Carolina Performing Arts Program Book 2

7/21/2019 Carolina Performing Arts Program Book 2

1/48carolina perorming arts10/

Carolina

Performingarts 2010/11

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Wednesday, November 10 at 7:30 PM

Thursday, November 11 at 7:30 PM


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When the temperature begins to drop, taking us into all and then winter, lie starts to eel

crisper, clearer, more ocused. As our sticky Southeastern summer nally lets go, and in itsplace come bright leaves and a sort o electricity in the air, its like I see the world through di-erent eyes, taking new interest in things I had stopped noticing. As the natural world reinventsitsel during this exciting time o year, I am constantly reminded o the great power o the ar tsto sharpen our ocus, change our perspectives and orce us to view ourselves in new light.

With this years Carolina Creative Campus, Voices o Dissent: An exploration o speaking up,acting out, being against, thinking dierently, nding a voice, we seek to explore this greatpower. Again and again, throughout histor y and today, artists have used their gits to call theworld into question, orce us out o complacency and challenge us to look critically at issueswe might rather ignore. With Voices o Dissent, we hope to start a rich dialog about how andwhy artists have chosen to speak up, and how they have ound a voice.

Through a series o perormances, discussions, lectures and exhibits, Voices o Dissent en-

gages the greater campus community, working to connect passionate thinkers and creators inthe area with the incredible array o talented artists who will visit us this year. To me, thereis no more rewarding experience than watching something click in the mind o a student ora community member, to watch a perspective shit, to see a light turn on in the process ograppling with the arts.

A huge and important par t o the work we do at The Oce o the Executive Director or the Ar tstakes place outside o Memorial Hall, working with ar tists to build relationships, spark dialogand enliven the atmosphere o our community. Just like the changing o the seasons, I can eela tangible change in the atmosphere o the place as our visiting ar tists nd their way into thecommunity, inspiring and challenging us to think deeper, to eel more prooundly.

As the season changes, and lie in this community reaches its highest pitch, I invite you to discoverthis great power o the arts. Whether you engage with our artists on the Memorial Hall stage, in thevarious events that make up our Voices o Dissent series, or hopeully both, I encourage you to

ocus in, open up and let the arts give you new perspective. You may surprise yoursel. You may ndyoursel standing up, speaking out, nding a voice you never knew was there.

scy,

Emil J. KangExecutive Director or the ArtsDirector, Carolina Perorming ArtsProessor o the Practice, Department o Music

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2010/11season

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aCKnoWleDgmentsCarolina Perorming Ar ts grateully acknowledges the generouscontributions o time, energy and resources rom many individualsand organizations including the Oce o the Provost, Oce o theChancellor, University Advancement, Department o Public Saety, theFaculty Council, Student Body Government and UNC News Services.

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Perrmg Ar ar .

aDministrative staffEmil J. Kang Executive DirectorKelly Boggs Audience Services ManagerMichelle Bordner Director o Artist RelationsPriscilla Bratcher Director o DevelopmentAmy Clemmons Development Assistant

Reed Colver Director o Campus and Community EngagementJennier Cox Administrative AssistantMary Dahlsten Box Oce ManagerButch Garris Production ManagerErin Hanehan Campus and Community Engagement CoordinatorMatt Johnson Production ManagerMelchee Johnson Development and Stewardship ManagerMike Johnson Director o OperationsHarry Kaplowitz Marketing ManagerKara Larson Director o Marketing and Public RelationsSean McKeithan Marketing and Communications CoordinatorDan McLamb Tessitura Systems AdministratorMeghan McNamara Artistic CoordinatorMelissa Peng Campus and Community Engagement CoordinatorMelody Pineda Artistic Assistant

Mark Steen Events ManagerPaul Wilson Blackbaud Data SpecialistTammy Womack Human Resources and Finance Manager

memorial Hall Box offiCe stuDent staffSteanie DeleonSarah JastramSarah JohnsonJenny KreizmanBill KumpStephanie SunJonathan Thomas

Devon HaasSavannah HaasRebecca WatsonKatie LundsgaardGrace OranThomas Wiggins

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This program book would not be possible without the advertiserswho support it. Their patronage means this inormation is availableto you without cost to Carolina Perorming Arts. We extend ourgratitude and encourage you to thank them, as well.

The Carolina Perorming Arts programs are published and designedby Opus 1, inc., in cooperation with Carolina Perorming Arts. I youare interested in reaching our audience with your message in theCarolina Perorming Arts program book, please call or email AmyScott at (919) 834-9441 or [email protected].

CarolinaPerformingarts 2010/11

tableofcontents6 oz

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20 o Pd

22 K Bc with gd K,c d d

26 Sutrasd lb Chk / sd W ld

30 C rdz and B s

34 Nutcracker C B

10/11season

36 Important Inormation

37 Board, Endowment, Society

38 Donor Spotlight

39 Donors44 Student View

45 Advertisers Index

46 The Last Word


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sPeCialevent

ozFriday, October 1 at 8 PM

...-hlive perormances...

- Los Angeles Times

ad s: trumpet, lead vocals, pianoJ Ych: tabla, cajon, assorted percussion, background vocalsJ e n P: percussion, rap, vocalsm C: drumsr Pchc: guitar, tres, jarana, vocalsu B: saxophone, background vocals, requinto jarocho, keyboard, melodicaW-D ab: bass, marimbula

sPeCial event

Cre: J Culhar

voiCEs o dissEnt



Ozomatli

In their ourteen years together, celebratedLos Angeles culture-mashers Ozomatli havegone rom hometown heroes to US StateDepartment Cultural Ambassadors with theirnotorious urban-Latino-and-beyond collisiono hip hop and salsa, dancehall and cumbia,samba and unk, merengue and comparsa,East LA R&B and New Orleans second line,Jamaican ragga and Indian raga.

Originally ormed to play at an area laborprotest over a decade ago, Ozomatli spentsome o their early days participating ineverything rom earthquake prep hip hopghetto plays at inner-city LA elementaryschools to community activist events, pro-tests and city undraisers. Ever since, theyhave been synonymous with their city: Theirmusic has been taken up by The Los AngelesDodgers and The Los Angeles Clippers; theyrecorded the street-view travelogue Cy Agel in 2007 as a new urban anthem; andmost recently, they were eatured as part othe prominent LA gures imaging campaignWe Are 4 LA on NBC.

Proudly born as a multi-racial crew in post-uprising 90s Los Angeles, the band hasbuilt a ormidable reputation (over ourull-length studio albums and a relentlesstouring schedule) or taking party rockingso seriously that it becomes new schoolmusical activism. A avorite o internationalaudiences, they were invited by the US StateDepartment in 2007 to serve as CulturalAmbassadors on a series o government-sponsored international tours to Asia, Arica,South America and the Middle East.

For those who wondered how a band knownor its vigilant anti-war stance could becomea partner with the very Bush administrationthey so vocally criticized, the band was clearabout their position: it was all about usingmusic to promote peace and understand-ing. Using the power o their own diversity,Ozomatli is committed to addressing socialissues o local, national and internationalimportance.

fri oCt 1 | 8:00 Pm

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Ashley Lucas is an Assistant Proessor in theDepartment o Dramatic Art at The University oNorth Carolina at Chapel Hill.


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DanCe

Cd lk Cpy BFriday, October 8 at 8 PM

DanCe

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pulls viewers right h .

- The New York Times

Sunday, Again by Jo Strmgren

INTERMISSION

The Fools us Premiere by Hoesh Shechter

INTERMISSION

Hubbub WorlD Premiere by Alexander Ekman

Program



fri oCt 8 | 8:00 Pm

uer ........................................ Nancy LaurieArc drecr ................. Benoit-Swan PouerExecue drecr ............................Greg MuddCmpay Maager .....................Pamela VachonPruc Maager .........................Anita Shah

Balle Maer .......................Alexandra Damianitechcal drecr ........................ Andy CappelliPruc sage Maager ...............................

Renata Braga de AlmeidaAu ve super r ...................Dave RoggeLghg superr .......................... Jim FrenchWarrbe superr ......................Lydia FrantzPruc Elecrca/A. PM........................

Eric SchoenbergerCume shp Maager/ draper ......................

Mathew GnagyBkg ...........................................................

Margaret Selby, CAMI Spectrum LLC

Company Members

Jubal Battisti, Jon Bond, Nickemil Concepcion,Gwynenn Taylor Jones, Jason Kittelberger,Ana-Maria Lucaciu, Navarra Novy-Williams,Oscar Ramos, Matthew Rich, Acacia Schachte,Harumi Terayama, Vnia Doutel Vaz,Manuel Vignoulle, Ebony Williams, Golan Yose

Sunday, Again

Chregraphy, Jo StrmgrenAa he Chregrapher,

Alexandra DamianiLghg deg, Jim French and

Jo StrmgrenCume deg, Junghyun Georgia LeeMuc,

Jesu, meine FreudeMotet No. 3 in E minor, BWV 225-230by Johann Sebastian Bach, MaitriseDes Petits Chanteurs de Versailles,Concert Saint Julien,Direction Jean-Franois Fremont

Program Notes

suay, Aga is rst o all a piece that tries torefect the diversity in Johann Sebastian Bachs

music. Abstract movement patterns are woventogether in ugal ways, not unlike the baroqueway o assembling melodic phrases and orna-mentations. Secondly, and on an associativelevel, it thematically treats the domestic jungleo luxury problems and gender rictions. As thetitle suggests, there is always the irritating andinevitable Sunday that orces couples to testtheir coexistence abilities. Leisure time is notgood or certain types o relationships.

