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TRANSCRIPT
A refugee story that inspired a theatrical production, the making of a fantastical
pop cycle, and a look at how family bonds create great art.
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Artist Voices
Infographic
p—16 p—29
p—30
An interview with Tina Satter, creator of Ghost Rings
A note from Kelly Peterson and a look at the late Oscar Peterson’s career
Hannah Moscovitch on what inspired her
to write Old Stock: A Refugee Love Story
In preparation for Tafelmusik Baroque Orchestra’s performance, take a look at how coffee shops came to be the cultural hubs they are today.
Featurette
Photo Essay
p—20
C O N T E N T S
Stanford Live Staff P—5
& Sponsors
Welcome P—6
Upcoming Events P—8
Campus Partners P—12
Scene & Heard P—14
Behind the Scenes P—32
Membership P—34
Stanford Live & P—36
Bing Concert Hall Donors
Calendar P—38
Plan Your Visit P—39
Family Ties
By Carly Maga
P A G E — 2 2
This year at Stanford Live, four very different projects find their roots in the real family dynamics
of the creators.
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“First Republic takes extraordinary care of us and provides fl awless service.”
H E L G I TO M A S S O N , Artistic Director and Principal Choreographer, San Francisco BalletM A R L E N E TO M A S S O N , Former Dancer, Wife and Mother
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Chris LorwayExecutive Director
Bryan AldermanAssistant Director of Development
Tyler BrooksArtist Liaison
Rory BrownOperations Manager
Diana BurnellAssistant Ticket Office Manager
Kelsey Carman Marketing Manager
Vanessa ChungArtist Liaison & Executive Assistant
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STAFF FOUNDATION & GOVERNMENT PARTNERS
PHOTO CREDITS
On the cover: Mouthpiece production photo by Brooke Wedlock; Page 12: Photo 1 - Kahlil Joseph (U.S.A., b. 1981), BLKNWS, 2018. 2-channel broadcast. Courtesy of the artist, Photo 2 - Stephanie Syjuco (U.S.A. b. 1974), I Am An..., 2017. Cotton fabric mounted on ceiling rack. © Stephanie Syjuco, Photo 3 - Fall Euphony, 1959, oil on canvas, 48 x 74 1/4 in. Signed and dated at lower right on recto: Hans Hofmann 59; inscribed at upper right on verso: Cat. #964/59/Fall-euphony/oil on canvas/48-74 1959/hans hofmann; inscribed on stretcher on verso, upper right: C-3350. 2014.1.034; Pages 14 & 15: Photos 1 by Cathy Wang, 2–6 & 8 by Harrison Truong, 7 by Chris Lorway; Page 17: Photo 1 by Ian Douglas, Photo 2 by Maria Baranova; Page 20: Photos courtesy of Kelly Peterson; Page 22: Photo by Stoo Metz; Page 23: Photo by Maria Baranova; Page 24: Photo by Brooke Wedlock; Page 28: Photos 1 & 2 courtesy of Hannah Moscovitch, Photo 3 by Graeme Braidewood & DTP; Page 31: Top photo by Bruce Zinger; Page 32 & 33: Photos by Harrison Truong; Page 34: Rendering courtesy of CAW Architects; Page 35: Photo courtesy of Volcano Theatre Company
IN-KIND PARTNERS
MEDIA PARTNERS
Stanford Live’s 2018–19 season is generously supported by Helen and Peter Bing.
Underwriting for student ticket discounts for the 2018–19 season is generously provided by the Bullard family.
Stanford Live’s 2018-19 season jazz programs are generously supported by the Koret Foundation.
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“First Republic takes extraordinary care of us and provides fl awless service.”
H E L G I TO M A S S O N , Artistic Director and Principal Choreographer, San Francisco BalletM A R L E N E TO M A S S O N , Former Dancer, Wife and Mother
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S T A N F O R D L I V E M A G A Z I N E J A N / F E B 2 0 1 9Jan/Feb 2019Volume 11, No. 3
Paul Heppner President
Mike Hathaway Senior Vice President
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ProductionSusan Peterson Vice President, Production
Jennifer Sugden Assistant Production Manager
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SalesAmelia Heppner, Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives
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Encore Arts Programs and Encore Stages are published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas. All rights reserved. ©2019 Encore Media Group. Reproduction without written permission is prohibited.
C H R I S L O R W A Y
E X E C U T I V E D I R E C T O R
Stanford Live presents a wide range of the finest performances from around the world, fostering a vibrant learning community and providing dis-tinctive experiences through the performing arts. With its home at Bing Concert Hall, Stanford Live is simultaneously a public square, a sanctuary, and a lab, drawing on the breadth and depth of Stanford University to connect perfor-mance to the significant issues, ideas, and discoveries of our time.
W E L C O M E
Last fall, I was invited by the Office of Religious Life to speak as part of its What Matters to Me and Why series. It was a wonderful opportunity to examine the moments and relationships that have shaped my personal and professional life. As I reflected on the question in preparation for my talk, I kept coming back to the importance of family. All four of my grandparents lived long and healthy lives, which meant we had regular multigenerational gatherings around life events. As is common in many families, challenging times strengthened these important bonds, creating a network of love and support that continues to sustain me on my personal journey.
In this issue, we explore how artists frequently turn to family for creative
inspiration. This exploration of lineage can
provide writers like Hannah Moscovitch
with an opportunity to become acquainted
with those they never knew or, in the case
of Kelly Peterson, to celebrate the lives of
those they did. While creating Ghost Rings,
Tina Satter found her relationship with her
sister creeping into the narrative, and the
expression of this became an important
part of her healing process during a
difficult time.
Finally, we journey to the coffee houses of
Damascus and Leipzig in preparation for a
visit from Tafelmusik, tracing the origins of
these spaces as community hubs where the
potent mix of music and caffeine continues
to keep audiences engaged into the wee
hours of the night.
Enjoy the performances!
“If you cannot get rid of the family skeleton, you may as well make it dance.”
