the journey of determined individuals seeking new opportunity or the plight of those tragically

displaced—is as relevant a matter today as any time in history.

Across the globe, the struggles of refu-gees and immigrants dominate headlines and policy debates. Closer to home, the city of Los Angeles addresses an unprec-edented homeless population. And the recent fires in California displaced many, and poses questions about the sustain-ability of urban development.

In this context, The Soraya confronts some of these issues head on. In the coming weeks, we have programmed four performances created by wildly varied artists, each top of their field:

• Flamenco artist Leilah Broukhim tells a personal tale of the Sephardic Jews in her one-woman tour de force;

• Mariachi Vargas presents its sweeping “mariachi opera,” telling the tale of two families divided by the Mexican-American border;

• Step Afrika! portrays the vibrant African-American culture that migrated north in the early 20th century;

• and opera mega-star Kathleen Battle performs an evening of spirituals woven together to tell the story of families escaping slavery via the Underground Railroad.

At The Soraya, we present the most diverse lineup of artists and artistic disciplines. As always, we rely on music, dance, and theater to inspire reflection, provide historic perspective, instill empathy, and to elevate our spirits.

Thor Steingraber, Executive Director Younes and Soraya Nazarian Center for the Performing Arts

H

4 5

WELCOMING YOU TO THE SORAYA

CONTENTS

8 JUAN DE MARCOS AND THE AFRO-CUBAN ALL-STARS WITH HAROLD LÓPEZ-NUSSA TRIO

16 LEILAH BROUKHIM DEJANDO HUELLAS (TRACES)

20 THE ROYAL PHILHARMONIC ORCHESTRA

34 KEIGWIN + COMPANY CELEBRATES BERNSTEIN

THE ROYAL PHILHARMONIC ORCHESTRA

President, CSUNDr. Dianne F. Harrison

Vice President of Administration and

Finance, CSUNColin Donahue

Executive Director, The SorayaThor Steingraber

Associate Executive Director, The Soraya

Terence McFarland

SHARE YOUR EXPERIENCE!Check-in on Facebook, tag us in your Instagram photos, Snapchat your moments, or trend with us on Twitter. / VPACatCSUN

Sally AdelblueJuliana AlvarezAnthony E. CantrellCarey ChristensenCrystal DiazJose FelixSheryl JonesLakhpreet KaurAnnikki LottaCharles MatthewTomas MedinaZac NorthcraftCameron O’Hanlon

Nick OldhamMaria ParedesChristian ParkerKim E. ParkerJennifer SamselAlberto Sistos Joey SolanoJustin SouzaMegan Spellmeyer Nicki Sun Anabel Villalobos

Davidson & Choy Publicity | Gary W. Murphy Public Relations

Cover: Gautier Capuçon by Gregory Batardon; P.03: Thor Steingraber by Luis Luque; P.04-5: Royal Philharmonic Orchestra by Chris Christodoulou; P.07: Charlie Matthew by Charlie Matthew; P.08: Juan De Marcos by Tom Ehrlich; P.12: Afro-Cuban All-Stars by Tom Ehrlich; P.15: Harold López-Nussa by Eduardo Rawdriguez; P.16: Dejando Huellas (Traces) by Miquel Pascual; P.18: Dejando Huellas (Traces) courtesy of Leilah Broukhim; P.20: Thierry Fischer by Marco Borggreve; P.26: Gautier Capuçon by Catherine Pluchart; P.28-29: Royal Philharmonic Orchestra by Chris Christodoulou; P.34: KEIGWIN + COMPANY by Cole Witter; P.41: KEIGWIN + COMPANY by Cole Witter; P.44: The Soraya Great Hall by Luis Luque; P.46: KEIGWIN + COMPANY by Cole Witter; P.48: Usher Holding Tickets by Steve Babuljak; P.50: Porter Pavilion by Joey Solano.

7

My roots are in Minnesota, Saint Louis park, specifically. However, I have called California home for the past five years and

have explored it on many backpacking trips. Recently, I was in Puerto Rico assisting the American Red Cross disaster relief. For the Red Cross I work in supporting the technology resources (phones, computers, satellite connectivity, and radios) used to support relief efforts. My volunteer work allows me to use my technical and problem-solving skills to help others. I’ve been fortunate to serve the American Red Cross for the past 23 years.

My love for the theater and production began in my high school freshman year with Little Shop of Horrors and grew to be my focus in college at Univer-

sity of Wisconsin–Superior, where I received a BFA in Theatre. Prior to coming to The Soraya, I spent more than 12 years at the University of Houston’s Cullen Performance Hall and two years at Pepperdine University’s Center for the Arts. As Technical Director at The Soraya, I oversee all Production Services operations.

Production encompasses many areas beyond what is seen onstage. There is backstage hospi-tality for artists to feel at home, transportation to get them to and from the venue, hotel stays to manage, stage setups to confirm, audio to connect and mix, lights to focus and program, and wardrobe to wash. Production is basically problem solving, and every show has a different set of problems to solve—that is how I approach each production.

While many of our performances at The Soraya are presented in a typical proscenium stage arrangement, I also get the opportunity to present our artists in non-traditional formats. On-stage seating, jazz clubs, outdoor stages, and mobile set pieces are just some of the examples of challenging formats I encounter. The key in these non-traditional configurations is to keep an open mind. It keeps me and my team on our toes.

And we are up to that challenge, thanks to a creative and hardworking crew that makes it all look easy.

Charlie MatthewTechnical Director

THE SORAYA SPOTLIGHT

9JUAN DE MARCOS

FRIDAY, JANUARY 19 | 8PM

THIS PERFORMANCE IS GENEROUSLY SPONSORED BY NEDA NOBARI FOUNDATION

MEDIA SPONSOR KCET, KJAZZ, KCSN, KCRW

AND THE AFRO -CUBAN ALL-STARS

WITH HAROLD LOPEZ-NUSSA TRIO

‘

JUAN DE MARCOS

PROGRAM

THERE WILL BE ONE TWENTY-MINUTE INTERMISSION

10 11

The AFRO-CUBAN ALL-STARS is a unique orchestra devoted to promoting the full range of Cuban music, embracing several generations and all musical styles. Over the years many of the band’s musicians have become international stars, including brilliant performers such as Ruben Gonzalez, Ibrahim Ferrer, Guillermo Rubalcava, Amadito Valdes, and Manuel “The Guajiro” Mirabal.

The genesis of the Afro-Cuban All-Stars has its roots early in the 1990s. At this time the son ensemble Sierra Maestra, headed by Juan de Marcos, received a lot of international exposure. As a consequence, de Marcos was introduced to Nick Gold, president of World Music Records. That encounter led to very successful tours in Europe. Later the group went to London and recorded Dundumbanza, considered one of the jewels of the world music scene of the early ‘90s.

In March of 1996 the group recorded the album A toda Cuba le Gusta, featuring nearly sixty performers. Then, with the addition of celebrated artists such as Compay Segun-do, Omara Portuondo, Eliades Ochoa, and legendary American guitarist Ry Cooder, the celebrated CD Buena Vista Social Club was recorded. They also recorded the first solo album by Rubén González, destined to be one of the most successful of the Buena Vista series of recordings.

In 1997, de Marcos and a select group of stellar musicians began touring as the band christened the Afro-Cuban All-Stars. The origi-nal lineup included Ruben González and Guill-ermo Rubalcava (piano), Orlando López (bass), Amadito Valdés (timbale), Carlos González and Roberto Valdés (bongos and Cuban percussion), Ángel Terry (congas), Daniel Ramos, Alejandro

Pichardo, and Manuel “Guajiro” Mirabal (trum-pets), Alberto “Molote” Martínez and Jesús “Aguaje” Ramos (trombones), and Raúl Planas, Manuel Licea, Pío Leiva, Ibrahim Ferrer, and Félix Baloy (lead singers).

The Afro-Cuban All-Stars also opened the door to a new generation by incorporating young musicians into the band. With the Afro-Cuban All-Stars, de Marcos developed a concept: to stand upon the roots in creating the music’s future.

The Afro-Cuban All-Stars’ work has influ-enced a young generation of Cuban musicians by revealing to them their musical heritage. And although, due to political reasons, Cuban music lost its place in the marketplace for many years, the group has demonstrated that the wealth of music is still there.

The Afro-Cubans are the same orches-tra that can be seen in those performances captured in the famous Oscar-nominated Buena Vista Social Club documentary by Wim Wenders, the Tony Knox documentary Salon of Dreams, and the DVDs Live in Japan, Live in The Hague, and Live in Maryland.

GLICERIA ABREU (Management & Afro-Cuban Percussion) graduated as an agro-nomic engineer at the Universidad Agraria de La Habana in 1980; later she earned degrees in marketing, promotion, and business ad-ministration. After marrying Juan de Marcos Gonzalez, she shifted her focus to music and became his general manager, bookings administrator, and project supervisor, starting in 1990 with the remarkable son band, Sierra Maestra. Abreu has been the executive pro-ducer of several Grammy-nominated albums by the Afro-Cuban All-Stars, including A Toda

Cuba le Gusta and Step Forward. She also played an important role in the production of other albums of the late ‘90s such as the seminal Buena Vista Social Club, Buena Vista Social Club Presents Ibrahim Ferrer, and Intro-ducing Ruben Gonzalez.

JULIO DIAZ (Trumpet & Flugelhorn) was born in Cienfuegos, Cuba. He began playing trumpet as an amateur when he was 9 years old, first at a local music school and later at the Cuban National School of Arts (ENA), in Ha-vana. In 1994, he emigrated to Canada, where he lived until 2000, working as a professional musician. In 2000, he moved to Miami to study trumpet with Arturo Sandoval at Florida Inter-national University for 3 years. Julio has played trumpet and flugelhorn in many concerts and recordings with top stars including Albita Rodriguez, Carlos Oliva, Celia Cruz, and Ricky Martin, among others. He has also performed in several first order events and festivals in the US, Europe, South America, and Asia. Julio has recorded more than 70 albums, some nominat-ed for Grammy awards.