- J srmgre

Jo Strmgren

Following studies with the National Collegeo Ballet and Dance in Oslo, Jo Strmgren

joined Carte Blanche Dance Company inBergen as a dancer and choreographer. In

his three years with the company, he gaineda proessional base or his later work, mix-ing his own dances with the varied repertor yo Mats Ek, Rui Horta, Jorma Uotinen, Jensstberg and Itzik Galili. Ater a major kneeinjury, Jo became a ull-time choreographer.

Artistic recognition came suddenly withthe hysterically rantic schz sre, a75-minute one-man show about neurosiswhere his distinct body language and mixo absurd humor and dark psychology stoodout clearly. Multi-talented, Jos work involvesmusic composition, set design, costume

design and lighting design in addition toperormance, choreography and theaterdirection. He is also an emerging playwrightand screenwriter. In 2003, he made his de-but as a eature lm director with colleagueRunar Hodne, leading him to an interest indramaturgy and psychologically motivatedperormance qualities.

Jo has received commissions rom Balletde lOpera National du Rhin (France),Ballett Nrnberg (Germany), Iceland DanceCompany, The Norwegian National Ballet,New Danish Dance Theatre, Norrdans

Dance Company (Sweden), Oslo DanceEnsemble, Repertory Dance TheatreUtah (USA), Cloud Gate (Taiwan), JuniorBallet de Conservatoire de Paris, SknesDanseteater (Sweden), National Academyo Theatre Oslo, National Academy oTheatre Stockholm, National College oBallet and Dance Oslo, National Academy oDance Stockholm, IT Dansa Barcelona, DenNationale Scene (Norway), The Norwegian

National Theatre, Torshovteatret (Norwaylvsborgsteatern (Sweden), TrndelaTeater (Norway), Junior Ballet Prague (CzecRepublic), Helsinki Dance Company (Finland)

Stadttheater Bern Ballett (SwitzerlandABCDancecompany (Austria), Vienna StatOpera Ballet (Austria), The Royal DanisTheatre, The Royal Danish Ballet and ThRoyal Danish Opera.

The Fools

Chregraphy, Hoesh ShechterAa chregrapher, Bruno GuilloreLghg deg, Hoesh ShechterAcae Lghg deger, Jim FrenchCume deg, Hoesh ShechterCume deg Aa, Mathew Gnagy

Muc, Hoesh ShechterAal Muc, Giuseppe DomenicoScarlatti: Sonata in B minor, K. 87:

Andante, perormed by Ivo Pogorelich.Sergio Mendes: KABULA LE LE 100%

Interest (Carlinhos Brown) 1992Warner-Tamerlane Publishing Corp. (BMI)All rights reserved. Used by permission.

Hoesh Schechter

An Associate Artist o Sadlers Wells and winner o the Critics Circle National Dance Awaror Best Choreography (modern) in 2008

Hoesh Shechter is one o the UKs mosexciting artists.

As a member o the world-renowned BatshevDance Company in Tel Aviv, he worked witArtistic Director Ohad Naharin and choreographers including Wim Vandekeybus, PauSelwyn-Norton, Tero Saarinen and InbaPinto. He studied drums and percussion anparticipated in various European projects involving dance, theatre and body percussion


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In 2002, he joined the Jasmin VardimonDance Company in the UK.

His choreographic debut ragme, or whichhe created the score, won rst place in the3rd Serge Diaghilev choreography competition.In 2004, Hoesh was commissioned by ThePlace Prize to create the sextet Cul, winnero the Audience Choice Award. From 2004-2006, he was Associate Artist at The Placeand was commissioned by the Robin HowardFoundation to create his ever-popular Uprg.These three works ormed eGEnERAtion,Hoeshs rst evening-length work.

In 2007, The Place, Southbank Centre andSadlers Wells, Londons three major dancevenues, commissioned Hoesh to create i

yur rm, nominated or a South BankShow Award and winning the Critics CircleAward or Best Choreography (modern).

Hoesh has been commissioned by BareBones Dance Company, Edge, Verve, StopGAPDance Company, Scottish Dance Theatre,

CandoCo and Dance United. Internationally,he has worked with Ballet CeDeCe (Portugal),Hellenic Dance Company (Greece), BernBallett (Switzerland), Skanes Dansteater(Sweden) and Carte Blanche Dance Company(Norway). In 2008, he ormed the acclaimedHoesh Shechter Company.

Hoesh worked as choreographer at TheRoyal Court Theatre or Mrw by SimonStephens (2006), the Ar (2007), theNational Theatres award-winning sa Ja(2007) and the hit dance sequence Maxxedaceor the opening o the second series

o Channel 4s popular drama sk.

Hubbub

Chregraphy, Alexander EkmanAa Chregrapher,

Alexandra DamianiLghg deg, Jim FrenchCume deg, Alexander EkmanCume deg Aa, Luke Simcocktex, Spenser ThebergeMuc, Alexander EkmanAal Muc, Amapola, Isle o Capri

and Sibone (Instrumental) perormedby Xavier Cugat rom La CucarachaThe Hits o Xavier Cugat,2006 Prestige EliteChopin: ncure, Op. 9-2. #2 In E fatperormed by Peter Schmaluss

vara 8 & 1 by Johann SebastianBach, perormed by New EuropeanStrings Chamber Orchestra

Program Note

Hubbub is a rhythmical group piece aboutparticipation and crit icism. We ollow a crowd

through their weekly perormance ritual whilea commentator suggests the right answersto the meaning o the piece.

- Alexaer Ekma

Alexander Ekman

Swedish choreographer Alexander Ekmanis a hot commodity on the European dancescene, known or his clever ideas, ast-pacedchoreography and humor.

He joined the Royal Swedish Ballet at 16,continuing his dance career with NederlandsDans Theater rom 2002-2005 and joiningSwedens Cullberg Ballet in 2005. Nowchoreographing or some o the most pres-tigious dance companies in the world, hisbreakthrough came in 2006 with lckwrkorNederlands Dans Theater 2 he also createdmusic and scenography or the piece.

He has been commissioned by CullbergBallet (Sweden), Nederlands Dans Theater1 and 2, Gothenburg Ballet (Sweden), Ballet

de Lopra du Rhin (France), Bern Ballet(Switzerland), IT-Dansa (Spain), Iceland DanceCompany (Iceland), Ballet Junior de Genve(Switzerland), Royal Swedish Ballet (Sweden)and Stockholm 59 North (Sweden).

Mentioned by Ballet Tanz as a Choreographerto Watch, he was nominated or the GrimanAwards in Iceland or sa Grey Lasp. In 2005, he won the Critics Prize inthe Hannover choreographic competitionor the swgle ser, which was addedto Cullberg Ballets repertory. He receivedthe prestigious Drottningholm Scholarship in

Sweden, and in 2008 he was asked to cre-ate ve dance installations or the ModernMuseum in Stockholm in collaboration withthe Cullberg Ballet. In the coming year hewill collaborate with video artist Mats Ek onhis new play Hllpla and create new worksor Nederlands Dans Theater 2, GothenburgBallet, Cullberg Ballet and Cedar LakeContemporary Ballet.

Cedar Lake Contemporary Ballet

Founded in 2003 by Nancy Laurie, Cedar LakeContemporary Ballet has distinguished itsel

through its exceptionally talented corps oteen dancers and its concurrent emphasison acquiring and commissioning new worksby the worlds most sought-ater emergingchoreographers. Under the artistic directiono Benoit-Swan Pouer, Cedar Lake oersa wide-ranging spectrum o American andinternational repertory, including works byHoesh Shechter, Nicolo Fonte, Crystal Pite,Jacopo Godani, Stijn Celis, Angelin Preljocaj,Ohad Naharin, Didy Veldman, Jo Strmgren,Luca Veggetti and Sidi Larbi Cherkaoui.

Through their daring, athletic movement anintegration o ballet into contemporary anpopular orms, the dancers o Cedar Laktake audiences on a choreographic journethat explores the innite possibilities omovement and multimedia. Upcoming workrom 2010-11 include creations by CrystaPite and Hoesh Shechter.

Benoit-Swan Pouer,

Artistic DirectorBenoit-Swan Pouer joined Cedar Lakas Artistic Director in 2005 ollowing aextensive career as a dancer, teacher anchoreographer. Born and raised in Parishis career began with study at the prestgious Conservatoire National Superieur dMusique et de Danse where he perormeworks by such renowned French choreographers as Claude Brumachon, Daniel Larrieand Angelin Preljocaj. In 1993, he toorst place in the Benetton European DancCompetition. Pouers distinguished careeas a proessional dancer includes a sevenyear tenure with Alvin Ailey American DancTheater, seasons with Philadanco, DonalByrd/The Group and Complexions, outreacprograms in South Arica and master classethroughout Europe.

Pouer is credited with an astute and discerning eye or talented dancers, a vision towarartistic excellence and the viewpoint thaperormers with skilled technique united iworks mingling various orms o dance cabreathe new lie into the art orm. Througan inormed network o colleagues anriends in the international ballet community, Pouer eagerly searches out innovativchoreographers around the world to invitto Cedar Lake. the new Yrk tme recentlstated, Luckily Benoit-Swan Pouer seemto have taken it on himsel to introducaudiences to a new generation o Europeachoreographers. His role as curator o one othe most ambitious world-class repertoires iAmerica today urthers Cedar Lakes missioto provide choreographers a comprehensivenvironment or creation and presentation.

In 2005, Pouer introduced and choreographed the rst o his series o installation perormances. Critically acclaimeand representing a new, less ormalizeapproach to dance perormance, Pouemerges the audience with the dancer tbecome a collaborator in the perormanceHis original works or Cedar Lake includsee, Bewee Here a nw, Hammer

vaaand Glay Eece.