—GEORGE BERNARD SHAW
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AUDIENCE INTERACTION
K E Y :
VENUE:BING CONCERT HALL
Branford Marsalis
Quartet
J A Z Z
WHEN:WEDNESDAY,JANUARY 16,7 :30 PM
New Orleans native and NEA Jazz Master Branford Marsalis got his start with Clark Terry and his brother Wynton Marsalis in Art Blakey’s Jazz Messengers. In 1986, Branford formed the Branford Marsalis Quartet, adding guest vocalist Kurt Elling.
VENUE:BING STUDIO
Fred Hersch
Trio
J A Z Z
WHEN:FRIDAY, JANUARY 18,7 :00 & 9:00 PM
A select member of jazz’s piano pantheon, Hersch is a pervasively influential creative force who has shaped music’s course over more than three decades as an improviser, composer, educator, bandleader, collaborator, and recording artist.
VENUE:BING CONCERT HALL
Bobby McFerrin
& Gimme5
J A Z Z
WHEN:FRIDAY, JANUARY 18,7 :30 PM
To some people, Bobby McFerrin will always be the guy who sang “Don’t Worry, Be Happy,” epitomizing joy in music making, creativity, and spontaneity. At the Bing with the ensemble Gimme5, Bobby will take audiences on a life-changing musical adventure.
Circlesongs
For the full calendar, visit live.stanford.edu.
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VENUE:BING STUDIO
New Breed
Brass Band
J A Z Z
WHEN:SATURDAY, JANUARY 19,7 :00 & 9:00 PM
New Breed Brass Band lives and breathes the culture of New Orleans, infusing funk, rock, jazz, and hip-hop into a custom-made enhancement of second-line brass band tradition.
VENUE:BING CONCERT HALL
AttractorD A N C E
WHEN:THURSDAY & FRIDAY, JANUARY 24 & 25,7 :30 PM
Part ritual, part trance, part dance party, Attractor is a collaboration between DanceNorth, the music duo Senyawa, and acclaimed choreographers Lucy Guerin and Gideon Obarzanek.
DanceNorth
VENUE:BING STUDIO
SenyawaN E W M U S I C / W O R L D
WHEN:SATURDAY, JANUARY 26,7:00 PM
Fusing folk, doom metal, and improv noise, this Indonesian duo is unlike any other band. Come experience the music of Senyawa.
VENUE:BING CONCERT HALL
Yefim
Bronfman
R E C I T A L
WHEN:SATURDAY,JANUARY 26,7:30 PM
One of the world’s most acclaimed pianists, Yefim Bronfman has a career as a concert artist that is matched only by his accomplishments as a soloist.
VENUE:BING STUDIO
Cha WaJ A Z Z
WHEN:FRIDAY, JANUARY 25,7:00 & 9:00 PM
From funk-laced beats and bass-heavy sousaphone blasts to the gritty warmth of singer J’Wan Boudreaux’s voice, Cha Wa radiates the fiery energy of the Crescent City’s street culture.
VENUE:BING CONCERT HALL
Sundays with the
St. Lawrence
C H A M B E R
WHEN:SUNDAY, JANUARY 20,2:30 PM
The acclaimed St. Lawrence String Quartet, a beloved linchpin of Stanford University and Stanford Live, is joined by the acclaimed modern JACK Quartet for a lively program of new works played by great musicians.
SLSQ with the JACK Quartet
VENUE:BING STUDIO
Mouthpiece T H E A T E R
Mouthpiece follows one woman, for one day, in the wake of her mother’s death, as she tries to find her voice. It’s a heart-wrenching and humorous journey into the female psyche.
WHEN:THURSDAY–SATURDAY, JANUARY 31–FEBRUARY 2,8:00 PM
Quote Unquote Collective in association
with Why Not Theatre
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VENUE:BING STUDIO
Leyla
McCalla
W O R L D /J A Z Z
WHEN:FRIDAY,FEBRUARY 8,7:00 PM
A Haitian-American artist who sings in French, Haitian Creole, and English, Leyla McCalla creates music that is at once earthy, elegant, soulful, and witty.
VENUE:BING CONCERT HALL
Brentano
String Quartet
C H A M B E R
WHEN:FRIDAY,FEBRUARY 8,7:30 PM
At the Bing, the Brentano performs Purcell’s Dido’s Lament, Bartók’s Second Quartet, Shostakovich (from his Lady Macbeth of Mtsensk), and Haydn’s Seven Last Words.
Lamentations
VENUE:BING CONCERT HALL
John Santos
Sextet
J A Z Z
WHEN:SATURDAY,FEBRUARY 9,7:30 PM
At the Bing, Grammy nominee John Santos reflects on sacred traditions from Cuba that have birthed and influenced popular music and dance in Afro-America and around the world.
Hacia el Amor (Towards Love):
The Sacred Road Home
For the full calendar, visit live.stanford.edu.
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VENUE:BING CONCERT HALL
Cut
Circle
C H O R A L
WHEN:SUNDAY,FEBRUARY 10,2:30 PM
Led by Stanford Associate Professor of Music Jesse Rodin, Cut Circle will perform music of both romantic and spiritual intensity by Du Fay, Ockeghem, Josquin, and their contemporaries.
To Love Another: Renaissance Music
VENUE:BING STUDIO
Ghost RingsP O P/ T H E A T E R
WHEN:THURSDAY–SATURDAY, FEBRUARY 14–16,8:00 PM
A theatrical pop song cycle, Ghost Rings burrows and soars through the layers of love among best friends and a family band of yesteryear to create a feminist reclamation of what makes a rock star.
Half Straddle
VENUE:BING STUDIO
Jenny
Zigrino
C O M E D Y
WHEN:THURSDAY, FEBRUARY 21 ,7 :00 & 9:00 PM
With Midwestern sweetness and keen East Coast wit, Jenny Zigrino is a comedian that packs a punch of truly original humor.
VENUE:BING STUDIO
Bassekou Kouyaté
& Habib Koité
W O R L D
WHEN:SATURDAY,FEBRUARY 23,7:00 & 9:00 PM
Habib Koité and Bassekou Kouyaté exemplify responsibility and the shared experience associated with the historical, cultural, and unifying properties of Malian music.