ORLANDO FRAGA (Trumpet & Flugel-horn) was born in Surgidero de Batabano, a small town south of Havana, Cuba. He first studied music with his father, the great edu-cator and trumpeter Jose Francisco Fraga. He then studied at Escuela Nacional de Arte in the capital, graduating in 1986 and continu-ing his university studies at the Instituto Na-cional de Artes until 1991. He began teaching at the Conservatories Juan Pablo Duarte and Alejandro García Caturla while performing regularly with top Cuban stars and ensem-bles. In 1995 He moved to Mexico, where he

has worked with many leading musicians. He has also recorded soundtracks for several Mexican and Hollywood films. Orlando has toured intensively in Latin America and the US and is today one of the most recognized musicians in Mexico City.

LAURA LYDIA GONZALEZ (Clarinets) was born in Havana to a family of musicians. Her grandfather, Marcos Gonzalez, was one of the lead singers with the legendary Arsenio Rodri-guez during the late forties; her father is Juan de Marcos Gonzalez; and her “great uncle” is pianist Ruben Gonzalez. Laura graduated as a clarinetist from the Havana Conservatory and continued her education at the presti-gious Ollín Yoliztli Conservatory in Mexico City, where she also frequently performs with several chamber and symphonic orchestras and Latin bands. Besides clarinet, Laura also plays piano, sings, and arranges. Laura has performed at many events and festivals, in-cluding Glastonbury, Singapore SUN Festival, and Montreaux. She’s also recorded on many albums, including the Grammy nominees Step Forward and Bajando Gervasio.

JIOVANNI COFINO (Bass) was born and raised in a popular neighborhood known as Los Sitios in Havana and showed interest in music at a very young age. After gradu-ating from National School of Arts in 1995 in acoustic bass, he started his professional career as a pianist and musical director of one of the Cuban top ensembles, Banda Mete-oro, joining Elio Reve y su Charangon as bass player and musical director, and recording three LPs, including his own compositions. During his career he has recorded with artists

12 13

such as Richard Egües, Guajiro Mirabal, Rolo Martinez, Chucho Valdes, and Manolo del Valle. He has participated in many world tours in Europe, Asia, the US and South America. He emigrated to the US and moved to Las Vegas, where he continues to collabo-rate with many famous musicians.

CALEB MICHEL (Timbale Set) is a Domin-ican jazz and Latin jazz percussionist based in Phoenix, Arizona. He has studied and performed a wide variety of music ranging from Puerto Rican salsa, Cuban son, Domin-ican merengue, and South American derived rhythms, to traditional and contemporary jazz. Caleb started studying percussion at the age of six with daily lessons from his

father Alex Michel, a former percussionist of New York City. He was raised in a musical atmosphere and studied classical literature on the string bass for five years at the Arizona School for the Arts. He is pursuing a degree in jazz performance at Arizona State Univer-sity while continuing a rigorous curriculum in Latin American rhythms and percussion. Caleb has performed with many traveling artist such as Tito Puente Jr., Frankie Negron, Ismael Rivera Jr., Tito Rojas, Frankie Ruiz Jr., and Raulin Rosendo, among many others.

TANY ALLENDE (Conga Set) was born in the district of La Marina, home of bands La Sonora Matancera and Los Muñequitos in Matanzas. In 1988 he began his professional

career with the famous local band La Edad de Oro. After years of traveling in Europe, where he played with award-winning Latin Gram-my-nominated groups, he settled in Benidor, where created his own music academy, teach-ing percussion and organizing various events through the Marakata Cultural Association. There he teaches master classes and seminars on Cuban percussion, as well as a concert for percussion with the Philharmonic of Tomsk, Russia. During his career, Tany has performed at several major events and festivals. He is considered to be one of the top session Afro-Cuban percussionists.

EMILIO SUAREZ (Lead Singer) Singer, gui-tarist and composer Emilio Suarez was born into one of Havana’s most musical families and received an outstanding musical edu-cation. After making important professional appearances at Cuban festivals, he was soon backing great singers like Elsita Rivero, Aldo Lamas, and jazz singer Mayra Caridad Valdes (Chucho’s sister). He also shared the stage with top musicians, such as his uncle Luis Ortega, Elena Bourke, and Felipe Dulzaides. Long acknowledged as one of the best of Cuba’s expatriate musicians, Suarez has lived in Mexico City for over 15 years. This much sought-after musician performs at major Mex-ican festival events and clubs and regularly works with top bandleaders and songwriters such as Willie Colon, Otra Idea, and David Torrens. Suarez also remains an incredibly prolific and successful composer with more than 70 great songs to his credit.

GLICERIA GONZALEZ (Vibraphone & Key-boards) is one of the youngest Cuban orches-

tral conductors. A graduate of the Havana Conservatory, she has studied with famed masters such as Guido Lopez Gavilan, Octa-vio Lopez Marin, Gonzalo Romeu, Marklen Belenko, and Svetlana Logonova. Besides being a great choral conductor, lyric soprano, and pianist, she is also a talented popular musician. Gliceria has performed with musi-cians such as Dave Alfaro, Ruben Gonzalez, and Ibrahim Ferrer and has recorded on various albums including the backing vocals for the last three productions of her father, Juan de Marcos. Internationally, Gliceria has performed successfully at several symphonic and jazz festivals, including Montreaux, Nice, Berlin, London, and The Hague’s North Sea.

JOSE MARCOS CREGO (Piano) was born in Havana, Cuba. He began his music studies at the Conservatory of Music Manu-el Saumell, following in the footsteps of his father, the great trumpet player Jose Miguel Crego (El Greko). After graduation from high school, Marcos’ career took off and he performed with many famous musicians, including Talisman, ICRT Orchestra, and Francisco Cespedes, among others, as well as playing at many jazz festivals. When he was 21, he produced his first album, Mi Musica, beginning his career as a music producer. He has collaborated as a pianist and keyboard player on various albums, receiving two Grammy nominations as featured artist on Edwin Bonilla´s album Homenaje a los Rumberos. Marcos currently resides in Phoenix and is the piano instruc-tor for the New School for the Arts and Academics in Tempe, AZ.

AFRO-CUBAN ALL-STARS

14 15

ASLEY ROSELL (Bongo & Cowbell) began his music studies in 1993, at the age of 13. In 1995 began his professional career with the orchestra Mi Salsa, recording his first album. In 1996 he joined the popular group Salsa de Esquina, working with them until 1998. During the new millennium he per-formed with Doble Impacto, Azucar Negra, Juan Carlos Alfonso y su Dan Den, Pachito Alonso y sus Kini Kini, Tata Guines, Gon-zalo Rubalcaba, Carmen Salinas and many more. During his career he has performed in festival and concert halls in Italy, Belgium, Germany, Spain, Denmark, France, Russia, Mexico, Peru, Luxembourg, and Switzerland. Besides being an excellent percussionist with more than 40 albums recorded to date (some of them Grammy nominated), Asley is also a well-known session musician and a great backing vocalist.

ALFONSO PENA (Sound Engineer) was born in Havana in 1963 and graduated in 1985 from the prestigious TV and Film Insti-tute of St Petersburg, Russia. He has been the Mixing, Mastering and FOH Engineer for sev-eral important Cuban bands and performers including Chucho Valdes, Ernan Lopez-Nussa, Pablo Milanes, Silvio Rodriguez, Roberto Fonseca and many more. Besides an engineer, he is also a talented classical guitar player, producer and composer. Pena has worked successfully at many festivals and concert halls around the world, including Bolshoi Theater Moscow, Royal Festival Hall London, Carnegie Hall, North Sea Jazz, and Singapore Sun Fest.

JUAN DE MARCOS GONZALEZ (Tres Gui-tar and Bandleader), a central figure in Cuban

music today, has set himself a lifetime mission: to show the wealth, diversity and vitality of Cuban music to the world. His work with the Afro-Cuban All-Stars, the Buena Vista Social Club, Ruben Gonzalez, Ibrahim Ferrer, Sierra Maestra and others has made an extraordinary contribution to raising the profile of the music of his country throughout the world.

Juan de Marcos was born in Havana in 1954 and grew up surrounded by music (his father was a singer and played with the great Arsenio Rodriguez, among others). He studied classical and tres guitar at the Havana Conservatory and privately with the great maestros Vicente Gonzalez and Leopoldina Nunez. Later, he studied Hydraulic Engineering and Russian and English languages before working as a consultant at the Agronomic Science Institute, earning his doctorate in 1990.

While at university he co-founded the group Sierra in 1976. Styled as a traditional Cuban Septeto group (tres, trumpet, bass, percussion, and arid vocals), the dynamic young band’s aim was to bring about an appreciation of Cu-ban son by the youth of the island. The band achieved great success, recording 14 albums in Cuba, Africa and Europe, touring many coun-tries and receiving various awards.

In 1994, Juan de Marcos began his associa-tion with the London-based record label World Circuit, when the band recorded the album Dundunbanza. For this recording, World Cir-cuit’s Nick Gold encouraged the group to ex-pand their lineup to include piano, congas and a trumpet section in tribute to the legendary Cuban musician Arsenio Rodriguez. Having found both success and a common ground, Juan de Marcos and Gold looked to develop them further with a big band recording in

Havana, featuring the neglected stars of the “golden age” of Cuban music (the 50s).

The Afro-Cuban All-Stars’ album A toda Cuba le gusta (Grammy Nominee ’98) was the first to be recorded in the now famous Buena Vista Social Club sessions. Following the al-bums’ release, he led the Afro-Cuban All-Stars and The Ruben Gonzalez Ensemble on their debut European and US tours and directed the Buena Vista Social Club in the only concerts of the original lineup.

Juan de Marcos’ work has been nominated four times for Grammys and once for a Latin Billboard award, and his Afro-Cuban All-Stars were voted “best beyond band” by Downbeat Magazine. During his career, Juan de Marcos has arranged, conducted, produced or co-pro-duced more than 25 albums, some of which have been acclaimed as seminal productions of the 20th century.

Havana based composer and pianist HAROLD LÓPEZ-NUSSA is a musician whose musical voice is now being heard around the world. El Viaje (The Journey), López-Nussa’s

recent debut release on Mack Avenue Re-cords, visits many musical genres and travels smoothly between Harold’s classical, native, and jazz inspirations. Soon after release, the album reached No. 1 on iTunes Jazz Chart and No. 2 on Amazon’s Jazz Chart.

The recording features The Harold López-Nussa Trio with younger brother Ruy López-Nussa on drums and percussion, him-self a star in the distinguished López-Nussa family of renowned Cuban musicians. Recent performances at the Montreux, Monterey, Montreal, and Tokyo Jazz Festivals; the Kennedy Center; and the San Francisco Jazz Center have fortified Harold’s reputation as a profound musician of rising stature who has fully integrated his classical training and love of the jazz continuum with his Cuban roots and soul.