11/48carolina perorming arts10/1

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Seth Bordner is a doctoral candidate in philosophyat The University o North Carolina at Chapel Hill ana graduate ellow o the Parr Center or Ethics.

KidZNotes Ad

1/2 pg


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WorlDmusiC

Hh mkMonday, October 11 at 7:30 PM

One o the h p d.

- Rolling Stone

WorlD musiC

Ph curey opu 3 Ar

voiCEs o dissEnt



Hugh Masekela

Legendary South Arican trumpeter HughMasekela is an innovator in the world musicand jazz scene and is active as a perormer,composer, producer and activist. Best known

or his integral role in Paul Simons tour behindthe classic album Gracela, this iconic art-ists Grammy Award-winning hit Grazing in theGrass sold over 4 million copies and madehim an international star. He has collaboratedwith numerous artists in the USA, Arica andEurope, including Miriam Makeba, DizzyGillespie, Harry Belaonte and Herb Albert.He co-created the Broadway smash musicalsaraa, introducing the sounds and passiono South Arican music to theater audiencesaround the world, and renowned choreogra-pher Alvin Ailey chose a piece by Masekela to

create a work or the world-amous Alvin AileyAmerican Dance Theater.

Masekelas work as an activist raised in-ternational awareness o the South Aricangovernments restrictive apartheid policies.In the 1980s, his hit song Bring Him BackHome became an anthem or the FreeNelson Mandela movement.

Articulate and brilliantly musical in a numbero genres, Hugh Masekela has been a den-ing orce in world music and the struggle orhuman rights in Arica and around the world.

mon oCt 11 | 7:30 Pm


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ClassiCalensemBles

mky ochvy g, c dc d cdcWednesday & Thursday, October 13 & 14 at 8 PM

gpp...- The New York Times

Cre: Jachm Laege

Classical music performances are made possible by the William R. Kenan, Jr. Charitable Trust. We thank the

Trustees for their visionary generosity and forencouraging others to support Carolina Performing Arts.

Whe ngh ua Amerca he nrh Amerca pr.

vtB Bak, sberbak, Yk Cecha a Gazprm are he Prcpal Par er he Marky theare.

ClassiCal ensemBles



WeD & tHurs, oCt 13 & 14 | 8:00 Pm

syphy n. 4 mh

Anastasia Kalagina,soprano (1860-1911) Bechg, ch ele (Meraely, ruhe)

i gemchlcher Bewegug, he Ha (Leurely mg, whu hae)

Ruhell, pc aag (Peaceully, mewha lwly)sehr behaglch (very cmrably)

intermission

syphy n. 1 (t) mh

Lagam, chleppe (slwly, raggg)

Krag bewg, ch ch zu chell (Mg rgly, bu quckly)

eerlch u gemee, he zu chleppe

(slemly a meaure, whu raggg)

suermch beweg (srmly agae)

syphy n. 6 (tc) mhAllegr eergc, ma rpp. Heg, aber markg. (veheme, bu gru)

Aae mera

scherz: Wuchg (Pwerul)

ale: seu Allegr mera Allegr eergc

october 13 Program

october 14 Program

October 13 Program Notesby Aaron Grad

Gustav Mahler

Born July 7, 1860 in Kalischt, Bohemia

Died May 18, 1911 in Vienna

Symphony No. 4 [1899-1900]

Mahler composed most o the FourtSymphony at his lakeside cottage in the summers o 1899 and 1900, during his time orom directing the Vienna Court Opera. Likthe two preceding symphonies, the Fourtdrew upon his songs based on de KabeWuerhr (the Yuh Magc Hr), a colection o olk poetry. The Fourth Symphonyhowever, had a dierent scope rom itexpansive predecessors. In 1901, Mahlewrote, I only wanted to write a symphonihumoresque and out o it came a symphono the normal dimensions whereas, earliewhat I imagined would be a symphony turneout, in my Second and Third, to be thretimes the normal length!

Beyond the relative brevity and reduceinstrumentation (orgoing trombones antuba), the musical material o the FourtSymphony conveys charm and civility betting a humoresque. The opening sonorito futes and sleigh-bells holds the promiso strange and exotic directions, but eleganmelodies and crisp accompaniment soon establish an unpretentious calm, a throwbacto Haydns genteel style rom 18th-centurVienna. The alluring possibility o that rssleigh-bell passage returns, and the movement ventures into vivid escapades.

The second-movement Scherzo retains thsymphonys innocent pose but transports to a spookier domain. A solo violin, tuned ua step, plays the part o Freund Hein, a ddleplaying olk character representing death: good-humored grim reaper. The relaxed lilt othe contrasting rassuages any ear raiseby this ghoulish vision.

The third movement, marked peaceully, ithe tender heart o this symphony, and one othe most serene passages in all o Mahlermusic. In a patient series o variationunolding over approximately 20 minutesa theme o child-like simplicity alternatewith darker and more nuanced statementsMahler was wise not to ollow such an aecting meditation with a grand apotheosisor even a jaunty romp in the manner oHaydn. He turned instead to a Wunderhor


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Das himmlische Leben

From de Kabe WuerhrEdited by A. von Arnim and C. Brentano

Wir genieen die himmlischen Freuden,Drum tun wir das Irdische meiden,Kein weltlich GetmmelHrt man nicht im Himmel!Lebt alles in santester Ruh!Wir hren ein englisches Leben!Sind dennoch ganz lustig daneben!Wir tanzen und springen,

Wir hpen und singen!Sankt Peter im Himmel sieht zu!

Johannes das Lmmlein auslasset,Der Metzger Herodes drau passet!Wir hren ein geduldigs,Unschuldigs, geduldigs,Ein liebliches Lmmlein zu Tod!Sankt Lucas den Ochsen tt schlachtenOhn einigs Bedenken und Achten,Der Wein kost kein HellerIm himmlischen Keller,Die Englein, die backen das Brot.

Gut Kruter von allerhand Arten,Die wachsen im himmlischen Garten!Gut Spargel, FisolenUnd was wir nur wollen!Ganze Schsseln voll sind uns bereit!Gut pel, gut Birn und gut Trauben!Die Grtner, die alles erlauben!Willst Rehbock, willst Hasen,Au oener StraenSie lauen herbei!

Sollt ein Fasttag etwa kommen,Alle Fische gleich mit Freudenangeschwommen!

Dort lut schon Sankt PeterMit Netz und mit KderZum himmlischen Weiher hinein.Sankt Martha die Kchin mu sein.

Kein Musik ist ja nicht au Erden,Die unsrer verglichen kann werden.Eltausend JungrauenZu tanzen sich trauen!Sankt Ursula selbst dazu lacht!Ccilia mit ihren VerwandtenSind trefiche Homusikanten!Die englischen StimmenErmuntern die Sinnen,

Da alles r Freuden erwacht.

The Heavenly Lie

From the Yuh Magc Hrtralae by Emly Ezu,

curey www.leer.e

We enjoy the heavenly pleasuresAnd avoid the earthly things.No worldly tumultDoes one hear in Heaven!Everything lives in the gentlest peace!We lead an angelic lie!Nevertheless we are very merr y:

We dance and leap,Hop and sing!Meanwhile, Saint Peter in the sky looks on.

Saint John has let his little lamb goTo the butcher Herod.We lead a patient,Innocent, patient,A dear little lamb to death!Saint Luke slaughters oxenWithout giving it thought or attention.Wine costs not a pennyIn Heavens cellar;And angels bake the bread.

Good vegetables o all sortsGrow in Heavens garden!Good asparagus, beansAnd whatever we wish!Full bowls are ready or us!Good apples, good pears and good grapes!The gardener permits us everything!Would you like roebuck, would you like hare?In the very streetsThey run by!

Should a ast-day arrive,All the sh swim up to us with joy!

Over there, Saint Peter is running alreadyWith his net and baitTo the heavenly pond.Saint Martha must be the cook!

No music on earthCan be compared to ours.Eleven thousand maidensDare to dance!Even Saint Ursula hersel is laughing!Cecilia and all her relativesAre splendid court musicians!The angelic voicesRouse the senses

So that everything awakens with joy.

Symphony No. 1 (Titan)[1884-88, revised 1894]

While Mahler labored over his First Symphonyhis conducting career soared rom a provincial podium to the top theaters o EuropeHe began the work in 1884 in Kassel, wherhe ell or Johanna Richter, a soprano in thechoir he led. He wrote her love poems, somo which he set to music in the 1883-8song cycle Leer ee ahree Geelleincluding melodies he eventually reusein the First Symphony. He also composeincidental music or the play der trmpee sckge in 1884, a selection o whicappeared or a time in the symphony as thBlume movement. The piece remaineunnished during Mahlers brie tenure iPrague, and progressed as ar as a pianscore by early 1888, when he resigned roman even more prominent position in LeipzigThe 28-year-old went on to head the RoyaHungarian Opera in Budapest, and beoryears end he had completed the orchestration o his long-gestating symphonic debut.

Mahler conducted the rst perormance othe Symphonic Poem in Two Parts (as hinitially titled it) in Budapest in November o1889. Part One consisted o three movements, including the Blume he inserteater the rst movement, and Part Two contained the nal two movements. The worconounded critics, especially the seconpart with its mix o grotesque parody and rawpower, and the symphony returned temporaily to a dormant state.