VENUE:BING CONCERT HALL
Eric Owens
and Lawrence
Brownlee
R E C I T A L
WHEN:FRIDAY, FEBRUARY 15,7 :30 PM
Acclaimed artists Lawrence Brownlee (tenor) and Eric Owens (bass-baritone) share the stage for arias and duets by Bizet, Mozart, and Verdi alongside American songs and spirituals. Generously supported by Leslie and George Hume
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BLKNWSMeier Family GalleriaThrough June 6, 2019Cantor Arts Center
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A Conversation on Hans Hofmann With Alexander Nemerov of Stanford University and Lucinda Barnes of Berkeley Art Museum Thu, Jan 24 at 6:30 PMDenning Family Resource Center at the Anderson Collection.
Cam
pus
Part
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Come to the Cantor Arts Center to see BLKNWS, a two-channel broadcast by artist Kahlil Joseph that blurs the lines between art, journalism, entrepreneurship, and cultural critique. Joseph, a cofounder of the Underground Museum in Los Angeles, is a visiting artist in the new Presidential Residencies on the Future of the Arts program. Also on display in the Cantor’s main lobby is Stephanie Syjuco’s handmade banner, which when expanded reads: “I AM AN AMERICAN.” This monumental work is a powerful meditation on the connection between identity, protest, and political legibility.
The Anderson Collection at Stanford University kicks off the new year with a talk by Alexander Nemerov, Art & Art History department chair Department Chair & Carl and Marilynn Thoma Provostial Professor in the Arts and Humanities. He’ll be in conversation with Lucinda Barnes, former chief curator and director of programs and collections at the Berkeley Art Museum, on the Anderson Collection’s Fall Euphony by Hans Hofmann, which will be included in the exhibition Hans Hofmann: The Nature of Abstraction at BAMPFA in February 2019.
For more information, please visit arts.stanford.edu.
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I Am An…Main LobbyOngoingCantor Arts Center
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Playwright Inua Ellams, one of the inaugural Presidential Residency Artists, visited with students at Ujamaa residence hall prior to the November run of his hit play Barber Shop Chronicles, which explores the barber shop’s integral community significance.
In November, the acclaimed Czech Philharmonic performed Dvořák’s New World Symphony No. 9 and Tchaikovsky’s Piano Concert No. 1 with pianist Kirill Gerstein.
Stanford’s Stephen Sano led an ensemble of musicians in Bing Studio last November in a program featuring Beethoven and H. K. Gruber’s Frankenstein!
5
2 TCHAIKOVSKY & DVOŘÁK
1 INUA ELLAMS CUTS TO THE CHASE
3 BEETHOVEN, MEET FRANKENSTEIN
Stanford Live kicked off its collaboration with the Stanford Concert Network in October with Gavin Turek, who’s got Beyoncé’s on-point moves and Diana Ross’ fabulous 1970s hair.
Audience members lined up to meet Seong-Jin Cho, who, ever since his gold medal win at the 2015 Chopin Competition in Warsaw, has been vaulted to rock-star status in his native South Korea.
This was not your grandmother’s three-ring circus! Australia’s award-winning Circa ensemble offered an intimate, unique, 360-degree experience at Bing Concert Hall.
4 DISCO SHIMMER
5 CIRCUS WITH A HUMAN FACE
6 PIANO ROCK STAR
In December, two-timeGrammy Award winner Gregory Porter performed songs by the legendary Nat “King” Cole with a swinging jazz orchestra led by Mike Galisatus in Memorial Auditorium.
Catalonian musician Jordi Savall returned to the Bing with his latest project, The Routes of Slavery, a showpiece for recent collaborations with African and Central and Latin American musicians tracing the routes of the slave trade.
8
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7 TRIBUTE TO NAT “KING” COLE
8 JORDI SAVALL’S MUSICAL JOURNEY
Tina Satter is the artistic director of the
Obie-winning theater company Half
Straddle. Her work has been described
by the New York Times as a “vitalizing
blend of coziness and estrangement,
weirdness and familiarity.” Her show
Ghost Rings is no exception. Drawing
from events of her own life, she uses the
format and flow of a pop concert to
create a work of theater. On stage
the band is made up of two women
singers, an additional musician, and
Satter herself on drums. Also present
are two puppet “Private Inner Beings,”
Deer and Seal-y. As the two characters
grow up, the show examines their
intense relationship and the oscillating
dynamics within deep connections
between two people. Satter shares
her inspiration for Ghost Rings and the
process of putting it together.
Do you remember how the title Ghost Rings came into being? Yes, in 2011, I was at a three-day silent
writing retreat in upstate New York
facilitated by the incredible playwright
Erik Ehn. It was through the Pataphysics
Playwriting Workshops. I generated
some writing there that I’d had no
pre-plan for, and it was taking shape
in its earliest forms as a conversation
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An Interview with Tina Satter
The Making of Ghost Rings
F E A T U R E T T E
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Erin Markey and
Kristen C. Sieh in
Ghost Rings.
Photo by Ian Douglas
2.
Tina Satter
3.
Erin Markey and
Kristen C. Sieh in
Ghost Rings.
Photo by Maria Baranova
between two young women. I didn’t know yet if they were sisters or friends or romantic partners—and in this early writing they were discussing basic things like borrowing a sweater but then also asking each other dark, existential questions. And in that first writing I remember having this thought that there was this kind of candy these girls would eat—I imagined it as pale purple circles and I called the candy Ghost Rings.
Can you discuss the basic creative and narrative starting point for the show?Well, I had this very early writing of these two girls discussing these banal and existential questions, and in this very early draft they also each had these inner animals—one girl had a deer who was her corresponding inner animal, and the other had a seal. But I wanted to play with the idea that these weren’t actually cute, cuddly animals—but that they were kind of crass, and direct, and not necessarily mean, but maybe didn’t always offer great advice, that they sort of actually operated like “mean girls” and that the deer in particular wanted to talk about sex and stuff.