HAROLD LÓPEZ-NUSSA

HAROLD LÓPEZ-NUSSA TRIO HAROLD LÓPEZ-NUSSA — PianoRUY LÓPEZ-NUSSA — Drums & PercussionGASTON JOYA — Bass

17

PROGRAM

DEJANDO HUELLAS (TRACES)

SUNDAY, JANUARY 21 | 7:30PM

THERE WILL BE NO INTERMISSION

MEDIA SPONSOR KCET, KPCC

LEILAH BROUKHIMDEJANDO HUELLAS (TRACES)

18 19

PROGRAM

I. FAREWELL TO THE HOMELAND ................................................................................................“At the end of the 15th Century, Spanish Jews were forced to abandon their homeland.”Sephardic LullabySeguiriya

II. TAKING ROOTS ...........................................................................................................................“Later, a group of those Sephardic Jews migrated to ancient Persia.”Persian TanguillosTientos-Tangos

III. THE RETURN ................................................................................................................................“Flamenco captivated me and I returned to the land of my ancestors.”Bulerías al GolpeSoleá

PERFORMERS & CREATIVE TEAM

Leilah Broukhim — Artistic Director/Dancer

Roberto Lorente — Flamenco Singer

Chelo Pantoja — Flamenco Singer

Amir John Haddad — Flamenco Guitar, Oud, Saz 

Juan Jiménez — Flamenco Guitar

Bandolero — Percussion

Chloe Pourmorady — Violin, Persian Singer 

Elisabeth Louy — Caligraphy and Artwork 

Carlos Arandojo — Lighting

Manuel Camacho — Sound

DEJANDO HUELLAS (Traces) follows the personal and historic voyage of a Sephardic woman through flamenco dance. Inspired by the story of her Jewish and Persian ancestor and by her experience with the flamenco art form, acclaimed flamenco dancer Leilah Broukhim has created Dejando Huellas: an intimate and original expression of Ms. Broukhim’s roots, her personal journey and the history of her people. The result is a mov-ing and unforgettable work of music, dance and art, which reminds us that the traces of our past define our present and our future.

LEILAH BROUKHIM was born in New York of Sephardic Iranian parents, although she has been based in Spain since 2000. Leilah graduated from Columbia University with a B.A. in Film Studies. She began her flamenco dance formation with respected New York-based professors who gave her the necessary foundation to develop her growth in Spain. In Madrid, she continued her stud-ies at the renowned dance academy Amor de Dios under great masters of flamenco, including Maria Magdalena, Manuel Reyes, Rafaela Carrasco, and José Maya, while completing her knowledge of flamenco in Seville with the Farrucos.

Her professional career took off with the two most important flamenco dance compa-nies of the USA: Flamenco Vivo Carlota San-tana and María Benítez Teatro Flamenco. Lei-lah has performed in the principal tablaos of Spain, including Casa Patas, El Corral de la Morería, El Corral de la Pacheca, El Café de Chinitas, Las Carboneras, Tablao Villa Rosa,

Las Brujas, Tablao de Carmen, and El Cor-dobés. She formed part of such companies as Rafael Amargo, Paco Peña, and Javier Barón. In 2006, she traveled to Japan where she taught classes and performed in the esteemed Sala Andaluza in Tokyo. Leilah is also the protagonist of Centro Sefarad-Israel’s official promotional video.

In 2009, she was a guest artist in Gomae-spuma’s 10th Festival Flamenco Pa’tos, shar-ing the stage with Marina Heredia, Carmen Linares and Eva la Yerbabuena. In 2010, she performed in the XVII Jornadas Flamencas de la Fortuna-Silla de Oro.

In 2011, Leilah premiered her first solo show Dejando Huellas (Traces) at the Jew-ish Culture Festival in Krakow and presented it again in Paris at the Museum of Art and History of Judaism in New York as part of the Flamenco Festival USA 2012, in Ma-drid’s Suma Flamenca Festival 2014, in the III Cumbre Erensya Sephardic Summit in Ávila, in the Jewish Culture Festival in Copenha-gen, in Córdoba’s Otoño Sefardí, and now in Los Angeles and San Francisco.

In 2014, Leilah created her second show Embrujá which premiered with great success at the XI Festival Flamenco de Tor-relodones in tribute to Paco de Lucía. Since then, she has presented the show in New York, Ibiza, at the Festival Arte Flamenco Mont-de-Marsan and very soon in Seoul, Korea.

This year, Leilah premiered her new show Hamsa for a Dream at Madrid’s Teatro Fernán Gómez in celebration of Centro Sefarad-Israel, Casa Árabe y Casa África’s 10th anniversary.

DEJANDO HUELLAS (TRACES)

21

THIERRY FISCHER

FRIDAY, JANUARY 26 | 8PM

THIS PERFORMANCE IS GENEROUSLY SUPPORTED BY COLBURN FOUNDATION

MEDIA SPONSOR KUSC

THIERRY FISCHER , CONDUCTOR

THE ROYAL PHILHARMONIC

ORCHESTRA

THERE WILL BE ONE TWENTY-MINUTE INTERMISSION

,GAUTIER CAPUCON, CELLO

22 23

PROGRAM

Petite Suite (1886–89, orch. Henri Büsser) ................................Claude Debussy (1862–1918)I. En bateau (Andantino)II. Cortège (Moderato)III. Menuet (Moderato)IV. Ballet (Allegro giusto)

Cello concerto in C, Hob.VIIb:1 (c.1761) .......................................Joseph Haydn (1732-1809)I. ModeratoII. AdagioIII. Allegro molto

INTERMISSION

The Firebird (Complete Ballet Score) ............................................. Igor Stravinsky (1882-1971)I. Introduction – Molto moderatoII. The Enchanted Garden of KastcheïIII. Appearance of the Firebird, pursued by Ivan Tsarévitch – Allegro assaiIV. Dance of the Firebird – Allegro rapaceV. Capture of the Firebird – AllegroVI. Supplications of the Firebird – AdagioVII. Game of the Princesses with the golden apples – AllegrettoVIII. Sudden appearance of Ivan Tsarévitch – LarghettoIX. Khorovod (Round Dance) of the Princesses – ModeratoX. Daybreak – Più mossoXI. Magic carillon, appearance of the monster-guardians of Kastcheï, and capture of Prince Ivan – AllegroXII. Dance of the followers of Kastcheï enchanted by the Firebird – AllegroXIII. Infernal dance of Kastcheï’s subjects – Allegro feroceXIV. Lullaby of the Firebird – AndanteXV. Disappearance of the palace and spirits, return to life of the petrified knights, general rejoicing – Lento maestoso

VIOLIN I Duncan Riddell Tamás András Sulki Yu Laura Dixon Shana Douglas Joana Valentinaviciute Andrew Klee Kay Chappell Anthony Protheroe Erik Chapman Joanne Chen Charlotte Reid Dunja Lavrova Rosemary Hinton Sophie Mather Geoffrey Silver

VIOLIN IIAndrew Storey Elen Hâf Rideal Jennifer Christie Charlotte Ansbergs Peter Graham Stephen Payne Manuel Porta Charles Nolan Sali-Wyn Ryan Colin Callow Nicola Hutchings Molly Cockburn Sophie Lockett Sheila Law

VIOLAAbigail FennaCarol Ella Liz Varlow Michelle Bruil Ugne Tiškuté Chian Lim Esther Harling Jonathan Hallett Triona Milne Andrew Sippings Helen Picknett Zoe Matthews

CELLORichard HarwoodJonathan Ayling Chantal Webster Roberto Sorrentino William Heggart Rachel van der Tang Naomi Watts Anna Stuart Anna Beryl George Hoult

DOUBLE BASSChristian GeldsetzerDavid Gordon Benjamin Cunningham Ben Wolstenholme Mark O’Leary Siret Lust Jamie Kenny David FC Johnson

FLUTEEmer McDonoughJoanna Marsh Lianne Barnard

PICCOLOHelen Keen Lianne Barnard

OBOEJohn Roberts Timothy Watts Lauren Sansom

COR ANGLAISPatrick Flanaghan

CLARINETKatherine Lacy Sonia Sielaff Thomas Lessels

E-FLAT CLARINETSonia Sielaff

BASS CLARINETKaty Ayling

BASSOONEmily Hultmark Simon Durnford Simon Estell

CONTRABASSOONFraser Gordon Simon Estell

FRENCH HORNLaurence Davies Nicolas Fleury Jonathan Bareham

Philip Woods Carsten Williams

TRUMPETJames Fountain Adam Wright Mike Allen Toby Street

TROMBONEMatthew Gee Matthew Knight

BASS TROMBONERoger Argente

TUBAKevin Morgan

TIMPANIMatt Perry

PERCUSSIONStephen Quigley Martin Owens Gerald Kirby Oliver Yates Jo Cooper

HARPSally Pryce Daniel De Fry Douglas Rioth

PIANOOlga Gross

CELESTAAlistair Young

THIERRY FISCHER, CONDUCTOR

24 25

ROYAL PHILHARMONIC ORCHESTRA MANAGEMENT

Managing DirectorJAMES WILLIAMS

Deputy Managing DirectorHUW DAVIES

Finance DirectorANN FIRTH

Concerts DirectorLOUISE BADGER

Concerts ManagerFRANCES AXFORD

Tours ManagerDAWN DAY

Director of Press and MarketingCHRIS EVANS

Head of Community and Education RUTH CURRIE

Orchestra ManagersJANE AEBI, KATHY BALMAIN

LibrarianPATRICK WILLIAMS

Stage and Transport ManagerSTEVE BROWN

ROYAL PHILHARMONIC ORCHESTRAFor more than seven decades the Royal Phil-harmonic Orchestra (RPO) has been at the forefront of music-making in the UK. Its home base since 2004 at London’s Cadogan Hall serves as a springboard for seven principal residencies as well as more than forty-five con-certs per year in long-term partnership venues across the country, often in areas where access to live orchestral music is very limited. With a wider reach than any other UK large ensemble, the RPO has truly become Britain’s national orchestra.

The regional program, plus regular perfor-mances at Cadogan Hall, Southbank Centre’s Royal Festival Hall and a hugely popular series at the Royal Albert Hall, are conducted by a distinguished roster of musicians such as Charles Dutoit, Pinchas Zukerman, Alexander

Shelley, and Grzegorz Nowak. International touring is vital to the Orchestra’s work, taking it to many prestigious destinations worldwide.