Mahler let Budapest or Hamburg in 1891and he revived his symphony or a seconperormance there in 1893. He expandethe scoring to three o each woodwind anre-titled the work ta, a te Pem symphy rm. Richard Strauss securea per ormance the ollowing year in Weimaand the 1894 edits brought the symphonnearly to its nal orm, with the woodwincomplement expanded yet again and witthe Blume removed. Mahler made slighadjustments or later perormances, annally published the work as Symphony No1 in 1899. By that point he had removethe ta title, but it continues to stick aa nickname.

song rom 1892: the Heaely Le, a childsperspective o saints preparing a east. Thetext is ull o wonderment and joy, albeit withan ironic bite, as when describing the lambsslaughter. Pastoral verses play against brittlefashbacks o the rst movements wilderstrains, until the quiet and unclouded major-key conclusion releases this eervescentsymphony back into the realm o reverie.

Cpyrgh 2010 Aar GraCre: J va vele



The symphony begins with the mysticalresonance o the note A spread across theull range o the strings, joined by a slow mo-tive o descending intervals. Mahlers 1893program described this movement as theawakening o Nature rom the long sleep owinter, an association supported by pasto-ral birdcalls and distant anares, as i roma hunting party. Besides the naturalistic tonepainting, Mahlers opening pays homage to

Beethovens Ninth Symphony, which likewisebegins with a sustained A and motivesbased on similar descending intervals.

The second movement is a Ller, anexuberant peasants dance in triple meter,music with ull sails, as Mahler charac-terized it in his program note. An emotion-ally ambiguous Funeral March ollows, with aminor-key rendition o the round-tune BruerMar (also known as rre Jacque) led bya solo bass. Mahler described the inspirationas coming rom the Huma ueral,rom an old childrens book: the animals o

the orest accompany the dead huntsmansbier to the grave; hares escort the littletroop, in ront o them marches a group oBohemian musicians, accompanied by play-ing cats, toads, crows etc. Stags, deer, oxesand other our-legged and eathered animalsollow the procession in comic attitudes. Inthis passage the piece is intended to havenow an ironically merry, now a mysteriouslybrooding mood.

Mahler meant the Finale to enter like thesuddenly erupting cry o a heart wounded toits depths. The symphony that began as a

continuation o Beethovens legacy ends inthe spirit o Berlioz symphe aaque,with astounding orchestral colorations

juxtaposed with music o heart-wrenchingbeauty. Climaxes o seven horns and ourtrumpets pushed to a rm ()dynamic generate incredible orce o sound,while thematic recall rom the rst move-ment punctuates the symphonys emotional

journey. The cumulative eect is more thana tone poem or programmatic symphony; itis a wordless musical drama, the rst tasteo Mahlers new symphonic ideal that would

push Romantic expression to its outer limits.Cpyrgh 2010 Aar Gra

October 14 Program Notesby Aaron Grad

Gustav Mahler

Born July 7, 1860 in Kalischt, BohemiaDied May 18, 1911 in Vienna

Symphony No. 6 (Tragic) [1903-04]

In 1902, Mahler married Alma Schindler, aViennese beauty 20 years his junior. They

had their rst daughter a ew months beorehe began his Sixth Symphony in 1903,and he nished the work ater his seconddaughter was born in 1904. As had becomehis routine, Mahler used his summer breaksrom conducting the Vienna Court Opera tocompose, heading out each morning to hisone-room studio in the orest. Despite theapparent joys o those working holidays withhis new amily, he wrote some o his darkest

music to date.

Mahler conducted the premiere o the SixthSymphony in Essen on May 27, 1906, anevent that apparently let the audience bafed.(Mahler wrote privately, My Sixth seems tobe yet another hard nut, one that our criticseeble little teeth cannot crack.) He addedthe Tragic nickname or the Vienna debut in1907, but then did not use it or subsequentperormances or publications.

The Tragic label can provide a useulpoint o entry to the Sixth Symphony, butit does not apply to all 80 minutes o thissubtle and varied music. As we can expectrom Mahler, the work wears its heart onits sleeve, yet it also maintains an uncan-nily balanced and elegant design. In termso structure, it is the most Classical oMahlers symphonies: There are our move-ments, each with tempos and unctionsthat square with the precedents o Haydnand Beethoven. It is also more abstractthan earlier works, moving away rom theheroic programs, vocalists, song quota-tions and rustic parodies o the Second,Third and Fourth Symphonies. Even the

Fith Symphony, which began Mahlers shittoward pure music, is sel-consciouslydemonstrative by comparison, with itsopening Funeral March and redemptive riseto a major-key conclusion. The telling detailo the Sixth Symphony is not its tragedyper se, but rather its steadast atalism. Itstews in raw, authentic emotion, demandingortitude rom its listeners (and perormers)and rewarding the brave travelers with animmersive experience like nothing else inmusic.

The opening movement launches immedi-

ately into tense and stormy A-minor materialthat marches orward insistently, proddedby pulsing bass and thumping percussion.A lush and lyrical theme, supposedly rep-resenting Alma, provides maximal contrast.In true Classical ashion, and uncharacter-istically or Mahler, the opening expositionsection repeats verbatim. The most colorulaspects o the movement emerge in bril-liant touches o orchestration: The tinklingcelestas, clanking cowbells and janglingtriangles complement the det handling o theoversized ensemble. The return o the lyrical


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Alexander von Zemlinsky, Otto Nikisch, WillemMengelberg, Otto Klemperer, Bruno Walter,Erich Kleiber, Hector Berlioz, Richard Wagner,Gustav Mahler and Arnold Schoenberg.

Renamed the Kirov during the Soviet era,the Orchestra continued to maintain its highartistic standards under the leadership oYevgeny Mravinsky and Yuri Temirkanov. The

leadership o Valery Gergiev has enabled theTheatre to orge important relationships withthe worlds greatest opera houses, includingthe Metropolitan Opera, the Royal OperaHouse, Covent Garden, the San FranciscoOpera, the Thtre du Chtelet in Paris, theSalzburg Festival and La Scala in Milan.

Since 1992, the orchestra has made 15tours o North America, including a 2006celebration o the complete Shostakovichsymphonies, a Cycle o Stage Works oProkoev in 2008, and major works o Berliozin 2010. A Centennial Mahler Cycle begins

in Carnegie Hall in October 2010. 2009-10releases o the new Mariinsky Label are:Shostakovichs the ne and SymphoniesNos. 1 & 15, Rachmaninovs Piano ConcertoNo. 3 and Rhapy a theme Paga,Tchaikovskys 1812, Shchedrins theEchae Waerer, and Stravinskys Lence and oepu Rex.

2006 marked the grand opening o theOrchestras Mariinsky Theatre Concert Halland late 2011 will mark the opening oMariinsky III, a new theatre placed alongsidethe historic Mariinsky Theatre.

Valery Gergiev

Valery Gergievs inspired leadership asArtistic and General Director o the MariinskyTheatre since 1988 has taken Mariinskyensembles to 45 countries and brought uni-versal acclaim to this legendary institution,now in its 227th season. In St. Petersburg,his leadership has resulted in the superbnew Mariinsky Concert Hall, which opened in2006, and the Mariinsky Label, launched in2009. The new Mariinsky Theatre is sched-uled to open in 2012, ater which the original

Mariinsky Theatre (currently celebrating its150th anniversary) will be renovated to 21stcentury standards.

The Mariinsky Label releases in the rstyear included Shostakovichs the neandSymphonies Nos. 1 & 15; a Tchaikovsky disco short pieces; Rodion Shchedrins theEchae Waerer; Rachmaninovs PianoConcerto No. 3 and Paganini Variations; andStravinskys Le nce and oepu Rex.The labels rst two recordings received veGrammy nominations. In all 2010, the label

will release Wagners Paraland DVDs oTchaikovskys Symphonies Nos. 4, 5 and 6

Presently Principal Conductor o thLondon Symphony Orchestra and The WorlOrchestra o Peace, Valery Gergiev is alsFounder and Artistic Director o the Stars othe White Nights Festival and New HorizonFestival in St. Petersburg, the Moscow Easte

Festival, the Gergiev Rotterdam Festival, thMikkeli International Festival and the ReSea Festival in Eilat, Israel.

Maestro Gergiev is the recipient o a GrammAward, the Dmitri Shostakovich AwardGolden Mask Award, Peoples Artist oRussia Award, the World Economic ForumCrystal Award, Swedens Polar Music PrizeNetherlandss Knight o the Order o thDutch Lion, Japans Order o the Rising SunValencias Silver Medal, the Herbert voKarajan prize and Frances Royal Order o thLegion o Honor.

Now recording or the Mariinsky and LSOLive Labels, he has recorded extensively oDecca (Universal Classics), and appears othe Philips and Deutsche Grammophon labels

Anastasia Kalagina, soprano

Anastasia Kalagina graduated rom thSt. Petersburg State Rimsky-KorsakoConservatoire. She joined the MariinskAcademy o Young Singers in 1998 and habeen a Mariinsky Theatre soloist since 2007when she appeared as the Snow Maiden aCarnegie Hall in New York.

Hailed by critics as a crystalline soprano, shwas awarded the Montblanc New Voices prizin 2008 and perormed to tremendous acclaimin the Russian premiere o Henri DutilleuxCrrepace. She was a prizewinner athe International Vocalists Competition iChina in 2005 and was awarded rst prizat the V International Rimsky-Korsakov YounOpera Singers Competition in St. Petersburin 2002. She received the Moniuszko Prize athe IV International Stanislaw Moniuszko VocaCompetition in Warsaw in 2001. AnastasiKalagina has toured throughout Europe, USA

Israel and Japan.

COLUMBIA ARTISTS MANAGEMENT LLCTour Direction: R. DOUGLAS SHELDON1790 Broadway, New York, NY 10019www.cami.com

Alma theme and other triumphant, major-key motives bring the movement to a spiritedconclusion, the tragedy temporarily dispelled.