How did the music develop?I had this early writing, and the Half Straddle composer, Chris Giarmo, and I had been discussing doing a project that really focused on singing. We always have original music, scores, and often songs in our shows—and usually these are performed by a mix of untrained and trained singers. Both Chris and I are excited about the quality of untrained singers and we
had this great combination of my totally
weird lyrics and bad music ideas being
transferred into this singular, beautiful
music by Chris that’s such an important
component of our shows. So Chris had
recently expressed at that point that
he wanted to experiment with making
music out of our collaboration that was
more challenging and required very,
very good singers to do it—and I loved
that challenge and idea. And from the
beginning, we’re like, maybe it’s a fully
sung-through piece? But we were not yet
having any idea what that would mean
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F E A T U R E T T E
super close to—but there was pretty intense stuff she was going through and we were estranged, and I couldn’t help putting really direct and personal writing about my sister in the show, and then I was working on how to make those two distinct aspects of text work together. And then I remembered how when we were really little my sister and I had a “band” with a friend, a fake band obviously, but that for a moment in time we took it really seriously, and then this became the perfect through-line for Ghost Rings—to recreate a band now as an adult and artist in order to frame these memories and new stories, and since we’d wanted to make it a music show, it now really was, we were a band.
Can you talk about the ideas of pairing? Writing about you and your sister and then spinning that off into two characters who are lovers, as well as two personal animal daemons?It’s funny that as obvious as that concept is, I’ve never considered the idea of “pairing” in the show, but it’s kind of the whole thing! But, yeah, I started with the idea of the two girls as the very first narrative line, and in the very first iterations of the piece, I hadn’t yet decided if they were sisters or not. It was several years before I added in the explicit writing about my sister—so the sister concept was haunting it, I guess. But, because I have just one sibling, one sister, and we grew up so close—that relationship, dynamic, and how we communicate do inform in varying levels everything I make. And as this show developed to encase both the romanticized girls and the thread of my sister and me, I was subconsciously exploring the idea of the energy between pairs. I was very interested in considering that kind of deep, deep romance that exists in totally nonsexual dynamics, like between sisters or two platonic friends. So, once I was exploring essentially the sadness, and the amazing memories
for us—something more like Nature Theater of Oklahoma? Operatic? A rock show? The formal container was still very abstract. But we knew from the beginning we wanted to work with Erin Markey, who has an incredible voice and stage presence, and we’d been collaborating with her for a while. Then we knew we needed another female to sing the other part but hadn’t found her yet. So, in the earliest showings of excerpts, it would just be Chris and Erin performing, with Erin singing the part of a girl named Samantha and Chris singing the other girl’s lines.
How did the animal companions evolve from that point?Once we got a commission from New York Live Arts and knew the show would premiere in April 2016, I had to get more specific about the design aspects and decided I didn’t want to render the animals as video. I had this idea that they instead should be life-size objects, and through figuring out how that could happen, I met with puppeteer Amanda Villalobos, who slowly convinced me that they could be life-size puppets. I had some innate prejudice against puppets, but since they were being voiced by Kristen [[Sieh]] and Erin anyway, it ultimately made sense to have this amazing life-size deer and seal that they manipulate and animate and voice, which, of course, are puppets.
Meanwhile, I was honing and refining the writing between these two characters then called Samantha and Kristen and their animals (Seal-y and Deer) and in the writing they had become these best friends who also have this deep romantic connection. As they grow, one truly wants to have a baby with the other and sets this intention that she is pregnant and it comes true! And at the same time I was going through all this stuff with my actual sister, who I’d always been
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Ghost RingsHalf Straddle Thu–Sat, Feb 14–168:00 PMBing Concert Hall Studio
of a kind of lost “romance” with my sister, then it was also cool to push the friendship narrative of the piece to a more sexualized, romantic space, but in this very weird and holistic way. Now with some distance from the making of the show itself, I can see that it weaves together a childhood version of romance, the true attempts at adolescent connection with another, both sexual and not, and then the actual real-life absurdity and beauty and devastation that exists almost minute to minute in attempting love and commitment between two people as an adult.
What did you work on most in fine-tuning this show?The first most obvious fine-tuning was that I needed to learn how to play the drums! What I do in the show is still very rudimentary drumming, but even that was a huge step for me and takes lots of practice and prep each time we do the show again. Then, I adjusted the text a bit between the premiere in April 2016 and the run at the American Realness Festival in January 2017. Then the level of singing that Kristen, Erin, and Chris do always needs to be worked on and maintained both for their comfort in performing the songs at the level they want and in feeling comfortable with monitor levels and sound in each space we perform. So that always is definitely the overall priority for this show, since it’s 90 percent singing, that those three feel best prepared and equipped to perform in the way they want.
—Interview by Josh McIlvain, May 2017, for fringearts.com. Excerpted with permission.
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I picture myself standing at the host stand in the restaurant where I am work-ing. I remember my outfit that February evening in Florida, a new outfit that felt good: winter-white pleated knit skirt, winter-white cable knit sweater, and red three-inch heels. I see him walk inside, his graceful, confident swagger. His dark eyes dance as he greets me and asks for a table for two. His son (in his late 20s) stands beside him. His gaze lingers on mine, longer than I am accustomed to. There is warmth and joy in his eyes, in his smile. I know who he is, but he doesn’t know me. I am immediately charmed and disarmed. I lead him to a quiet table, where he will be undisturbed by other diners. He invites me to join him and I smile politely.
“I’m working,” I say. “But thank you. I hope you enjoy your dinner.”
When he leaves nearly two hours later, he stops again and asks how my evening was. He invites me to visit him in New York that July. The next day he calls the restaurant, asking if I have thought about his invitation. Although I was flattered, I would not have presumed the invitation was serious. He says, “Please consider it. I would really like you to come to New York. I’m traveling for a while but will call you again.”
And so it was that I met Oscar Peterson 38 years ago. The memory is so clear. The adventure that began that night was so totally unexpected, so full of joyful times, more music than I could have imagined, travel, dear friends I’d never have met, and a beautiful, remarkable daughter. For it all, I am immensely grateful.
This photo to the right, by Al Gilbert, captures the charmer who walked through the doors of Charley’s Crab that February night in 1981.
By the time we met, Oscar had already been performing professionally for 40 years. It was my great good fortune and privilege to share the next 27 years with him.
And later, producing Oscar, With Love was a tremendous joy, as we all cele-brated Oscar, the composer, and Oscar, the man. It is with deep humility and great pride that I join with all these musicians to present the music to you.