In 2018, RPO Resound, the Orchestra’s community and education program, marks its twenty-fifth anniversary. Throughout its histo-ry it has thrived on taking music into the heart of the regions that the Orchestra serves, work-ing with a variety of participants in a range of settings including working with young people, the homeless and recovering stroke patients.

The Orchestra has become increasingly active on social media platforms, inviting audiences to engage informally on Facebook and Twitter.

As the RPO proudly looks to its future, its versatility and high standards mark it as one of today’s most open-minded, forward-think-ing symphony orchestras. For more informa-tion, please visit www.rpo.co.uk

THIERRY FISCHER, CONDUCTORThierry Fischer has been Music Director of the Utah Symphony Orchestra since 2009 and Principal Guest of the Seoul Philharmonic since January 2017. During his tenure in Utah he has revitalised the orchestra, and his con-tract was recently extended to 2022. He led the orchestra in annual single composer cycles including Mahler, Ives, and Nielsen, has toured to Utah’s five national parks, and forged outreach links in Haiti. In celebration of its 75th anniversary season in 2016, the orchestra appeared at Carnegie Hall to critical acclaim and released an album of newly commissioned works by Nico Muhly, Andrew Norman, and Augusta Read Thomas on Reference Record-ings. Following a well-reviewed Mahler 1 CD, they recorded Mahler’s 8th symphony in Utah with the world-renowned Tabernacle Choir, released in Autumn 2017. He visits Seoul at least 4 times a season, will tour internationally with the orchestra, and plays an important role in the artistic planning.

Fischer has guested with many leading orchestras, most recently the Boston, Atlan-ta, Cincinnati, and Detroit Symphonies and Mostly Mozart Festival Orchestra (New York), London Philharmonic, BBC Symphony, Oslo Philharmonic, Bergen Philharmonic, Rotter-dam Philharmonic, Maggio Musicale Firenze, Salzburg Mozarteumorchester, and the Or-chestre de la Suisse Romande, and in Autumn 2016 visited South America for the first time to conduct the Sao Paulo Philharmonic. In the past year or two he has also conducted the Scottish, Swedish and Munich chamber orchestras, London Sinfonietta, and Cham-ber Orchestra of Europe. He is committed to contemporary music and has performed and

commissioned many world premieres - this season he conducts the Ensemble Intercontem-porain for the first time.

Whilst Principal Conductor of the BBC Na-tional Orchestra of Wales 2006-2012, Fischer appeared every year at the BBC Proms and toured internationally. He also made many recordings, notably for Hyperion (Honegger, d’Indy, Florent Schmitt) but also Stravinsky for Signum and Orfeo. His Hyperion recording of Frank Martin’s opera Der Sturm with the Neth-erlands Radio Philharmonic Orchestra and Chorus won the International Classical Music Award in 2012 (opera category). In 2014 he released a Beethoven disc with the London Philharmonic on the Aparte label.

Fischer started out as Principal Flute in Hamburg and at the Zurich Opera. His conducting career began in his 30s when he replaced an ailing colleague, subsequent-ly directing his first few concerts with the Chamber Orchestra of Europe where he was Principal Flute under Claudio Abbado. He spent his apprentice years in Holland, and became Principal Conductor and Artistic Advisor of the Ulster Orchestra 2001-2006. He was Chief Conductor of the Nagoya Philharmonic 2008-2011, making his Suntory Hall debut in Tokyo in May 2010, and is now Honorary Guest Conductor.

GAUTIER CAPUÇON, CELLO Gautier Capuçon is a true 21st century

ambassador for the cello. Performing each season with many of the world’s foremost conductors and instrumentalists, he is also founder and leader of the Classe d’Excellence de Violoncelle at the Fondation Louis Vuitton in Paris, based in the stunning new auditori-

26 27

um designed by Frank Gehry. He is acclaimed internationally for his deeply expressive mu-sicianship and exuberant virtuosity, as well as for the glorious sonority of his 1701 Matteo Goffriller cello.

During 2017/18 Capuçon will appear as soloist in a number of orchestral tours across Europe, the US and in Asia. In Europe he will tour with Orchestre de Chambre de Paris, Wiener Symphoniker (Philippe Jordan), and the Gustav Mahler Jugendorchester. In the US he will tour with the Royal Philharmon-ic Orchestra and the National Center for Performing Arts; and in Asia with hr-Sinfo-

nieorchester (Andres Orozco-Estrada) and as part of the Verbier Festival with Gabor Takacz. Other concerto highlights include return performances with Gewandhausor-chester Leipzig (Herbert Blomstedt), Wiener Philharmoniker (Semyon Bychkov), Orchestre de Paris (Yu Long), and London Philharmonia (Paavo Jäarvi).

A regular recital and chamber musician, Capuçon appears annually in the major halls and festivals worldwide. Highlights this sea-son include a return to Carnegie Hall (with Daniil Trifonov), an extensive international recital tour with duo partner Jérôme Ducros

supporting the international release of the album Intuition featuring the same reper-toire, and performances at Verbier Festival. Other artists with whom Capuçon regularly performs include Nicholas Angelich, Daniel Barenboim, and the Artemis and Ébène quar-tets, among others.

Gautier Capuçon continues to work regu-larly with conductors such as Charles Dutoit, Gustavo Dudamel, and Yannick Nézet-Séguin; and collaborates with contemporary compos-ers including, among others, Lera Auerbach, Wolfgang Rihm, and Jörg Widmann.

Recording exclusively for Erato (Warner Classics), Capuçon and has won multiple ECHO Klassik awards and holds an exten-sive discography. In 2016/17 he released Beethoven Sonatas with Frank Braley to critical acclaim. Other recent recordings include Shostakovich’s Cello Concertos with the Mariinsky Orchestra and Valery Gergiev; and Schubert’s String Quintet with Quatuor Ébène. He has also recorded chamber music with Martha Argerich, Renaud Capuçon and Gabriela Montero; and in 2013 Deutsche Grammophon released a DVD featuring Capuçon as soloist with the Berliner Phil-harmoniker and Gustavo Dudamel in a live performance of Haydn’s Cello Concerto No.1. Capuçon’s next album Intuition will be released at the beginning of 2018.

Born in Chambéry in 1981, Capuçon began playing the cello at the age of five. He studied at the Conservatoire National Supérieur in Paris with Philippe Muller and Annie Cochet-Zakine, and later with Heinrich Schiff in Vienna. The winner of various first prizes in many leading international competitions, including the International André Navarra

Prize, Capuçon was named New Talent of the Year by Victoires de la Musique in 2001.

PROGRAM NOTESClaude Debussy (1862–1918)Petite Suite (1886–89, orch. Henri Büsser)

Debussy’s music cocoons the listener in a sensual web of sonorities that appears to suspend time and place. Yet the apparent ease of his musical surfaces disguises the agonising effort that often went into their creation. He left countless works incomplete, many others never got beyond the drawing board, and those that have survived were of-ten developed and assembled over a period of several years.

When challenged by one of his professors at the Paris Conservatory as to what rule he followed when failing to resolve harmonic dissonances, he replied disarmingly ‘Mon plaisir!’ For Debussy, music was not some-thing cast in a fixed form, obeying centu-ries-old precepts of structural counterpoint, but living, organic tissue growing naturally out of an infinitely malleable variety of rhythms, harmonies, textures and colours. He carefully loosened the bonds of musical con-formity, leaving the listener gently fanned by sonic breezes of shimmering incandescence.

As early as 1889 (the year he completed the Petite Suite), Debussy began considering the use of ‘ambiguous chords that belong to as many keys as one likes’ and ‘incomplete chords with floating intervals.’ He also re-fined his music until it was free of all inessen-tials. This process of musical distillation led him in his final years to return to the classics in a series of three (out of an intended six) sonatas that found him rethinking Mozartian

GAUTIER CAPUÇON

28 29

structures in contemporary terms.This was all sometime in the future when

during the mid-1880s Debussy began work on his Petite Suite, originally for piano duet (four hands). Commissioned by his publish-er Jacques Durand as sophisticated salon music for gifted amateurs, the suite was premiered in Paris by Debussy and Durand on

2 February 1889. Although the Menuet and Ballet are generic in origin with no specific story attached, the first two movements are based on poems from Paul Verlaine’s 1869 collection Fêtes galantes, suggesting respec-tively romantic couples enjoying a gentle boat-ride on a river as dusk falls, and a lady’s small retinue, whose amorous thoughts she is

blissfully unaware of. Tonight, the Petite Suite is heard in the glittering 1907 orchestration by Debussy’s colleague Henri Büsser for 2 flutes (2nd doubling piccolo), 2 oboes (2nd doubling English horn), 2 clarinets, 2 bas-soons, 2 horns, 2 trumpets, timpani, cymbals, tambourine, triangle, harp, and strings. © Julian Haylock

Joseph Haydn (1732-1809)Cello concerto in C, Hob.VIIb:1 (c.1761)

Haydn spent most of his creative life in isolation away from the bright lights of Vien-na, working for the Esterházy family at their magnificent palace in Austro-Hungary. ‘I was cut off from the world,’ he declared passion-ately. ‘There was no one near to torment me

THE ROYAL PHILHARMONIC ORCHESTRA

30 31

or make me doubt myself, and so I had to become original.’ Far from becoming another in the long line of dutiful court composers, Haydn established an international reputa-tion as the ‘father’ of 107 symphonies, the creator of the modern string quartet (83 in total), and the astonishingly fertile com-poser of 45 piano trios, 62 piano sonatas, 14 masses and 26 operas, among countless other scores.

‘If an idea strikes me as...satisfactory to the ear and heart,’ Haydn explained to his first biographer and friend Albert Dies, ‘I would far rather overlook a grammatical error than sacrifice [it] to mere pedantic trifling’. If Mozart’s music appears to walk on air while Beethoven inexorably plumbs the depths, Haydn appears perfectly content to create his miracles anchored firmly on terra firma.

Haydn had neither the temperament nor the virtuoso technique of a solo performer, which may explain his comparative lack of interest in the concerto genre. Only a dozen reliably authenticated concertos by Haydn have survived, and of these only the Trumpet Concerto and the C major Cello Concerto have achieved lasting popularity.