There is some controversy about which move-ment comes next. Mahler submitted the scoreor publication with the scherzsecond, butin preparing the premiere he swapped theAae merainto the second position. In

the version that matches Mahlers lasting pre-erence, the Aaeprolongs the ambiguity othe symphonys ultimate direction, continuingthe rst movements slippery distinctionsbetween major and minor and basking in agentle cascade o nostalgic melodies.

The scherzjars us back to the ateul marchtoward tragedy, stomping orward like the be-ginning o the symphony. The vivid shrieks andpounding percussion have real terror behindthem, but there is also a mannered, deliberatequality that maintains an edge o emotionalseparation or now. That winking sensibility

especially comes to the ore in the contrastingtrio sections. Despite its diabolical moments,this scherzadheres to its Classical originsas a joking movement.

Mahler once said, The symphony is the world!The symphony must embrace everything. Thenale o the Sixth Symphony ullls that creed,its vast expanses lled with myriad swirlingemotions, especially tragedy. The lynchpinso the movement are the hammer strikes,meant to sound with a dull thud like the allo the axe. Alma later wrote that the threeateul blows o the nale oreshadowed the

tragedies o 1907: the death o one o theirdaughters, the diagnosis o a lie-threateningheart condition, and Mahlers alling out romhis dream job in Vienna. Mahler himsel laterdeleted the third strike o the hammer, as iunable to bear the mortal nality o that lastblow, but the symphonys conclusion stillmaintains its chilling grip to the end.

Cpyrgh 2010 Aar Gra

The Mariinsky Orchestra

The Orchestra o the Mariinsky Theatre en-joys a long and distinguished history as one

o the oldest musical institutions in Russia.Founded in the 18th century during thereign o Peter the Great and housed in St.Petersburgs amed Mariinsky Theatre since1860, the Orchestra entered its golden agein the second hal o the 19th century underthe musical direction o Eduard Napravnik,whose leadership rom 1863-1916 securedits reputation as one o the nest in Europe.

Numerous internationally amed musicianshave conducted the Orchestra, including Hansvon Blow, Felix Mottl, Felix Weingartner,



i he wrl muc,

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Greg Gangi is a Research Assistant Proessor orthe Institute or the Environment at The University oNorth Carolina at Chapel Hill. He also serves as theAssociate Director or Education o the Institute orthe Environment.


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www.cp.

(919)843-3333

WorlDmusiC

o Pd80h Bhdy CcFriday, November 5 at 8 PM

Ph curey ieraal Muc newrk

sw J: guitar and musical directorHd lpz n: pianofp Cb: double bassad Cy: percussionrdy Yz B: percussion

WorlD musiC

The queen oCbb c.

- Los Angeles Times



Omara Portuondo

Cuban Grammy-winner Omara Portuondoscareer spans 60 years. An original membero the Cuare Aa one o the greatestgroups in the history o Cuban music shehas appeared with Buena Vista SocialClub, Orquesta Aragn, Chucho Valds, LosVan Van, Nat King Cole, Chaka Khan andMarianne Faithull, among many others.

With Orquesta Aragn, one o Cubas mostimportant orchestras, she traveled the worldand recorded several albums. Her role in theBuena Vista Social Club lm and recordingscatapulted her to ame, and she began travel-ing and recording with a star-studded groupthat included great names in Cuban musicsuch as Rubn Gonzlez, Orlando Cachato

fri nov 5 | 8:00 Pm

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he 1999 lm Buena

Vista Social Club.

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ae, rrw a pa. I they knew what I

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David F. Garca is an Assistant Proessor in theDepartment o Music at The University o NorthCarolina at Chapel Hill.

Lpez and Manuel Guajiro Mirabal.Following the third Buena Vista Social Club

recording in 2000, she toured with RubnGonzlez and Ibrahim Ferrer.

2004s lr e amr, her second soloalbum or World Circuit, was nominated ora Grammy in the Best Traditional TropicalRecord category and won the Billboard LatinMusic Awards Tropical Record o the Yearaward in the emale category. In 2007, she

joined orces with Brazilian music legendMaria Bethnia, and in 2009 she won a LatinGrammy or her album Gracias, eaturingRoberto Fonseca, Swami Jr., Andrs Coayo,Avishai Cohen, Trilok Gurtu, Chucho Valds,

Richard Bona and Chico Buarque.


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www.cp.

(919)843-3333

ClassiCal ensemBles

ClassiCalensemBles

K Bcwith gd K, c d d Monday, November 8 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.

dy

young players...- Los Angeles Times

Cre: saha Gu/ECM Recr



KREMERATA BALTICA

Gidon Kremer,artistic leader and soloist

Founded in 1997 by the renowned violinisGidon Kremer, the Grammy Award-winninchamber orchestra Kremerata Baltica ialready one o the most prominent intenational ensembles. Originally a birthdapresent to mysel to celebrate his 50years o lie in 1997, Gidon Kremer immediately envisaged the potential behind th27-member ensemble o young musicianrom the Baltic States o Estonia, Latviand Lithuania as a medium to share his ricartistic experience with the new generatio

and to promote and inspire the musical ancultural lie o the Baltics.

Kremerata Baltica perorms about 60 concerts annually in the greatest halls and mosrenowned music estivals throughout EuropeAsia and the Americas. They also shine i

Aer Gle Gulor string orchestra (2010) s Kc tckydecae G Kremer a Kremeraa Balca (b. 1963)

sle Prayeror violin, violoncello and strings (2007) gy Kchdecae Mla Rrpch a G Kremer (b. 1935)

intermission

String Quartet No. 14 in C-sharp minor, Op. 131 Bhver r rg rchera by G Kremer a vcr Ke (1770-1827)

I. Aag ma rpp e ml epreII. Allegr ml ace

III. Allegr meraIV. Aae ma rpp e ml caable P m Aae mera elugher Aag Allegre Aag, ma rpp e emplce Allegre

V. PreVI. Aag qua u pc aaeVII. Allegr

Program

mon nov 8 | 7:30 Pm


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www.cp.

(919)843-3333

ingeniously programmed Kremerata Musicachamber music perormances with small- tomedium-sized ormations comprised o mem-bers o the group. The musical scene o theBaltics is o great importance to KremerataBaltica. Supported by a joint program o theMinistries o Culture o all three countries,numerous perormances are held every yearin Estonia, Latvia and Lithuania.

While most concerts are led by andperormed with Gidon Kremer, KremerataBaltica has appeared with celebratedconductors and soloists such as VladimirAshkenazy, Christoph Eschenbach, KentNagano, Sir Simon Rattle, Esa-PekkaSalonen, Jessye Norman, Mischa Maisky,Oleg Maisenberg, David Geringas, HeinrichSchi and Heinz Holliger.

With an unusually extensive and versatilerepertoire, Kremerata Baltica gives muchimportance to contemporary music, regu-larly perorming music by living EasternEuropean composers and commissioningnew works by Prt, Kancheli, Vasks,Desyatnikov and Raskatov.

Kremerata Baltica has made seven record-ings with the Nonesuch label, receivinga 2002 Classical Music Best SmallEnsemble Perormance Grammy Award

or Aer Mzar. Their rst recording witDeutsche Grammophon, Kremerlaeaturing contemporary works dedicateto and premiered by the ensemble, wareleased in 2004.

Gidon Kremer

One o the most original and compelling arists o his generation, Gidon Kremer has appeared on the major concert stages with th

most celebrated orchestras o Europe anAmerica and has collaborated with todayoremost conductors, including LeonarBernstein, Herbert von Karajan, ChristopEschenbach, Nikolaus Harnoncourt, LoriMaazel, Riccardo Muti, Zubin Mehta, JameLevine, Valery Gergiev, Claudio Abbado anSir Neville Marriner.

His unusually extensive repertoire encompasses the standard classical and romantiviolin works as well as music by 20thcentury masters such as Henze, Berg anStockhausen. He has championed the work

o living Russian and Eastern European composers and has perormed many importannew compositions, several o them dedicateto him. He is associated with such diverscomposers as Alred Schnittke, Arvo PrtGiya Kancheli, Soa Gubaidulina, ValentiSilvestrov, Luigi Nono, Aribert ReimannCre: saha Gu/ECM Recr



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Grammy-wg Ater Mozart album hey

mx well-wr Mzar maerpece uch

a Eine Kleine Nachtmusik wh mer

cmp; e wrk cec raher

clear erm Mzar, a ee wh he

on kremerata baltica dan Guberman

schke pece. Ulke may grup wh

eem cmbe he l a ew raher

haphazar way, ryg appeal ere

auece, Kremeraa Balca ha a clear

arc her elec wrk

mx geher. th uppre hrugh

her yamc perrmace, whch ca e

lea ur ear raw hee cec a

make ee he m requely perrme

pece u reh a ew.

i wh h he eemble, prmarly

hrugh her may aac recrg, ha

i am parcularly exce hear a ee her

le perrmace. o parcular ere

me her clu Beehe p. 131

rg quare. Ceraly e he greae

maerpece wh he ere rg quare

reperre, repree Beehe a h

m aeuru, wh ee meme

ha e challege ur expeca

raal rucure. i a wrk parcularly

ap be cmbe wh mre mer pece

r all uexpece w a ur. i

ac, may cmper hrughu he 20h

ceury hae alke abu he fuece

Beehe lae rg quare he

eelpme 20h-ceury muc.

i wul be rem me h

plcal apec Kremeraa Balca, whc

c erely yug muca Kreme

elece rm he Balc sae. th gru

embe muc ably race culura

erece a brg geher ual rm

ere backgru a ee germe

ha e hae cfcg ere. i am

acae wh he plcal mplca

he Ue sae ug perrmace

clacal muc abra urg he Cl Wa

Whle hee aemp e reeale ha

cul w er auece plcal

hrugh muc, Kremeraa Balca ha hw

he pwer muc uyg perrmer

a germe, becmg e he m

mpra culural u he reg

th mel mucal plmacy ha bee

cpe he much-publcze We-Eaer

da orchera ha cmbe yu

muca rm he Mle Ea. Grup uc

a hee cue hw he pwer claca

muc ll hl hrughu he wrl.