—Kelly Peterson
Photos courtesy of Kelly Peterson
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Oscar, With LoveA Tribute to the Late Oscar PetersonFri, March 227:30 PMBing Concert Hall
Oscar Peterson Career Highlights
1941 Radio showsOn the Montreal radio station CKAC, Peterson had his own show titled Fifteen Minutes’ Piano Rambling. After being featured on CBM’s Rhythm Time, he became a national icon who made appearances on shows such as Light Up and Listen and The Happy Gang.
1948Birth of his trioPeterson formed his own trio in 1948 consisting of Austin “Ozzie” Roberts on the bass, Clarence Jones on the drums, and Peterson himself on the piano. For some time, Ben Johnson played the guitar for the group. The trio performed at numerous venues and their performances were broadcast on a radio system in Montreal.
1953Norman Granz Peterson met impresario Norman Granz by chance, which eventually became a turning point in his career. After Granz heard a live broadcast of a performance by Peterson that impressed him greatly, he created a deep professional and personal relationship with Peterson.
1960sAdvanced School of Contemporary MusicPeterson established the Advanced School of Contemporary Music for students who wanted to learn jazz. As the school became more popular and well-known, students from all over the world traveled to Toronto to learn music at the school.
1962‘Hymn to Freedom’ As Peterson grew older, he began to devote more time to music composition. During the Civil Rights Movement, Dr. Martin Luther King led the crusade song “Hymn to Freedom,” a work that was composed by Peterson. He continued to compose, including creating music for motion-picture films such as Big North and The Silent Partner.
1980s-2000sPerforming and recordingIn the 1980s, Peterson formed a successful duo with pianist Herbie Hancock. Then in the 1990s, he recorded and performed with his protégé pianist Benny Green. The playing and recording continued into the 2000s despite his advancing age and several health problems.
1997The Grammy Lifetime Achievement AwardThroughout his career, Peterson won eight Grammy Awards, including the Grammy Lifetime Achievement Award for his creative contributions of outstanding artistic significance to the field of recording.
In Memory of Oscar Peterson (1925–2007)
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Family TiesBy Carly Maga
Playwright Hannah Moscovitch had lived in Halifax, Nova Scotia, for two years before she ever set foot in the Canadian Museum of Immigration at Pier 21, but her whim to do so one day in September 2015—with her two-month-old son Elijah in tow—has fundamentally changed her life since.
“I didn’t know anything about my family. I’m from one of those poor Jewish families that wanted to forget everything
about the Old World because everything was so bad,” Moscovitch says. “I didn’t think I would be the kind of person who would care, but I cared deeply, it turns out...It made me bawl.”
Thanks to the census records at the museum, Hannah came face-to-face with her great-grandparents, Chaim and Chaya Moscovitch, who entered Canada through the Port of Halifax in 1908, fleeing the Jewish pogroms in Romania.
Never one to consider herself
sentimental when it came to family
history, Moscovitch describes her
outburst as “memorably extreme,” a
deep-rooted and mysterious torrent
of emotions beyond her realm of
understanding that had her reaching
for the Kleenex offered up by the Pier 21
staff. Holding Elijah, who wouldn’t exist,
she thought to herself, if her great-
grandparents hadn’t arrived at the very
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Whether these productions filled a need to reckon with a history of oppression, heal from a damaged relationship,
explore under-examined power imbalances, or create a new legacy for a deceased loved one, each one erupts
from an urge that surpasses intellectual theorizing or carefully constructed plotlines.
spot where she now stood, her reaction
felt “almost biological.”
Compelled to continue researching
Chaim and Chaya’s lives after that
day, Moscovitch then created a play
with music, Old Stock: A Refugee Love Story, with director Christian Barry (who
happens to be her husband) and klezmer
musician and actor Ben Caplan.
Old Stock may have begun with an
intensely personal experience for
Moscovitch, but the distance of time and
facts (she had to take creative license
when information wasn’t available)
gave her the freedom to create a
dramatically coherent story, infused
with the current politics surrounding
immigration and refugees today (see
page 29). But the immediacy of the
connection between artist and family
is what drives the urgency of Old Stock,
as it does in so many productions that
see artists mining their own family
relationships for artistic inspiration.
This year at Stanford Live, four very
different projects find their roots
in the real family dynamics of the
creators. Whether these productions
filled a need to reckon with a history
of oppression, heal from a damaged
relationship, explore under-examined
power imbalances, or create a new
legacy for a deceased loved one,
each one erupts from an urge that
surpasses intellectual theorizing or
carefully constructed plotlines. All cases
describe a creative desire that felt
instinctual, even primal, and feeding
that desire little by little allowed it
to grow into an unstoppable force.
The idea for Ghost Rings by the New
York City–based company Half Straddle
came to writer Tina Satter as the story
of two best friends and their desire for family. After years of development, it had evolved into a hybrid of a live concert and storytelling, with longtime musical collaborators Chris Giarmo and Erin Markey. But pressure to create clearer text sent Satter in circles, often revolving around her relationship with her estranged sister.
“It was a really traumatic, weird thing to process…like mourning someone who isn’t dead. I’d go write, and she would be
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3 1.
Old Stock: A Refugee Love Story by 2b Theatre
2.
Ghost Rings
by Half Straddle
3.
Mouthpiece
by Quote Unquote Collective & Why Not Theatre
M A I N F E A T U R E
the only thing that would come out on the page,” Satter says.
At first, Satter says she tried to resist this direction, but a subconscious realization made her stomach drop—one of several that she would discover as she dove deeper into Ghost Rings.
“All of a sudden, in this weird, deep memory flash, I was like, ‘Oh my God, my sister and I had a band,’” she says. At nine and seven years old, Tina and her sister had imaginary instruments and a limited set list, but now, Satter decided to live out that fantasy for real. She cast herself in the band, learned the drums, and wrote her story into the play’s narrative.
Tina’s sister had always been present in her writing, especially in the “really interior, almost primal way of communicating” between her female characters. But making her story explicit, particularly this darker period of their relationship, went against all of Satter’s usual instincts. But the realizations kept coming: Satter’s sister played the drums in elementary school, she and her sister were often mistaken for twins, and they were both artists. Soon Ghost Rings’ title had a new resonance, and Satter became a ghost of her sister herself.