Haydn appears to have begun work on the cello concerto shortly after his marriage to Maria Anna Keller in 1760, an unsophisticat-ed Viennese wigmaker’s daughter. The match was a disaster from the outset. As Haydn frankly confessed: ‘My wife was incapable of having children, and I was therefore more inclined towards the charms of other women’. To cap it all, having only just won his first royal appointment to Count Karl Morzin the previous year, Morzin promptly went bank-rupt and was forced to disband his orchestra.

Despite all this, Haydn’s natural exuberance and good humour remained undiminished, as is borne out by this high-spirited concerto.

All that remained of the work following Haydn’s death was a short entry in his thematic catalogue, consisting only of a few bars. Not until 1961, two centuries after the concerto was written, was the original set of manuscript parts rediscov-ered by a musicologist Oldřich Pulkert in Prague’s National Museum. It was com-posed for Haydn’s close friend Joseph Franz Weigl, who would originally have played it from his usual seat in the court orches-tra. Listening to this bracingly optimistic score, one is reminded of the great painter Jean Ingres’s famous declaration: ‘Who-ever studies music, let his daily bread be Haydn. Beethoven, indeed, is admirable, he is incomparable, but he has not the same usefulness as Haydn. He is not a necessity.’ © Julian Haylock

The Firebird (Complete Ballet Score)Igor Stravinsky (1882-1971)

Igor Stravinsky’s early scores, many of them composed under the supervision of his beloved teacher Rimsky-Korsakov, include a full-blown Tchaikovskyan piano sonata, a four-movement symphony (dedicated to his teacher) and a handful of short orchestral works. These composition lessons consisted initially of Stravinsky orchestrating piano sonatas by Beethoven or the short scores of pieces by Rimsky-Korsakov himself, exercises that the young student found particularly useful. Rimsky-Korsakov subsequently ad-vised his pupil on the orchestration of his ear-ly original works, and in the brief orchestral

Fireworks of 1908 the influence of the older man is clearly discernible. It was this piece that drew the attention of the great Russian ballet impresario Serge Diaghilev, who imme-diately asked Stravinsky to undertake some orchestrations of Chopin for his Les Sylphides ballet. When Diaghilev subsequently began to plan a ballet on the Russian fairy tale of The Firebird it was Stravinsky who was commis-sioned to write the score (although Diaghilev had in fact offered it to at least four other Russian composers beforehand).

The young composer was initially reluctant to take on the project:

‘The Firebird did not attract me as a subject. Like all story ballets it demanded descriptive music of a kind I did not want to write. I had not yet proved myself as a composer, and I had not earned the right to criticise the aesthetics of my collaborators, but I did criticise them, and arrogantly, though perhaps my age (twenty-seven) was more arrogant than I was. Above all, I could not abide the assumption that my music would be imitation Rimsky-Korsakov, especially as by that time I was in such revolt against poor Rimsky. However, if I say I was less than eager to fulfil the commission, I know that, in truth, my reservations about the subject were also an advance defence for my not being sure I could. But Diaghilev, the diplomat, arranged every-thing. He came to call on me one day, with Fokine, Nijinsky, Bakst, and Benois. When the five of them had proclaimed their belief in my talent, I began to believe, too, and accepted.’

Stravinsky began to work on the score in the winter of 1909, completing it the following April, and the full ballet was premièred at Paris Opéra in June 1910, to

enormous acclaim. In Fokine’s scenario, which is based on a traditional tale, the young Prince Ivan has wandered into the enchanted garden of the evil Kastcheï, where he encounters the magical Firebird. He captures the bird, but agrees to let it go in exchange for one of its magic feathers. Enter a group of young maidens, beautiful princesses who have fallen under the spell of Kastcheï. Ivan falls in love with one of them, Tsarevna, but as he pursues her into the palace he is captured by Kastcheï and his monstrous guards. He is about to be turned into stone (which has been the inevitable fate of previous visitors) when he remembers the Firebird’s feather. He waves it in the air, and the Firebird instantly ap-pears and tells him that Kastcheï’s soul lies encased inside an egg hidden within a cas-ket. Ivan finds the egg and smashes it, thus destroying Kastcheï and releasing all of his literally petrified victims. At the conclusion of the ballet, Ivan is united with Tsarevna.

I. Introduction – Molto moderatoA sinister, ostinato-like theme on low

muted strings is gradually passed to higher instruments, punctuated by ominous phrases from the rest of the orchestra, including Stravinsky’s celebrated effect of glissandi harmonics on muted strings.

II. The Enchanted Garden of KastcheïA sustained chord on horns and five beats

on timpani and bass drum signal the rise of the curtain, revealing Kastcheï’s Enchanted Garden. Shimmering strings continue the ostinato theme from the introduction, with kaleidoscopic splashes from harps and celeste.

32 33

III. Appearance of the Firebird, pursued by Ivan Tsarévitch – Allegro assai

A sudden change of tempo and mood introduces the Firebird, whose aerial flight is suggested by fluttering strings and wood-wind. A muted French horn solo suggests the presence of Prince Ivan.

IV. Dance of the Firebird – Allegro rapaceThe first real set piece in the ballet, the

music for the Firebird sparkles with bright ar-peggios on woodwind, rapid harp figurations and light pizzicato basses.

V. Capture of the Firebird – AllegroThe Firebird stops her dance suddenly as

she realises she is being followed. Urgent semiquavers on strings and woodwind depict the chase, the moment of capture graphically illustrated by stopped French horns and des-perate flutterings on clarinets.

VI. Supplications of the Firebird – AdagioA slow, expressive, chromatic melody, first

heard on oboe, cor anglais and solo cello, evokes the Firebird’s desire to be set free. An Allegretto central section is distinguished by lower strings playing col legno (with the wood of the bow), the chromatic melody re-turning sumptuously scored in Scriabinesque colours. To a sudden vivo figure on muted trumpet, the Firebird presents the Prince with one of her feathers, to be used if her help is needed, and flies off. An ascending passage for high divisi violins announces the arrival of the thirteen enchanted princesses, Tsarevna’s appearance being signalled by a short flute cadenza.

VII. Game of the Princesses with the gold-en apples – Allegretto

Introduced by six bars of skittish woodwind figures, the Princesses perform a dance around the golden apple tree to a lively scherzo.

Tsarevna leads the game in a more relaxed central section (clarinet accompanied by chromatic scales on solo viola), and the dance continues until it is abruptly halted by the entrance of the Prince.

VIII. Sudden appearance of Ivan Tsarévitch – Larghetto

The Prince appears and makes a tentative declaration of his feelings for Tsarevna in an extended French horn solo, accompanied by tremolo strings.

IX. Khorovod (Round Dance) of the Prin-cesses – Moderato

Piccolo, clarinet, solo violin and flute (in turn) introduce the Princesses’ Round Dance, its main theme being heard initially on the oboe.

X. Daybreak – Più mossoFour trumpets (three of which are placed

onstage in danced productions of the ballet) sound augmented fourths, warning of the impending sunrise. The Princesses return to the palace, and the Prince and Tsarevna make their reluctant farewells.

XI. Magic carillon, appearance of the monsterguardians of Kastcheï, and capture of Prince Ivan – Allegro

The Prince’s attempt to enter the palace sets off a security alarm, harps, celeste and piano adding to the general mayhem, as Kastcheï’s monsters appear, accompanied by a prefigu-ration of their Infernal dance music. Kastcheï’s arrival is coloured by sinister chords on brass and bassoons, and a fortissimo drum beat. Af-ter some disjointed dialogue between Kastcheï and the Prince, the Princesses return to inter-

cede for Ivan (violin solo, echoed by oboe), until rapid chromatic scales in the woodwind announce the entrance of the Firebird.

XII. Dance of the followers of Kastcheï enchanted by the Firebird – Allegro

A short, scherzo-like movement builds to a climax as the Firebird begins to exert her power over Kastcheï’s followers.

XIII. Infernal dance of Kastcheï’s subjects – Allegro feroce

Unable to do otherwise, Kastcheï’s followers perform their barbaric dance. The Princesses join in (to the accompaniment of the clarinet theme from their golden apples music) until the dancers collapse from exhaustion.

XIV. Lullaby of the Firebird – AndanteThe Firebird sends the dancers to sleep

with her lullaby, first given to solo bassoon against a rocking ostinato on harp and violas. The dancers awaken, to the accompaniment of contrabassoons, while the Prince, guided by the Firebird, locates the egg that contains Kastcheï’s soul. He smashes the egg, and Kastcheï dies (tam-tam and cymbal crashes). A divided string chord slowly opens out to depict the breaking of Kastcheï’s spell.

XV. Disappearance of the palace and spirits, return to life of the petrified knights, general rejoicing – Lento maestoso

The closing tableau of the ballet pres-ents a maestoso French horn theme against luminous tremolo strings. On each repeat the theme builds in its orchestration, until it emerges to form a triumphant coda to the ballet. © Brendan Beales.

THE SWISS CONDUCTOR [THIERRY FISCHER]

IS THE REAL THING – A MUSICIAN OF CLEAR

INTELLIGENCE, TECHNICAL SKILL, AND PODIUM

PERSONALITY, DRAWING PERFORMANCES THAT

BLENDED IMPECCABLE BALANCING, TEXTURAL

CLARITY AND FIZZING EXHILARATION…

—CHICAGO CLASSICAL REVIEW

35KEIGWIN + COMPANY

SATURDAY, FEBRUARY 3 | 8PM

KEIGWIN + COMPANY CELEBRATES BERNSTEIN

THERE WILL BE NO INTERMISSION

36 37

Artistic DirectorLARRY KEIGWIN

Associate Artistic DirectorBRANDON COURNAY

Production Stage ManagerRANDI RIVERA

DancersZACKERY BETTY

BRANDON COLEMANGINA IANNI

NICHOLAS RANAUROEMILY SCHOEN

REBECCA VAN DOVER

EPISODES(2014)

Choreography: LARRY KEIGWINLighting Design: JENNIFER HILL

Costume Design: AMY PAGE

Music: On the Town – Three Dance Episodes, Leonard Bernstein*Dancers: ZACKERY BETTY, BRANDON COLEMAN,

GINA IANNI, NICHOLAS RANAURO, EMILY SCHOEN, REBECCA VAN DOVER

Episodes was commissioned by the John F. Kennedy Center for the Performing Arts and the National Symphony Orchestra, Christoph Eschenbach, Music Director, as

part of the 2014 NEW Moves: Symphony + Dance.