Dan Guberman is a PhD candidate in theDepartment o Music at The University o NorthCarolina at Chapel Hill.

Peteris Vasks, John Adams and AstorPiazzolla. Perhaps no other soloist o hisstature has done as much or contemporarycomposers in the past 30 years.

His more than 100 albums have wonaccolades including the Grand Prix duDisque, Deutscher Schallplattenpreis,the Ernst-von-Siemens Musikpreis,the Bundesverdienstkreuz, the PremiodellAccademia Musicale Chigiana, theTriumph Prize 2000 (Moscow) and theUnesco Prize. In 2002, he and KremerataBaltica won a Grammy Award or theNonesuch recording Aer Mzar.

In 1981, Mr. Kremer ounded Lockenhaus, anintimate chamber music estival that takesplace every summer in Austria. In 1997,he ounded Kremerata Baltica to osteroutstanding young musicians rom the threeBaltic States. He has toured extensively withthe orchestra, appearing at the worlds mostprestigious estivals and concert halls andrecording several CDs or Teldec, Nonesuchand Deutsche Grammophon. From 2002-2006, he was the artistic leader o the newLes Musiques estival in Basel, Switzerland.

Gidon Kremer plays a Nicola Amati datedrom 1641.


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DanCe

DanCe

Cre: Hug Gleg

exceeds even ourhighest expectations.

- The Times (London)

sutra sd lb Chk /sd W ldWednesday, November 10 at 7:30 PM

Thursday, November 11 at 7:30 PM

sd lb Chk / ay gy / szy Bzk

with monks rom the sh tp



A Sadlers Wells Production

Coproduced with Athens Festival, Festivalde Barcelona Grec, Grand Thtre deLuxembourg, La Monnaie Brussels, FestivaldAvignon, Fondazione Musica per Roma and

Shaolin Cultural Communications CompanyWh he bleg he Abb sg sha

shal temple Maer sh Ygx

Perormers

Ali Ben Lot Thabet, Shi Yanbo,Shi Yanchuang, Shi Yanchen, Shi Yande,Shi Yanci, Shi Yandong, Shi Yanhai,Shi Yanhao, Shi Yanjiao, Shi Yanle, Shi Yanli,Shi Yannan, Shi Yanqi, Shi Yanqun, Shi Yantao,Shi Yanwen, Shi Yanxing, Shi Yanyong,Shi Yanyuan, Shi Yanzhu

MusiciansPa, Szymon Brzskavl, Alies Sluiter & Olga WojciechowskaCell, Laura AnsteePercu, Coordt Linke

Direction & Choreography:Sidi Larbi Cherkaoui

Visual creation and Design:Antony GormleyMusic:Szymon BrzskaAa Chregrapher: Ali Ben Lot ThabetAal Chregraphc Aa:

Damien Fournier & Damien Jaletdramaurgcal Ace:Lou Cope &

An-Marie Lambrechtstechcal drec:Alastair Wilson, PUSH4Lghg Cula:Adam CarrePruc Maager:Jon BeattieCmpay sage Maager:Gemma Tongetechcal Maager:Simon Youngsu Egeer:Nick RundallWarrbe superr:Rebecca GoldstoneMk Cmpay Maager & ierpreer:

Li Jing

Production credits

Prucer saler Well:Suzanne WalkerPrucer Hisashi Itohtur Maager Dawn Prentice

For Song Shan Shaolin Temple

shal temple Geeral drecr:Master ShiYongxin, Abbot o the Shaolin Temple

Leaer he Warrr Mk:Master Shi Yanzhuang

Geeral Maager (shal temple iural

Cmpay):Qian Daliangshal temple Prucer:Fu Min

(Shaolin Cultural CommunicationsCompany President)

WeD & tHurs, nov 10 & 11 | 7:30 Pm

vce Geeral Maager: Tian Jianhon(Shaolin Cultural CommunicationsCompany)

Wh he uppr He teelhu, Awerp,

where s Larb Cherkau a Acae Ar.

Sutra

Celebrated Flemish/Moroccan choreographerSidi Larbi Cherkaoui presents a brand newdance work inspired by the skill, strength andspirituality o Buddhist Shaolin monks. He hascollaborated closely with Turner Prize-winningartist Antony Gormley, who has created adesign consisting o 21 wooden boxes that arerepositioned to create a striking, ever changingon-stage environment. Polish composer SzymonBrzska has created a beautiul brand new scoreor piano, percussion and strings, played live.

The 17 monks perorming in suraare directlyrom the original Shaolin Temple, situatednear Dengeng City in the Henan Province oChina and established in 495 AD by monksoriginating rom India. In 1983, the StateCouncil dened the Shaolin Temple as the keynational Buddhist Temple. The monks ollowa strict Buddhist doctrine, o which Kung uand Tai Chi martial arts are an integral parto their daily regime. By visiting the ShaolinTemple in China and working with the ShaolinMonks over several months, Sidi Larbi ollowsa lielong interest in exploring the philosophyand aith behind the Shaolin tradition, its rela-tionship with Kung-Fu, and its position within acontemporary context.

The title sura is derived rom the Pali wordua, whose primary meaning is a collectiveterm or the sermons o Buddha. It is alsoa generic term or rules and aphorisms inHinduism ura laid down the guidelines orproper conduct in lie. The word in Sanskrit alsomeant rg, hrea, meaure raghe.

As a child, Bruce Lee was a role model; nojust the characters he portrayed, but the mahimsel and the world view he embodiedWhen he spoke about martial arts, aboudrawing rom nature, rom elemental orcesit rang true. Through him, I delved deepeinto Kung-Fu, to the Shaolin school o chaBuddhism. Later in lie, as a choreographeand a dancer, I was inspired by the Shaoliunderstanding o movement, their completidentication with the living beings arounthem, and that remarkable ability to becomthe essence o a tiger, crane or snake.

- s Larb Cherkau

Sidi Larbi CherkaouiDirector, Choreographer and Dancer

Sidi Larbi Cherkaouis choreographic debuwas in 1999 with Andrew Wales contempo

rary musical Aymu scey. He has sincmade more than 15 ull-fedged works and received many awards including the Fringe FirsAward, the Total Theatre Award in Edinburgand the Barclays Theatre Award in London, thSpecial Prize at the BITEF Festival in Belgradand the Most Promising ChoreographePrize at the Nijinski Awards in Monte Carlothe Movimentos Award in Germany and thHelpmann Award rom Australia in 2007. I2008, Ballet Tanz named him Choreographeo the Year or his 2007-08 works: MyhApcru, orgeand sura. The Alred Tope

Stitung awarded him its 2009 Kairos Prize irecognition o his artistic philosophy and quesor cultural dialogue.

While his initial pieces were made as a cormember o the Belgian collective Les BalletC. de la B. Re e re (2000), (2003tempu ug (2004) he also undertooparallel projects that expanded and consolidated his artistic vision. ok(2000) wa


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born rom a workshop or mentally disabledactors held by Theater Stap in Turnhout withchoreographer Nienke Reehorst; daa(2002) rom an encounter with long-standingartistic partner Damien Jalet and dancer-singers o Sasha Waltz & Guests, and Zerdegree (2005) with ellow choreographer

Akram Khan. He has worked with theaters,opera houses and ballet companies rangingrom Londons Sadlers Wells (sura, 2008),Brussels Thtre de la Monnaie (Apcru,2007), the Royal Danish Ballet (Lhmme ub, 2007), Stockholms Ballets Cullberg(E, 2006), Monte Carlo Ballets (Meaculpa, 2006 and i memram, 2004) andGenevas Grand Thtre (L, 2005). Hisbase since 2006 is Antwerp, where he isassociate artist at Het Toneelhuis, the the-atre that produced Myh (2007) and orge(2008). Eastman, his uture company, an-chors in the same port city with the makingo its rst piece, Babel, in 2010.

Antony GormleyVisual Creation and Design

London-born Antony Gormley studied archae-ology, anthropology and art history at TrinityCollege, Cambridge, travelled to India, and re-turned to London three years later to study atthe Central School o Art, Goldsmiths Collegeand the Slade School o Art.

Over the last 25 years, he has revitalized thehuman image in sculpture through a radicalinvestigation o the body as a place o memory

and transormation, using his own body assubject, tool and material. Since 1990, hehas expanded his concern with the humancondition to explore the collective body andthe relationship between sel and other inlarge-scale installations like Allme, CrcalMa, Aher Place, dma el andie Aurala. His recent work increasinglyengages with energy systems, elds andvectors rather than mass and dened volume,

evident in works like Clearg, Bl Lgh,rmameand Aher sgulary.

His work has been exhibited extensively aroundthe world and he has participated in majorgroup shows such as the Venice Biennaleand the Kassel Documenta 8. His elhastoured America, Europe and Asia. Agel he nrh and, more recently, Quaum Cluon the Thames in Greenwich are among themost celebrated examples o contemporaryBritish sculpture. One o his key installations,Aher Place, is to remain permanently ondisplay at Crosby Beach, Merseyside.