It was healing for Satter, but that doesn’t mean their story is over.
“We are in a better place than we were before the show, and the show feels further away from me in my emotional memory,” she says, though there’s a sad affect in her voice when she says how her sister has never seen the show and hasn’t shown an interest in doing so, even though there are references and jokes that only she would understand. But it has led to other moments of closure with Satter’s family as well as for audience members.
“That did do something for me in the sense of a large, less-alone feeling, even though I had been very lucky to have people around me,” she says.
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It’s one thing to use personal stories in the creation of a show and an entirely different thing to release it into the world—and the nerves an artist feels at that moment of vulnerability are even more heightened when it’s not only their own story they’re telling. Since Chaim and Chaya are deceased, Moscovitch says she was relieved of the burden of getting their exact details—but new-to-her family members, relatives she’s only met at Old Stock performances, still come to her with questions—and corrections—and stories of their own.
Amy Nostbakken and Norah Sadava, co-creators of Quote Unquote Collective and their two-hander Mouthpiece, weren’t so lucky. Mouthpiece arose from a heavily confessional period between the two creators, who had only just met, which had them admit to their entrenched hypocrisies about womanhood and feminism. The form they needed, they realized, was simple: they would both play the same woman, going through her day after learning her mother has died—a mother that represented an older, patriarchal generation.
“Neither of our mothers is a doormat, and neither of them is dead,” Sadava laughs, now seemingly practiced at defending both of their real-life mothers to audience members, of which there are now many. After debuting in Toronto, Mouthpiece has had an extensive touring life as well as a film adaptation, which premiered at the Toronto International Film Festival this year. To prepare them, Sadava and Nostbakken have had several conversations with their mothers to assure them it’s not pure autobiography. As Nostbakken puts it, “You have to find the drama. We pushed her to an extreme, to this conservative, body-conscious, fashion-conscious version of what every woman in my life feels like.”
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Fortunately, their mothers have taken the show with a sense of humor, getting their daughters a doormat as an opening-night gift. Still, Mouthpiece has forced some difficult conversations, internally and between the generations.
“It’s easy to recognize what she’s not, but some of the qualities in the play are very much our moms. Grappling with that on her own terms was a big deal for her. She wrote about it and talked to me about it, and it changed our relationship,” says Sadava.
“It also takes a strong woman to have a show written about her, by her daughter, that is a critique,” Nostbakken adds. Mouthpiece, first and foremost, looks at how a patriarchal society warps women’s perception of beauty, self-esteem, independence, and each other across generations. But after five years of touring, Mouthpiece still elicits the kind of confessions that birthed it: recently, a woman divulged to Nostbakken and Sadava that Mouthpiece convinced her that she needed to leave her husband. There are still stories left to be told and healing left to be done.
For other productions, future generations are the intended recipients. Oscar, With Love, a tribute to the piano legend Oscar Peterson, features his personal friends like Benny Green, Robi Botos, and Dave Young with Céline Peterson, his daughter, as the host. But it began as an album, conceived, managed, brokered, and financed by Peterson’s widow, Kelly.
She knew that her late husband would go down in history as the “Maharaja of the keyboard,” as he was called by Duke Ellington, but she wanted his original compositions to find new, lasting life without him. So, at a loss for her next step after his death in 2007, Kelly Peterson invited 16 pianists and a bassist into her home in Mississauga, Ontario, to record on Peterson’s own piano.
“I could remember sitting in the studio with Oscar while he wrote those pieces
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MouthpieceQuote Unquote Collective in association with Why Not Theatre Thu–Sat, Jan 31–Feb 2, 8:00 PM Bing Concert Hall Studio
Oscar, With LoveA Tribute to the Late Oscar PetersonFri, Mar 22, 7:30 PMBing Concert Hall
I N S P I R I N G T H E B E S T I N O U R K- 1 2 S T U D E N T S
For more information, please visit our website at:WWW.PINEWOOD.EDU
Upper Campus 26800 Fremont Road
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of music. So I could have tears streaming down my face just feeling as though Oscar was right there in the middle of writing,” she says.
The project took a difficult turn when Kelly learned her label was backing out of funding the recording. With no luck finding a replacement, Peterson put up the money herself—and pushed until the album saw the light of day in 2017 with Mack Avenue Records.
“I had recurring nightmares of driving a car up a really steep mountain thinking, ‘I’m not going to get to the top. I’m going to roll back and I’m going to crash.’ But just by breaking it down and doing it one step at a time, we did it,” she says. The album officially launched at Carnegie Hall and inspired a series of live concerts to continue the family affair.
With time to look back, Peterson says the project didn’t start out as a method of mourning her husband, but it has been instrumental in moving on. Now, she’s focused on her daughter making her own career path outside of her father’s shadow. And for Peterson herself, used to supporting Oscar in their 27-year marriage, she’s finding new strength and independence after making Oscar, With Love a reality.
“This is my thing and it is me. It’s not Oscar and it’s not actually me as his widow. It’s me doing what I believe is the right thing to do and following my instincts,” she says.
In each of the stories above, the artists have praised the family-like atmosphere that grows within a creative team when dealing with sensitive subjects, and that closeness is evident when witnessed by a new listener. Perhaps that’s a force in propelling these stories farther and farther, their specificities reaching a more and more universal audience. These are a few examples in a long lineage of artists mining their closest relationships to create ephemeral but impactful work, ready to be passed down to new generations.
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1.Chaya Moscovitch and Chaim Yankovitch with their family. Hannah Moscovitch’s grand-father, Sam Moscovitch, is on the far right of the photograph, standing beside his wife and Hannah’s grandmother, Sally
2.Chaya and Chaim at thewedding of their youngest daughter, Ethel Moscovitch
3.Chaya and Chaim as depicted in Old Stock: A Refugee Love Story
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My son, Elijah Julian
Moscovitch Barry, was born in
June of 2015. In September,
the small body of Alan Kurdi
washed up on a Turkish
beach. The photograph of the
drowned Syrian toddler made
international headlines. Less
hyped on international news
outlets was the fact that Alan
Kurdi’s aunt (who is Canadian)
had been applying for him
and his family to immigrate to
Canada. But their application
was stalled because of severe
new immigration restrictions
that were pushed through by
Stephen Harper’s conservative
government. To us, Alan Kurdi
was a lost Canadian citizen.