SONATA(2017)

Choreography: LARRY KEIGWINLighting Design: JENNIFER HILL

Costume Design: AMY PAGE

Music: Sonata for Clarinet and Piano, Leonard Bernstein*Dancers: BRANDON COLEMAN, EMILY SCHOEN

JULIA HEINEN, ClarinetBRYAN PENNZONE, Piano

Sonata was commissioned by the Younes and Soraya Nazarian Center for the Per-forming Arts in Northridge, CA. Sonata was also made possible by the generous

support of the New York State Council for the Arts, Lake Placid Performing Arts Center, and the Rockefeller Brothers Fund.

THREE PLUS ONE(2017)

Choreography: LARRY KEIGWINLighting Design: JENNIFER HILL

Costume Design: AMY PAGE

Music: Piano Trio, Leonard Bernstein*Dancers: ZACKERY BETTY, GINA IANNI, NICHOLAS RANAURO,

REBECCA VAN DOVER

JASON STOLL, Piano MADELEINE HOGUE, Violin

THOMAS LOVASZ, Cello

Three Plus One was commissioned by the Younes and Soraya Nazarian Center for the Performing Arts in Northridge, CA. Three Plus One was also made possible by

the generous support of the New York State Council for the Arts, Lake Placid Perform-ing Arts Center, and the Rockefeller Brothers Fund.

WATERFRONT(2014)

Choreography: LARRY KEIGWINLighting Design: JENNIFER HILL

Costume Design: AMY PAGE

Music: On the Waterfront – Suite, Leonard Bernstein*Dancers: ZACKERY BETTY, BRANDON COLEMAN,

GINA IANNI, NICHOLAS RANAURO, EMILY SCHOEN, REBECCA VAN DOVER

Waterfront was commissioned by the John F. Kennedy Center for the Performing Arts and the National Symphony Orchestra, Christoph Eschenbach, Music Director, as

part of the 2014 NEW Moves: Symphony + Dance.

*Music rights are arranged with Boosey & Hawkes, Inc., Sole Agent for Leonard Bernstein Music Publishing Company LLC, publisher and copyright owner.

KEIGWIN + COMPANY would like to sincerely thank Thor, Jeff, Charlie, Rick, Annikki, Nicki, Joey and the entire staff at The Soraya for their tremendous support in the creation

of Sonata and Three Plus One and making this performance possible.

38 39

ABOUT THE COMPANYFounded in 2003 by Artistic Director Larry

Keigwin, KEIGWIN + COMPANY creates and presents Keigwin’s electrifying brand of contemporary dance. K+C reaches national and international audiences and invigorates diverse communities with a refreshing vision of dance that embodies a theatrical sensibil-ity of wit, style, and heart. Education and community projects seek to physically engage audiences and aspiring dancers in movement and the choreographic process and to bring opportunities for individuals to become more invested in dance. Since K+C’s premiere per-formance at Joyce Soho in 2003, Keigwin has created 35 dances, including the acclaimed large-scale community project Bolero, which has been commissioned in eleven communi-ties across the country; Runaway (2008), a fashion-inspired choreographic ride, pro-claimed “a thrilling coup d’theater” by James Wolcott of Vanity Fair; and Canvas (2013), heralded as “intricate, neat, rapturous” by the New York Times. Over the past decade, K+C has presented performances around the world at venues including The John F. Kenne-dy Center for the Performing Arts, Summer-dance Santa Barbara, New York City Center, The Joyce Theater, the American Dance Festi-val, Bates Dance Festival, the Guggenheim in Bilbao, Spain, and more. K+C celebrated its 10th Anniversary Season in 2013, gener-ously supported by the Rockefeller Brothers Fund. In 2017, K+C embarked on a tour to Cote d’Ivoire, Ethiopia, and Tunisia as a part of the sixth season DanceMotion USA, a program sponsored by Brooklyn Academy of Music and the U.S. Department of State.

In 2017/2018, K+C looks forward to sharing a special program in celebration of Leonard Bernstein’s centennial in cities coast to coast through K+C Celebrates Bernstein. Follow the conversation on Instagram and Twitter @keigwinandco and #KcoTour.

LARRY KEIGWIN (Artistic Director) is a native New Yorker and choreographer who has danced his way from the Metropolitan Opera to downtown clubs to Broadway and back. He founded KEIGWIN + COMPANY in 2003, and as Artistic Director he has led the company as it has performed at theaters and dance festivals around the world. KEIGWIN + COMPANY presents Keigwin’s electrifying brand of contemporary dance on a myriad of stages including The Kennedy Center, The Joyce Theater, Works & Process at the Guggenheim, and New York City Center, among others. Since his company’s premiere performance at Joyce Soho in 2003, Keigwin has created dozens of dances for himself and his dancers, as well as for Paul Taylor’s American Modern Dance, Royal New Zealand Ballet, The Martha Graham Dance Compa-ny, New York Choreographic Institute, The Juilliard School, Vail International Dance Fes-tival, and many others. His work in musical theater includes choreography for the 2011 production of the musical Tales of the City at the American Conservatory Theatre in San Francisco, and the off-Broadway production of Rent, for which he received the 2011 Joe A. Callaway Award from the Stage Directors and Choreographers Foundation. In 2013, Keigwin choreographed the Broadway musi-cal If/Then, starring Idina Menzel.

Keigwin has designed and choreographed special events including “Fashion’s Night Out: The Show” in New York, which was produced by Vogue magazine and featured more than 150 of the industry’s top models. Keigwin also has mounted several versions of Bolero, his acclaimed large-scale commu-nity project that has been commissioned by communities across the country. Keigwin has created Keigwin Kabaret, a fusion of modern dance, vaudeville, and burlesque presented by the Public Theater at Joe’s Pub and by Symphony Space. As a dancer, Keigwin has danced at the Metropolitan Opera in Doug Varone’s Le Sacre Du Printemps and Julie Taymor’s The Magic Flute, in addition to his work with Mark Dendy (receiving a Bessie Award in 1998 for his performance in Dream Analysis), Jane Comfort, John Jasperse, Doug Elkins, Zvi Gotheiner, and David Rous-seve. He appeared in the Broadway show Dance of the Vampires, the Off-Broadway show The Wild Party, and the Julie Taymor Oscar-nominated film Across the Universe. He is a co-founder of the Green Box Arts Festival in Green Mountain Falls, Colorado, a multi-disciplinary festival designed to increase cultural opportunities in the region as well as provide creative residencies to young emerging choreographers. Keigwin is a member of the Stage Directors & Choreog-raphers Society.

ZACKERY BETTY (Dancer) Zackery Bet-ty-Neagle is a native of Maine but now calls the Big Apple his home. Zackery received his BFA in Dance with a concentration in Jazz from Marymount Manhattan College and

while studying performed works by Twyla Tharp, Emery LeCrone, Larry Keigwin and Cherice Barton. Zackery performs and choreo-graphs with his husband for N Squared Dance Company and also works for Tami Stronach Dance in Brooklyn. He was a guest artist for KEIGWIN + COMPANY for Keigwin Kabaret 2014 and performed “Exit Like An Animal” at the Joyce Theatre 2015.

BRANDON COLEMAN (Dancer) from Katy, Texas, is a graduate of the University of Ari-zona, where he received his BFA in Dance and BA in Communication with a minor in Arts Ad-ministration. He attended Springboard Danse Montréal in 2016 and 2017 and received additional training from River North Dance Chicago and Keigwin + Company. Coleman toured throughout China with Art.If.Act Dance Project, assisted Sam Watson at the Tanz Boz-en- Bolzano Danza International dance festival in Bolzano, Italy, and performed as a guest artist with Zikr Dance Ensemble in Denver, CO. Formerly a member of Visceral Dance Chi-cago, Coleman has also worked with Hubbard Street Dance Chicago as a guest artist for their 2017 Summer Series. Brandon is excited to be a part of K+C Celebrates Bernstein.

BRANDON COURNAY (Associate Artistic Director) is a New York City-based dancer, choreographer, teacher, and entrepreneur. He is originally from Walled Lake, MI and received his BFA in Dance from The Juilliard School. He danced for K+C for seven years. As a freelance artist, Brandon has performed in the Radio City Christmas Spectacular and with the Mark Morris Dance Group,

40 41

The Metropolitan Opera Ballet, New York Theatre Ballet, The Chase Brock Experience, Company XIV, Schoen Movement Company and Morphoses. TV/Film/industrial credits include PBS’ Great Performances, Musical Chairs (HBO), Puma, Sesame Street, and Target. He has been the Associate Choreog-rapher/Movement Director for My Fair Lady (Bay Street), The Wildness (Off-Broadway), Coriolanus (Off-Broadway) and I Am Anne Hutchinson/I Am Harvey Milk, starring An-drew Lippa and Kristin Chenoweth. Brandon danced with K+C for seven years before transitioning into his current role.

GINA IANNI (Dancer), a native of St. Louis, Missouri, began her training under the direction of Tracy and Debbie Daven-port. She graduated cum laude with a BFA in dance from Marymount Manhattan College, where she was awarded the department’s highest honor, a gold key, for demonstrat-ing excellence in her field. Since then, Gina has enjoyed working in both the concert and commercial realms of dance. She was a member of TAKE Dance as well as the Steps Repertory Ensemble. Gina has worked with Beyoncé, been featured at New York Fashion Week, and appeared on TV for America’s Got Talent, NBC’s Red Nose Day, and BET’s 106 & Park. Other industrial credits include AXE, Pepsi, and Tommy Hilfiger. Gina is also a cer-tified Pilates instructor and has been teaching since 2011.

NICHOLAS RANAURO (Dancer) is a 2014 graduate of The Juilliard School. Professional credits include Cia Tania Perez-Salas, iLumi-

nate; Artist of Light, NBC’s Maya and Marty, Andy Blankenbuhler’s Joseph... Dreamcoat, The Broadway Dance Lab, and Elf the Musi-cal. Most recently he created the role of Jim in Seeing You, an immersive experience co-di-rected by Randy Weiner and Ryan Heffington. As a choreographer Nicholas has presented work in the New York Jazz Choreography Project, the Pushing Progress Showcase Series, and BC Beat Spring 2017. Nicholas continues to explore branding his work under the title dancecandy (instagram@dancecandy_). GYROTONIC® certified. Represented by CESD Talent Agency.