He was awarded the Turner Prize in 1994 andthe South Bank Prize or Visual Art in 1999,and was made an Order o the British Empire(OBE) in 1997. In 2007, he was awarded theBernhard Heiliger Award or Sculpture. He isan Honorary Fellow o the Royal Institute oBritish Architects, Trinity College, Cambridge

and Jesus College, Cambridge, and hasbeen a Royal Academician since 2003.

Szymon BrzskaComposer and Pianist

Recently awarded a postgraduatediploma in composition rom the Royal FlemishConservatory in Antwerp, Szymon Brzskatrained under the baton o Luc Van Hove andattended workshops by Marek Stachowski,Tapio Tuomela, Remigijus Merkelys, Toivo Tulevand Peteris Plakidis between 2000 and 2004.

This young Polish composer, who also holds

a Master in Arts diploma rom the Ignacy JanPaderewski Music Academy in Poznan (whereMirosaw Bukowski was his proessor), hasattracted considerable attention amongproessionals o classical and contemporarymusic. In 2003, his Apha BeaaeMarae vrg was chosen by the Polishchamber choir Schola Cantorum Gedanensisor their concert at the Festival o SacredMusic Mara Auxlum Chrarum inRumia, and in 2004, he won both the

3rd prize at the Adam Didur CompositioCompetiton in Sanok, Poland or Czara rz(the Black Re) song or tenor and pianwith words by Zbigniew Herbert and the2nd prize in the Composition Competition oChoral Passion Song in Bydgoszcz, Polanor vexlla Reg Preu.

In 2006, his 6 maure or cello anpiano was chosen or a workshop with theprestigious Belgian Prometheus Ensembland he was among the selected ew at thComposition Competition o the muc@eure 2007 estival in Antwerp, whiccommissioned him to create a piece or thBelgian ensemble I solisti del vento.

Brzska is particularly interested in the synergbetween music and arts such as contemporardance, theater and cinema. He has participaed in soundtracks or several lm and theateprojects in Poland, and his soundtrack composition or the French lm Le bru e geauur, directed by Diastme and produced bCipango Productions, was heard at the FestivadAvignon pre-screening beore SeptemberEuropean commercial release.

Shaolin Temple

The warrior monks perorming in sura arrom the Shaolin Temple, situated neaSongshan mountain in the Henan Province oChina and established in 495 AD by monkoriginating rom India. In 1983, the StatCouncil dened the Shaolin Temple as thkey national Buddhist Temple. They ollow strict Buddhist doctrine, o which Kung-Fu &Tai Chi martial arts are an integral part o

their daily regime. A patriarchal clan systempresides within the Temple, and in nearly 80years there have been over 30 generationo monks. The representatives o the currengenerations have, in their surnames, the chaacters o Su, De, Xing, Yong, Yan and HengMaster Shi Yongxin is the present Abbot othe Shaolin Temple. Shaolin Kung-Fu is ono the oldest Chinese martial arts traditionsBased on a belie in the supernatural poweo Chan Buddhism, the moves practiced bthe Shaolin Kung-Fu monks are its major ormo expression. According to the guidebook

handed down in the Shaolin Temple, Kung-Fhas 708 movement sequences, plus 552boxing sequences and 72 unique skills ocapturing, wrestling, disjointing and touching vital points in order to cause injury. Thmonks o the Shaolin Temple regard the peection o their Kung-Fu warrior skills as thelielong goal. Fully understanding lie with near in their hearts, their physical and mentapractice embodies the ancient Chinese beliein the unity between heaven and man.

Cre: Hug Gleg



the eraal cl-

labra repree-e by sura ha r

ha ae back mre

ha 1,500 year.

i wa eraal

cllabra ha le

he ug he

shal temple a

he crea shal temple Kugu (mar-

al ar). shal temple Kugu wa creae

hak he ia mk Bhharma,

al kw a dam. My w experece

Cha hae ge me a parcular amra

r dam.i le Cha rm 1995 2002 a hae

raele back Cha umeru me

ce 2005 r my wrk here a UnC-Chapel

Hll, bu h wll be my r ppruy

ee he shal mk perrm le. r

m my r year Cha i wa he le

-Chee ree Yb preecure

schua prce. Yb ha a ppula

abu 3 mll peple a lcae a he

arg p he Yagze Rer. i wa

par he ec grup Peace Crp

on damo and shaolin temPle kunGFu tom martineau

vlueer be e Cha a my

agme wa each Eglh a Ybteacher trag Cllege.

dam raele Cha he ruc

h yg eacher, Maer Prajaara.

Aer eg he emperr najg wh

h eachg, he eeually mae h way

shal temple. dam eachg wa

all ha well recee a shal whe he

r arre, bu a lege ha , he we

a cae meae r e year, a

aerwar he ee wha kw ay

a shal temple Kugu.

i amre dam bh r h eecy ay

auhre a h perece aer a le

ha ehuac recep rm he mk

shal. i dam cae h wa becaue

he phycal ema h eachg.

i my cae wa har r my ue

be ehuac abu he ema her

reg eacher ge he ac ha hey ha

ake he Eglh kll hey leare back

her hmew he curye each

pr mle chl, r back he he

prce a ree cllege euca wa a ea

e wrk agme.

A we wach hee 17 a cple

dam play her kll, ill hk my wue rm Yb. Cha ha chage

much ce i r arre ee year ag,

way ha my ue a i cul ha

mage back 1995. tay, Yb teacher

trag Cllege a ur-year chl. tu

lger ree, bu ea e wr

agme are lger blgary. th

r rce bwl ha lg bee haere.

ee year ag i wul hae mage

eeg he shal mk r he r m

here Chapel Hll a par a lemh/

Mrcca, Brh a Plh ar

cllabra. th lea me belee hahe ae my 300 ue k m

ereg w a ur er he year

thak dam, r e h wul ha

bee pble whu hm.

Tom Martineau is Manager o the Ofce or ChinaInitiatives and Special Projects at The Universityo North Carolina at Chapel Hills Global ResearchInstitute.

Please note: There are many martial artsschools that have also been set up in theregion under the name o Shaolin, rom whichperormers or many o the more commercialShaolin Monk shows are drawn, however theperormers in sura are all Buddhist Monksrom the original temple itsel. More inorma-tion about the temple can be sourced at www.chinavoc.com/kungu/shaolin/intro.asp

sd W is the UKs leading dancehouse, bringing the widest orms o world-class international and UK dance to Londonaudiences. As a well-established producinghouse under the Artistic Directorship oAlistair Spalding, Sadlers Wells is com-mitted to producing, commissioning andpresenting award-winning works and ground-breaking collaborations on an internationalscale, including zer egree, PUsH andsura. Sadlers Wells is dedicated to work-ing with celebrated artists, perormers andcompanies at the oreront o dance, manyo whom are Associate Artists and resident

companies o the theatre, including SylvieGuillem, Akram Khan, Matthew Bourneand his company New Adventures, WayneMcGregor and his company Wayne McGregorRandom Dance, Russell Maliphant, JasminVardimon, Jonzi D, Sidi Larbi Cherkaoui andChristopher Wheeldon and his companyMorphoses/The Wheeldon Company.


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ameriCanroots

C rdz and B sWednesday, November 17 at 7:30 PM

ameriCan roots

Cre: Je el tu

h cpnew voices on the roots-rock scene.

- Boston Globe



WeD nov 17 | 7:30 Pm

Carrie Rodriguez

Love and amily have always been sourceso inspiration or critically acclaimed singer/songwriter/musician Carrie Rodriguez,

but never have they eatured moreprominently than on her new release Le& Crcumace, a covers album includingsongs written by her ather and once per-ormed by her great-aunt.

Rodriguez journey rom teenage violinstudent to touring the world with the likeso Chip Taylor (amed songwriter o WildThing), Lucinda Williams and AlejandroEscovedo has resulted in a prodigiousoutput o recordings. Le & Crcumaceincludes compositions by John Hiatt/NickLowe/Ry Cooder/Jim Keltner (aka Little

Village), Buddy Miller & Julie Miller, GillianWelch & David Rawlings, Richard Thompson,Townes Van Zandt, M. Ward, Merle Haggard& Bonnie Owens, Hank Williams and LucindaWilliams. Produced by Lee Townsend, theplayers include Bill Frisell (guitars), GregLeisz (pedal steel & slide guitars), AoieODonovan (background vocals) and BuddyMiller (background vocals).

Rodriguez career was launched in 2001ater a show at South By Southwest intro-duced her to Chip Taylor, with whom she hasrecorded our albums and an EP. But her

musical development started much earlier atthe hands o her songwriting veteran atherDavid Rodriquez. By 15, Rodriguez and herdad were touring the Netherlands togetherand chops were being honed.

Rodriguez maternal side o the amily alsoinfuenced her musical upbringing. Not onlywas her mother a anatical opera enthusiast,her great-aunt, Eva Garza, was a popularLatin recording artist in the 50s, and itwas rom her that Rodriguez rst heard LaPunalada Trapera, which soon became amainstay in her live set. Having amily riends

include Lyle Lovett, who invited Rodriguez tosit in with his band when she was at college,also helped her develop as a perormer.

For those who want a more intimate experi-ence with Carrie Rodriguez, youll nd herwhere she started, live and on the road.

Ben Sollee

Classically trained cellist Ben Sollee madehis name as a backup musician beorelaunching a songwriting career in 2008.