His death was our shame.
“Shame” was the word I saw on
social media the most in the
days following the release of
that photograph: Canadians
were collectively enraged.
When Prime Minister Justin
Trudeau’s liberals took power,
a couple of months later, he
invited 25,000 Syrian refugees
to become Canadians.
In September, 2015—the same
September when I’d curled up
and cried over the photograph
of Alan Kurdi—I went to the
museum at Pier 21 in Halifax
with my two-month-old son
Elijah. Pier 21 is the Canadian
version of Ellis Island: it was
the port of entry for most
immigrants and refugees who
By Hannah Moscovitch
Why I WroteOld Stock: A Refugee Love Story
came by boat into Canada.
In a small office at the front
of the museum, staff helped
me to locate the dates when
my great-grandparents
arrived in Canada. They found
Chaim Moscovitch first, my
great-grandfather, and then
Chaya Yankovitch, my great-
grandmother. They found the
dates they arrived, and the
names of the boats they came
in on.
Both my great-grandparents
were fleeing pogroms.
In that moment, I was standing
where Chaim and Chaya had
stood when they first arrived in
Canada. For them, this place
A R T I S T V O I C E S
was their point of safety.
There was a line between life
and death and there, at Pier
21, was where they crossed
it. Without this place, there
would have been nothing: no
family and no generations
to come. And I was standing
there, in that place, holding
my infant son in my arms.
—Hannah Moscovitch
Dec 17, 2018
In that moment, I was standing where Chaim and Chaya had stood when they first arrived in Canada. For them, this place was their point of safety. There was a line between life and death and there, at Pier 21, was where they crossed it.
Old Stock: A Refugee Love Story2b Theatre CompanyFri & Sat, Mar 15 & 16 7:30 PMBing Concert Hall
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It’s 1740, and coffee houses are the place to listen to music and share stories in both the famous trading center
of Leipzig and one of the oldest cities in the world, Damascus. Take a look back at how coffee houses transformed into the cultural hubs we know today.
Damascus and LeipzigCoffee Houses
The Arabian coffee shrub was native to the highlands of Ethiopia, but its first recorded cultivation was in Yemen, where members of the Sufi order drank coffee to stay awake during their night-time devotions.
Coffee traveled north to Damascus, and by 1540 a coffee house had opened in Istanbul. Merchants and diplomats brought coffee drinking to Europe, and by 1700 coffee houses had opened in Venice, Paris, Amsterdam, Vienna, London, and Leipzig.
In 1701, a young Georg Philipp Telemann arrived in Leipzig to study law. He steeped his love for music and took over the direction of a music club called the Collegium Musicum for the students at Leipzig University, many of whom were talented amateur performers.
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Tales of Two Cities: Leipzig and DamascusTafelmusik Baroque Orchestra Fri, March 8 7:30 PMBing Concert Hall
By 1729, Johann Sebastian Bach was directing weekly concerts for the coffee-house patrons in Leipzig, supplementing an ensemble of student performers with members of his family, visiting virtuosi, and Stadtpfeiffers: elite performers from the town band.
To this day, coffee houses are important hubs for culture and leisure in communities all over the world.
In 1702, the first public streetlights were installed in Leipzig, making it possible for more and more people to be out after dark. Coffee houses soon became a destination for drinks, camaraderie, and entertainment, and student performers became associated with several local coffee houses.
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The performers maneuvered on thick acrobatic mats covered with a black dance surface
This was the first time that trapeze elements were installed inside Bing Concert Hall
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Scen
esAs a fully staged and technically complex production, Circa Humans turned what would usually be one long day for our production team into four.
Day one involved hanging a truss system from the Bing ceiling. On day two, acrobatic elements such as ropes and trapeze bars were added to the truss, and ground ballast was brought in for stability. Then, thick acrobatic mats were installed, and a black dance surface was mounted on top. Since much of the show happened over 10 feet off the ground, we had to re-aim many of our lighting fixtures to properly illuminate the acrobats. On day three, we ran through a technical safety rehearsal—it was surreal to see acrobats hanging from the ceiling! And then we were on to the first performance that same night, followed by the second the next day.
Once the performances wrapped, we struck the set. It never ceases to amaze me how it can take days to create a theatrical experience and just a few hours to take it all down and pack it in the truck for its next stop.
KIM PROSSDIRECTOR OF OPERATIONS AND PRODUCTION
Much of the performance happened over 10 feet off the ground
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Lighting was refocused to illuminate the acrobats both on the ground and in the air
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Stanford UniversityBing Concert Hall Studio Cabaret
live.stanford.edu650.724.2464
B U YT I C K E T S
Experience a New Side of Bing Concert Hallin Stanford Live’s New Underground CabaretThis intimate cabaret space in the Bing Concert Hall Studio is the perfect way to experience a wide variety of performers up close and personal. Relax and enjoy an evening of live entertainment in this unique setting—it’s the venue you’ve been waiting for! Coming up: trans-genre artist Justin Vivian Bond with pianist Matt Ray; Spanish guitar and timple with Germán López and Antonio Toledo; comedy nights, and much more.
SL19_JanFebCabaretAd_Encore.indd 1 12/21/18 9:52 AM
JAN
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Mem
bers
hip
The excitement keeps building
for the reopening of Frost
Amphitheater this summer!
As the construction crews put
the finishing touches on this
historic venue, our team is busy
planning a thrilling inaugural
season. We’re looking forward
to announcing the first round
of performances very soon,
with a lineup ranging from
iconic rock and pop bands to
symphonic and jazz shows that
will enrich summers in Silicon
Valley for years to come.