RANDI RIVERA (Production Stage Manager) is a native New Yorker. She holds a BA in Theater from Hamilton College, studied Technical Theater at the Royal Welsh College of Music & Drama, and Production Management at Universidad San Pablo (CEU) in Madrid, Spain. Randi is the Stage Manager & Lighting Director for Half Straddle theater company, traveling both internationally and domestically with their work since 2012. Additionally, Randi proudly works with many performing arts organizations both in NYC and on the road. Favorites include Faye Driscoll Group, Sidra Bell Dance NY, New York City Players, Phantom Limb Company, and Doug Elkins Choreography etc. She is thrilled to be part of the K+C team. All of her work is for her family.

EMILY SCHOEN (Dancer) has received the Gibney Dance boo-koo grant for emerging artist in NYC, a Princess Grace Choreogra-phy Fellowship nomination by METdance in Houston, and was called “Top 25 to Watch”

by Dance magazine. She has danced for Kyle Abraham/Abraham.In.Motion, Nejla Yatkin, the Metropolitan Opera in works by Doug Varone and Mark Morris, the 50th Anniver-sary Rolling Stones Reunion Tour, and has been with Keigwin + Company since 2011. Her own group, Schoen Movement Com-pany, has been presented at Jacob’s Pillow Inside/Out, Joe’s Pub, and recently at the Tunisian National Theater in Tunis, Tunisia with the support of DanceMotion/USA, the US Embassy in Tunis, and American Dance Abroad. SMC has also produced Happy Hour dance shows in breweries and the mini dance film series “Ten Tiny Dances.” She sets work on companies and universities throughout the US. She graduated from the University

of Arizona with her BFA in Dance and BS in Nutritional Sciences, and is a proud Wiscon-sinite! Schoenmovementcompany.com

REBECCA VAN DOVER (Dancer) is origi-nally from Pueblo, CO, where she began her training at the Sangre de Cristo Arts Center. She graduated from the University of North Carolina School of the Arts with a BFA in Contemporary Dance with the help of the Carolyn L. Bailey Scholarship, Anna and Thomas Catham Scholarship, and grants from the Semans Art Fund. Rebecca has had the pleasure of performing works by Trisha Brown, Paul Taylor, Martha Graham, Ming Lung-Yang, Kira Blazek, Juel Lane, and Roza Savalyeva.

KEIGWIN + COMPANY

42 43

Thank you for supporting The Soraya’s 2017–18 Season with your annual contributions!

CHAMPIONS$50,000 - $100,000

Josephine ’61, M ’70 & Robert BarberaSheila Kurland ’78

& Stanford L. Kurland ‘75Edward K. Burke ’59, MA ‘69Colburn Foundation$25,000 - $49,999

Evelyn Bautista TrustDignity Health – Northridge

Hospital Medical CenterThe Ralph M. Parsons

Foundation$10,000 - $24,999

Carol Colburn GrigorHorace Heidt

Big Band FoundationFanny & Svante Knistrom

FoundationDavid C. LeeSaint Nicholas FoundationKathleen P. MartinJulia Strickland

& Timothy S. WahlAnthony & Jeanne Pritzker

Family FoundationElizabeth Ann PurcellRandolph A. Rice ‘75Linda Swarzman & Judd T. Swarzman CLUDr. Carol ShubinOwen W. and Christine H.

Smith EndowmentBob Stiefel ‘67 &

Ed T. Imparato

PATRONS$5,000–$9,999

Dr. Gail F. Fonosch ‘68Labowe Family FoundationSherry LapidesLatino Educational FundNeda Nobari FoundationAnne M. Payne ‘65 &

John T. PayneJudith S. & John F. Rothman Dr. Raul RuizDebbie Valera & Milt Valera ‘68$1,000–$4,999

Jeffrey M. Abell & Linda AbellNorma AndradeJeffrey Baker & Rodney DavisDr. Marlene BanePaul J. Beress ‘69Bill BergRosalyn & Neal Berg ‘80Jane Berk & James G. Berk ’81Dr. Shari A. Tarver-Behring & John D. BehringChuck Berney & FamilyDavid C. BohnettIrene & Dr. Stuart D. BoydJoan Reynolds BoyettRobert F. & Susan Pfeiler BrownSuzan L. Brownlee &

Dr. Don R. BrownleeMargot & Joe CalabreseCatherine &

Dr. Donald Cameron Ph.D.Allison ClagoJennifer & Royce DienerKaren D. Enzer ‘82 &

Earl S. Enzer ‘83Jilanne Fager ’63, M.A. ’72 &

Richard FagerDr. Bonnie Faherty &

Edward G. Feldman

Fred FisherThomas J. FordDeanna & Jim GormanMarian & Jerome GouldKaren W. Harper & Don HarperTama HolveChristina JaskiewiczGeorge A. Johnson Sr. Jon & Susan JoyceSeljuk KardanPatricia A. Kiddoo & Dr. Robert J. Kiddoo ‘69Sandra L. Klasky & Irving KlaskyJulianna KorensteinDeirdre M. Larkin &

Edwin C. TingstromMarla Lefton ’83 & Cary LeftonAliza & Michael J. LesserHelen Gordon Lowy M.P.H.’75

& Alan LowyRobert MendowParry Weet O’Brien &

Edward O’BrienParadoxical Pictures Inc.Francine Oschin ‘84, MA ‘85Maria S. ParedesDr. Mary T. Pattiz & Norman PattizThe Hon. Joy & Dr. Gerald PicusBarbara & Sheldon PinchukNancy J. PorterCarolyn Clark PowersJoyce & David PrimesDr. Cynthia Z. Rawitch &

Robert J. Rawitch ‘67Andrea Reinken ’80 & Don ReinkenChristi Robinson ’07 &

John RobinsonCharlene M. Sievers ‘74 &

Mike SieversThor Steingraber

THE SORAYA DONORS 2017-18 THE SORAYA DONORS 2017-18

Dr. Paulette ShafranskiManja & Dennis K. SwansonLinda & Judd T. SwarzmanMarcella & Richard TylerVillage Travel StoreFlorentina West

FRIENDS$500–$999

Dr. Annette A. Besnilian ‘13 &George G. Besnilian

Sandra & Ronald Friedman ‘70Sharrise Gilbert ’76 &

Michael W. GilbertYvonne L. GreenWendy KelmanLinda KleigerAnn Lowe &

Raymond W. Lowe ‘84Marcia M. & Steven H. MedofNatalie & Jeffrey M. NoblittJoAnn S. Roth &

Leonard J. RothPeggy T. Robin ’75 &

Edward B. RobinJill ShindermanCharlene Sievers ’74 &

Mike SieversRenee TepperAlma R. Zatarain$100–$499

Nancy & Dr. James AllenLeslie & Thomas BeersJudy BenedictStephen T. Brown ‘87Jean O. Buesing &

Gregory P. BuesingChristine Burdick-BellPatricia J. BurgRegina ChinwezeBarbara Coffey

Anna CohenEileen Cordi ’75 & James M. CordiSusan Levy D’Anna &

Joseph R. D’AnnaGuadalupe Diaz ‘99Kathleen H. Dooley &

Charles T. DooleyDaniel J. Duehren ‘72Suzanne H. EpsteinThomas J. FordRuth L. Forman MA ‘79Lila GellerSuzette Gordon & Jon ZuberMarjorie HendersonToni HertzLindsay A. Hill ‘82Ms. Karyl A. Hirschmann ‘76Louis L. Hoban ‘98Araya HoisungPamela JacksonRebecca A. Jacobson &

Kenneth A. JacobsonBrenda Kanno Jean KatzBea F. Kaye & David KayeLillian KimbellDr. Barbara Kornblau ‘74 &

Dr. Donald KornblauAnna LehrerHarriet & Dr. Eric R. LeibovitchElizabeth Lesan & Katsuyoshi NishimotoCarolyn LevineJennifer LeonardBarbara & Gary LuboffMelody Mansfield ‘90 & Jerry MansfieldAndreas Marbach ‘76Kathleen Metrovitsch ‘70 &

Paul J. Metrovitsch ‘69Patricia I. Miller ‘72, MA ‘76 &

Robert H. Miller ‘73Marisa MorabitoRichard A. PackardDmitry RachmanovNorma RahlShelley B. Rivlin ‘68Nicholas S. Rolf ‘05Ken Howard & Michael RyanHelene Schacter &

Dr. Robert SchacterRoberta & Dr. Ronald SchafferFred ScholderMary F. ScottVivienne Steele &

Frank R. SilkwoodFrances A. Stengel &

Arnold L. StengelDonna H. Talamantez ‘77Jose L. TejedaLigia E. Toutant ‘03 &

Dr. William P. ToutantEva Unite

THE SORAYA LEGACY GIFTS

Evelyn V. Bautista*Paul J. Beress*Ed BurkeJanet A. KaplanHoward F. Layne*Larry LayneJoy N. PicusClyde R. Porter*Carol Ann S. ShubinBob Stiefel

*Deceased

44 45

THE SORAYA FOUNDING DONORS THANK YOU FOR YOUR GENEROUS SUPPORT!

THE SORAYA GREAT HALL

CORNERSTONE FOUNDERS

$5,000,000+

Linda and Mike Curb ’63, Hon. D. ’09

FOUNDERS

$1,000,000 - $4,999,999

Mary ’63 and Jack Bayramian Jean and David Fleming Hon. D. ’09 Sheila and Stanford L.