Raised in Lexington, KY, he began playingcello in the ourth grade and slowly blos-somed into a talented instrumentalist. Theamily household was lled with the vintagesoul music o Wilson Pickett, Ray Charles,Billie Holiday and Otis Redding, and Solleessubsequent discovery o olk music helpedround out his musical tastes. By the timehe relocated to Louisville to pursue his cratproessionally, hed grown into an eclecticmusician with demonstrated interests inolk, jazz, R&B, and bluegrass.

Although hed already begun writing his own

songs, Sollee received his rst big break asa member o the Sparrow Quartet, an acous-tic supergroup eaturing vocalist AbigailWashburn, banjo virtuoso Bla Fleck andviolinist Casey Driessen. The group touredthe world, visited Tibet at the behest o the

US State Department, and released severarecordings, all o them adventurous projectthat eatured a blend o American and Asia

olk traditions. Sollee enjoyed very positivpress or his contributions to the groupand NPRs Mrg E named him ono the Top Ten Unknown Artists o the Yeain 2007. One year later, he released an Eo his own material, i Yure Ga LeaMy Cury, ollowing it with the ull-lengtalbum Learg Be.

Sollee also ound time to play with other arists, including pianist Vienna Teng and ellowKentucky native Daniel Martin Moore. A olsongwriter himsel, Moore began composina number o new songs with Sollees help

and the two soon banded together or thcreation odear Cmpa. A third Kentuckresident, My Morning Jackets Jim Jamesproduced the album, which was released bSub Pop in February 2010.

- Arew Leahey, R


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Be sllee a Carre

Rrguez e my

hear a-fuer. i hk

hem perrmg

geher, a all i

wa be there ucke backage

bewee he cura,leg he

harme ce a rume a hey

weae a apery u. All he rmace

bw aga rg a ce rae

harmy juxape wh muc ha

rceully ruhul a real. Rrguez a

sllee are emally, mucally a lyrcally

ee wha hey are g. the u

bra, chagg a breahakg; ull

peak a lw, clr a exure ha

peak eeply-el em.

irumeally, heyre wmmg clacal

prcecy. sylcally, hey hae ake hel her clacal rag a creae

her w ce echque. sme lk

ecrbe a r muc, bu wha e

ha mea? im exper.

on carrie rodriGuez and ben sollee lizzy ros

Perhap he gu eelg i ge whe i le

he earhy exure a rhyhm sllee

elc rm h cell. Perhap he way hey

g her ulul, uque ce. Maybe

becaue hey wre her w g; g

ha are re a place a peak arch peral a mucal hry. they hae

mehg ay abu her bele, le,huma relahp a he erme.

they care, a hey le yu kw .

i r hear Carre Rrguez w year ag,

whe a byre ruce her recr

Lets Leave This Town a h are. He

ce me , bu i hae. i ll play her

g repea, gg harme uer

her recre cal, whg i cul ge he

chace play wh her real le.

i wa lucky eugh hae ha chace wh

Be sllee my ba a i pee r hm

a cuple ur ae la Jauary. He wa

aly welcmg a k u. oce we

ha he ur e a cleare he age,

we were reae he real hghlgh he

gh: wachg hm perrm. oage, he

embrace h cell wh h whle by. A he

me wh he rhyhm he muc, g

rm eep wh h gu, yu ca eel hmuc purg u hm. Yu ca praccal

ee fag u er he rm a el

he auece, pllg lke ary u ha

le hem fy away mewhere ele

he ura he perrmace. the h

hw e, a me g hme awear u h recr ul he back w

i kw hw Memral Hall ue he

w ga rge a, bu i am

hrlle ha hey wll be here. A a yu

muca a rece grauae UnC-Chape

Hll, i ca emphaze eugh hw eep

hey pre me. they pre ha pble

make a rema rue he arc pr

they e me packg he pracce rm,

le wh my rume aga a lle w

reh exceme r gwrg. seeg hem

age geher mgh be much ge

r e gh, bu im wllg rk .

Lizzy Ross recently graduated rom The Universityo North Carolina at Chapel Hill with a degree inPhilosophy. She is now a proessional musicianand plays requently in the Triangle area. For moreinormation, visit www.lizzy.net


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sPeCialevent

sPeCial event

h b y bo the past quarter century

- The Washington Post

nutcracker C BSaturday, December 4 at 2 & 8 PM

Sunday, December 5 at 2 PM

ac Dc Robert Weissec Dc Lisa Jones

Cre: Ph curey Carla Balle



sat, DeC 4 | 2 Pm/8 Pm | sun, DeC 5 | 2 Pm

Nutcracker

ac i Ch e

It is Christmas Eve in the home o Dr.Stahlbaum, a city ocial, and his wie, whoare preparing or a Christmas Party. Thechildren, Clara and Fritz, having allen asleepwaiting or the arrival o the guests, awakenin great anticipation. Soon the guests arrivewith their children and there is much rejoic-ing at the sight o the lighted Christmas tree.The adults greet one another and there isexcited speculation among the childrenabout what is in the many packages. Dr.Stahlbaum divides the children or games

and dances. Some o the parents join in andsoon the grandparents arrive at the party.Rereshments are served and, most impor-tant o all, presents are given out.

Suddenly the lights ficker and a terriying owlfaps its wings on the huge grandather clock asthe hour is struck. The door opens and in comesan old amily riend, Herr Drosselmeyer, who isalso Claras godather. A mysterious man anda marvelous inventor o toys, he has broughtwith him three large boxes and is accompaniedby his handsome young nephew. Drosselmeyerkisses Claras hand and introduces her to his

nephew, whom she likes immediately. The gitsin the large boxes are a Cavalier, a Ballerinaand a Toy Soldier Doll who dance to jolly tunes,delighting everyone. Then he brings out alarge Nutcracker, a soldier, or Clara. She isvery pleased when she sees how it works, butFritz is urious. He grabs the Nutcracker andstamps on it. The nephew chases him away asClara weeps. Drosselmeyer plays doctor andties a handkerchie around the Nutcrackersbroken head.

The nephew brings Clara a bed or the

Nutcracker and he is tucked in and put underthe tree. Dr. Stahlbaum and his wie lead allthe guests in one nal dance, Clara danc-ing with the nephew. The guests all departand the amily goes o to bed. As the roomdarkens, Drosselmeyer returns and xes theNutcracker with a magic screwdriver. Claraenters the room at midnight in her night-gown. She goes directly to the Nutcrackerand cradles him in her arms. There is arustle, the Christmas tree lights fash onand o. Giant mice take over the room andDrosselmeyer and the Rat King appear in the

portraits as antagonists. Clara dashes to thesoa and huddles there.

Suddenly everything in the room grows, in-cluding the Christmas tree, the toy soldiers,and even the walls. The soldiers protectClara by ghting the mice, but the mice, ledby their erce king, seem to be winning. Thenthe Nutcracker, grown to lie size, rises romhis bed and leads the soldiers. A cannonis brought and cheese is red at the mice.Clara throws her slipper and hits the Rat Kingby surprise. The Nutcracker kills him with hissword and the battle is won. He bows to

Clara and proudly gives her the crown takenrom the Rat King. Clara alls onto the bedwhich then mysteriously glides out o theroom into the snowy evening. She arrives atthe Kingdom o Snow where the Nutcrackerhas turned into a handsome young prince. Ina snowy orest, snowfakes dance, tossed bythe Northwind.

ac ii - th ld sw

The curtain rises on twelve ChocolateTrufes. The Sugar Plum Fairy, who rules

over this Kingdom o Sweets, makes a regaentrance and dances a charming variatioto the tinkling celesta. The Trufes enclosher in a semi-circle o love. Then leading theTrufes o, the Sugar Plum Fairy welcome

the ull candy box: Chocolate and Coeand Tea sweets, Candy Canes, RibboCandy and Gingerbread Cookies, and lovely candy Butterfy. A walnut boat arrivewith the Nutcracker Prince and Clara.

The Prince escorts Clara to the shore anintroduces her to the Sugar Plum Fairy. Hrelates the story o the battle with the micand she congratulates him on the victory anescorts Clara to a throne high on a beautiucake. Clara is given numerous sweets to eaas she watches the entertainment. Therollows a series o dances by creatures o th

candy kingdom, culminating in the grandesdance o all a pas de deux with the SugaPlum Fairy and her cavalier. All o the candiecome back in as the Sugar Plum Fairy and hecavalier bid the young couple arewell. Clarand her prince step into the nut shell boatand beore our very eyes, they rise right intthe sky and away.

Carolina Ballet

Carolina Ballet is one o Americas premierarts organizations. Launched as a proessional dance company in 1998 under th

direction o Artistic Director/CEO RoberWeiss, the company has since garnerecritical praise rom the national and intenational media, staged 75 world premierballets, and toured internationally in Chinand Hungary. Weiss, ormer artistic directoo the Pennsylvania Ballet and principadancer at New York City Ballet under the legendary George Balanchine, programs tradtional ballets by legendary masters and newworks by contemporary choreographers.

Highlights o Carolina Ballets 2010-201season include 75 perormances o 1

ballets, including the world premierdouble eature o Bram Stokers draculabLynne-Taylor Corbett and Edgar Allan Poethe Maque he Re deah by RoberWeiss, the company premiere oPcchand three additional new ballets. rebrthe Ugly ducklg, Carme, A Mumme

ngh dream and nucrackeralso returto the repertory during the company13th season.

Program

ac iMiniature Over tureThe Decoration o the Christmas Tree

MarchChildrens Gallop and Dance o the ParentsArrival o DrosselmayerGrandathers DanceDeparture o the Guests NightBattle and TransormationJourney Through the SnowWaltz o the Snowfakes

INtermISS

Documents

Carolina Performing Arts Program Book 2