Kurland Family Foundation The Ralph M. Parsons FoundationNancy and Clyde Porter Nextel CommunicationsOffice of Supervisor Zev Yaroslavsky

$500,000 - $999,999

The Ahmanson Foundation Office of Supervisor Michael D. Antonovich CSUN Foundation Board Follett Higher Education Group

Joseph Drown Foundation Larry Layne and Sheelagh BoydMuriel Pollia Foundation

FOUNDING BENEFACTORS

$100,000 - $499,999

Josephine ’61, M ’70 and Robert BarberaDr. Ami and Remo BelliCalifornia Community Foundation CSUN Alumni AssociationRobbi and Rickey GelbLawrence K. Gould, Jr.The Green FoundationHGA Architects and EngineersMary and Samuel Bond Haskell, IIISherry and Albert Lapides M ’68Virginia ManciniMGM and UA Service CompanyNational Notary AssociationNorthern Trust, NALisa and Charles Noski ’73, M ’95,

Hon. D ’07Valerie and Sanford P. ParisJoAnn and Leonard RothEda and Robin Rousselet ’79, M ’97, M ’10State Farm InsuranceU.S. Congressman Brad ShermanBob Stiefel ’67 and Ed ImparatoManja and Dennis SwansonMilt ’68 and Debbie ValeraValley Alliance for the ArtsWalter Lantz FoundationWells Fargo

FOUNDING DISTINGUISHED PATRONS

$25,000 - $99,999

ADP FoundationEdythe and Eli BroadLinda BrownNancy CartwrightCharlene and Burton Sperber Foundation

Karen Dunbar-Enzer ’81 and Earl Enzer ’83Jaleh ’86 and Galen EtemadIlene and Stanley GoldGoldman Sachs & Co.John Golisch ’72Cynthia Haas Griffeth ’78 and William C. Griffeth ’80Elizabeth Levitt HirschHorace Heidt Big Bands FoundationJanet and Benjamin KaplanEllie and Mark LainerElizabeth and Howard LayneMarla and Cary LeftonDr. Jolene Koester and Dr. Myron W. LustigErika and Gus Manders ’64Timothy Miklaucic and Ana Loehnert Miller, Kaplan, Arase & Co., LLP Barry J. NadellWalter J. Perez, Calif. Industrial Grp. Corp.Samuel Goldberg & Sons Foundation, Inc.Stern Family FoundationValley Presbyterian Hospital

THE SORAYA AMBASSADORS ADVISORY BOARDJeffrey BakerDr. Marlene BaneIrene M. BoydJoan BoyettSusan Pfeiler BrownEd K. Burke ’59, M.A. ’69 Dr. Donald CameronRodney DavisNancy EasterlyJilanne Fager ’63, M.A. ’72

Deanna GormanKaren HarperTama HolveMiriam JaffeGeorge A. JohnsonJulianna KorensteinSherry LapidesMarla Lefton ’83Genein LetfordHelen Gordon Lowy M.P.H. ’75

Alan LowyFrancine Oschin ’84The Hon. Joy PicusBarbara PinchukAndrea Reinken ’80Christi Robinson ’07Dr. Carol ShubinEllen R. Stohl ‘94Dr. Shari Tarver-BehringMarcella Tyler

46 47

FREE STUDENT MATINEE WITH POWERHOUSE FLAMENCO DANCER LEILAH BROUKHIMMONDAY, JANUARY 22, 2018 12PM (1HR.)(Grades 3-12) | Great Hall

Leilah Broukhim returns to The Soraya after her wildly popular performance in 2015, this time to introduce K-12 students to the rich history and scintillating energy of flamenco dance and music. Ms. Broukhim will also discuss the incredible diversity within flamenco by sharing the personal story about her own Jewish and Persian heritage. A Q & A with students will follow the performance.

K+C reaches national and international audiences and invigorates diverse communities with a refreshing vision of dance that embodies a theatrical sensibility of wit, style, and heart. CSUN and select high school dancers will be treated to a professionally-led Master Class to introduce them to the Keigwin brand of dance and repertory. The repertory the students will learn will be featured in the KEIGWIN + COMPANY Celebrates Bernstein performance in the Great Hall.

ARTS EDUCATION

ARTS EDUCATION CELEBRATESDANCE IN THE NEW YEAR

ART GALLERY | LOGE LEVEL

The object in view assumes an exalted place: modern painting is a painting of the object. In it, Nature becomes a fragmented space, made of objects solitary and terrible because the links between them are only potential. Nobody chooses them for a privileged meaning, or a particular use, or some service; nobody imposes a hierarchy on them, nobody reduces them to the manifestation of a mental behavior, or of an intention, of some evidence of tender-ness. Bill Jehle (b. 1952, El Centro, CA) is the son of architect William Jehle and ceramicist/painter Marguerite. Jehle received his BFA from CalArts in 1974 and currently divides his time between Topanga Canyon and his cabin in Southern Colorado.

OBJECTS SOLITARY AND TERRIBLEBILL JEHLE

JANUARY 19 – MARCH 18, 2018

ARK, 2017, NOVACOLOR, PENCIL, INK ON PAPER, 42X30IN COPYRIGHT BILL JEHLE 2017 ARS/NEWYORK

KEIGWIN + COMPANY

MASTER CLASS WITH KEIGWIN + COMPANYFRIDAY, FEBRUARY 2, 2018Zev Yaroslavsky Rehearsal Room

49

TICKETS & ORDERING

Sign up for “My VPAC Account Manager.” My VPAC Account Manager is Younes and Soraya Nazarian Center for the Performing Arts’ way of providing you the best service to take care of your ticketing subscription online. Visit the site to sign up today. You may renew or purchase a new subscription with this feature.

IN PERSONTHE SORAYA TICKET OFFICECALIFORNIA STATE UNIVERSITY, NORTHRIDGE18111 NORDHOFF STREETNORTHRIDGE, CA 91330-8448

The Ticket Office is located to the north of Younes and Soraya Nazarian Center for the Performing Arts’ courtyard on Orange Grove Walk across from the Matador Bookstore. Patrons may park in the G3 Parking Struc-ture located on Zelzah and Prairie streets.

HOURS OF OPERATIONTUESDAY THROUGH SATURDAY, 11 A.M. – 4 P.M. (HOURS ARE SUBJECT TO CHANGE)

CONNECT WITH US!

Want the latest information and special offers from The Soraya? Make sure you sign up for our e-newsletter.

Just visit our website and click the option on the upper-right hand corner.

We know you’ll enjoy it!

VALLEYPERFORMINGARTSCENTER.ORG

VPACatCSUN

WE GRATEFULLY ACKNOWLEDGE THE FOLLOWING SPONSORS AND PARTNERS FOR THESE EVENTS

Southern California Public Radio

MEDIA SPONSORS

ONLINEVALLEYPERFORMINGARTSCENTER.ORG

50

JOIN US!

Younes and Soraya Nazarian Center for the Performing Arts’ generous supporters make it all happen—from arts education for young students to a sustainable future for The Soraya’s extensive programs and state-of-the-art facility.

The Soraya loves to shower its supporters with recognition and perks, so please consider joining our family. In addition to invitations to special events, annual contributions of $2,500

qualify for Porter Pavilion membership (full-season subscribers are in for $1,500). Porter Pavilion is open before evening performances, with complimentary drinks and a quiet place to sit with friends.

For more information on how to make a gift to The Soraya, please contact Maria Paredes at 818.677.8849.

PORTER PAVILION

VALLEY PERFORMING ARTS CENTER RENAMEDin Honor of Younes and Soraya Sarah Nazarian’sTransformative Gift

“We found the perfect opportunity to impact theentire region by supporting two of our family’smost treasured values — education and the arts.” —Younes Nazarian

From left to right: Soraya Sarah, Younes, and Sharon Nazarian

171024_BookletAD_Nazarian_5.5x8.5.indd 1 10/24/17 1:40 PM

9/16 AMADEUS LIVE with Los Angeles Chamber Orchestra and LA Opera

9/28 Cheech Marin Hosts an Evening of Comedy

10/12 Academy of St Martin in the Fields Chamber Ensemble Onstage Sessions: Chamber Music

10/14 Upright Citizens Brigade All-Stars

10/19 Maceo Parker: To Ray with Love A Special Tribute to Ray Charles, The Ray Charles Orchestra & The Raelettes

11/ 2 Moscow State Symphony Orchestra Pavel Kogan, Conductor

11/ 4 Flamenco Legends by Javier Limón: The Paco de Lucía Project

11/11 DIAVOLO: 25-Year Anniversary Marathon Free festival starts at 11AM

11/14 The Sachal Jazz Ensemble–Song of Lahore Onstage Sessions: Jazz

11/17 Bernstein on Stage John Mauceri, Conductor

11/18 iLe, Special Guest Gaby Moreno

1 1/19 Imago Theatre, La Belle, Lost in the World of the Automaton Plaza del Sol Performance Hall

11/30 Anat Cohen Tentet

12/3 Hansel & Gretel: A Wickedly Delicious Musical Treat

12/6 Eliot Fisk, Guitar; J.S. Bach Cello Suites Onstage Sessions: Chamber Music

12/8 A Michael Feinstein Holiday Celebration

12/9 Fiesta Mexicana: Feliz Navidad

12/10 Colburn Orchestra Yehuda Gilad, Conductor Free Performance

12/16 The Klezmatics Happy Joyous Hanukkah

1/19 Juan de Marcos and the Afro-Cuban All-Stars with Harold López-Nussa Trio

1/ 21 Leilah Broukhim, Flamenco Dance

1/ 26 The Royal Philharmonic Orchestra Thierry Fischer, Conductor

2/3 KEIGWIN + COMPANY Celebrates Bernstein

2/9 Step Afrika! Migration: Reflections on Jacob Lawrence

2/11 MUMMENSCHANZ, you & me

2/16-18 MARIACHI VARGAS DE TECALITLÁN Cruzar la Cara de la Luna

2/21 Danish String Quartet Onstage Sessions: Chamber Music

2/24 On the Waterfront Film with Live Orchestra Score by Leonard Bernstein

2/25 Dublin Irish Dance, Stepping Out

3/1 Miles Electric Band

3/3 The TEN Tenors

3/11 Yamato—The Drummers of Japan

3/15 Academy of St Martin in the Fields Joshua Bell, Director & Violin

3/18 Manual Cinema, The Magic City Plaza del Sol Performance Hall

3/29 Kathleen Battle, Underground Railroad: A Spiritual Journey

4/5 The Clayton-Hamilton Jazz Orchestra

4/7 Aspen Santa Fe Ballet

4/13-15 Rodgers & Hammerstein’s South Pacific

4/18-19 Cécile McLorin Salvant Onstage Sessions: Jazz

4/21 ¡La Nueva Cuba! The Next Generation

4/26 Amir ElSaffar’s Two Rivers Ensemble Onstage Sessions: Jazz

4/28 LA Opera presents Great Opera Choruses Free Performance

5/1-2 Terence Blanchard Breathless Featuring The E-Collective Onstage Sessions: Jazz

5/5 Quetzal with Mariachi Flor de Toloache

5/12 An Evening with David Sedaris

6/2 Billy Porter, The Soul of Richard Rodgers

YOUNES AND SORAYA NAZARIAN CENTER FOR THE PERFORMING ARTS 2017-18 SEASON

ValleyPerformingArtsCenter.org