For Stanford Live members,
a new venue means an
exciting array of new benefits,
including:
•Presale access to tickets
for all Stanford Live
performances, including at
Frost Amphitheater
•First pick of your preferred
seating locations during
ticket presales
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A New Era at Frost Amphitheater
At higher membership levels
you can enjoy additional
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And membership isn’t just
about benefits. With ticket
sales covering a fraction of
our costs, your generosity
underwrites our year-round
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performances, teacher
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support will help create and
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Create a Lasting Legacy
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Stanford Live has been selected as a recipient of
a 2018 Hewlett 50 Arts Commission, a program
of the William and Flora Hewlett Foundation. We
are honored to be among a stellar group of 10 Bay
Area–based nonprofit organizations that will each
receive $150,000 to create important and unique
work in theater, musical theater, and spoken word
in partnership with world-class artists.
Our commissioning grant will support a reimagined
version of Treemonisha, Scott Joplin’s visionary
opera written in 1911. The work’s creative team, led
by director Weyni Mengesha, librettist Leah Simone
Bowen, and composers Jessie Montgomery and
Jannina Norpoth, will bring to the work an entirely
new libretto and an expanded musical language
incorporating jazz, traditional and contemporary
classical music, West African idioms, and of course,
ragtime. We’ll be sharing more news about this
remarkable project as part of our 2019—20 season
announcement in April!
A wonderful way to extend your support for the
performing arts at Stanford is through a planned
gift. By making a bequest or a life income gift, you
can make the most of your estate in ways that will
benefit you, your loved ones, and Stanford Live.
Plus, If you let us know about your intended bequest
or planned gift, you will be invited to enjoy special
events and recognition as a member of Stanford
University’s Founding Grant Society.
For more information visit plannedgiving.stanford.edu
or contact the Stanford Live Development Office at
650.725.8782.
Stanford Live ReceivesMajor Commissioning
Award From TheHewlett Foundation
Create a Lasting Legacy
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Anonymous (7)Marian & Jim AdamsKeith BakerTherese Baker-DeglerPat Barnes & Kathy KellerLisa BarrettDeborah & Jonathan BerekMildred & Paul BergCeleste & Wendell BirkhoferCarolyn & Gary BjorklundLinda & Steve BoxerJoan & Thomas BrownTerri BullockJohn Carter & Edie GoldbergTasha CastanedaAndy & Mary ChanDonald CheuHolly & Andrew CohenJoanne & Michael CondieMark CummingsCornelia L. DekkerDebra DemartiniTom Dienstbier & Joyce FirstenbergerDiane Elder & Bruce NoblePatricia EngasserSally & Craig FalkenhagenStanley Falkow & Lucy TompkinsThe Feinstein FamilyMargaret Ann & Don FidlerRona Foster & Ken PowellLorien FrenchBetsy & David FrybergerAileen FurukawaDaniel Garber & Catharine Fergus GarberJane & Bruce GeeCate and Michael GlennSusan GoodhueEd Haertel & Drew OmanDavid Hants & Ilze SilisEric Hanushek & Margaret RaymondJoerg & Christine HeiligAnne & William HersheyCaroline HicksLeslie Hsu & Richard LenonRex & Dede JamisonPamela S. KarlanRandall Keith & Karen HohnerEd & Kay KinneyAmy Ladd & Doug FitzgeraldAlbe & Ray LarsenAyleen & Emory LeeLucy & Jason LeeShirley LiebhaberMarcia Linn & Jack MorrisKristen & Felix LoJoan MansourSandra & Joseph MartignettiYoshiko Matsumoto & John RyanRichard Mazze & Sheila CohenBettina McAdoo & Gordon RussellVicky & Jim MerchantDick Miller & James StuttsChris & Saira MoraceMartha Morrell MD & Jaime Tenedorio PhDCelia Oakley & Craig BarrattMary Jane & Richard OtteCarmela & Eli PasternakJin-Piao TrustEdward & Nadine PfluegerShirley & Bob RaymerKathy & Gary Reback
Rossannah ReevesSara Eisner Richter & Michael RichterDiane & Joe RolfeAmy Rosenberg & John SlafskyNancy & Norman RossenDiana & Philip RussellDoris SayonElizabeth & Mark Schar Fund of The Greater
Cincinnati FoundationJane Shaw & Peter CarpenterLee Ann & Martin ShellDeborah & Michael ShepherdCharles Sieloff & Sally DudleySusan SpeicherSrinija SrinivasanMaryanna & Charles StockholmLinda & Jeffrey SutoMichelle Swenson & Stan DrobacOnnolee & Orlin TrappBen WegbreitDr. Irving Weissman & Ann Tsukamoto-
WeissmanKaren & Rand WhiteMansie & Gary WilliamsDr. Carlene Wong & Dr. Philip LeeElizabeth F. WrightSharon & Robert Yoerg
ADVOCATE ($500 - $999)
Anonymous (8)Laura AdamsBill Albright & Jeryl HillemanDorothy AndersonJanice & William AndersonLois & Edward AndersonMelody & Walter BaumgartnerRichard Baumgartner & Elizabeth SalzerAnn & John BenderSusan Berman & Leon LipsonCharlotte & David BiegelsenJeanie & Carl BlomVera BlumeBonnie & William BlythePatty Boone & Dave PfeferDavid BrakerPrudence BreitroseLaura Breyfogle & David WarnerMaude & Philip BrezinskiChanin & Dotson FamilyNona Chiariello & Chris FieldShelli ChingAnn Hammond ClarkSuzanne & Bruce CrockerMelanie & Peter CrossRichard De LuceChristina Reid DickersonCarol DresslerKathleen DumasCori Duncan & Mario MarinucciEleanor EisnerMaria & George ErdiAnna EspinosaJeffrey FentonBarbara Blatner-Fikes & Richard FikesJoan & Allan FischRobert Flanagan & Susan MendelsohnDrs. Margaret L. Forsyth & Glenn D. RennelsSarah & Stan FreedmanCarol C. & Joel P. FriedmanLeah & Lawrence FriedmanMartha Gates & Spencer CommonsElizabeth GishCharles Goldenberg & Pamela PolosMargaret & Ben GongBrian & Susan GraySara & Michael HammondFran & Steve HarrisJoyce & James HarrisKatherine Hill & Edward StablerLinc & Robin HollandChris Iannuccilli & Michele SchieleAlyson & James IllichSally & Rob JacksonMelinda and Jim JohnsonLeigh & Roy Johnson
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Lil & Todd JohnsonCarol Kersten & Markus AschwandenMary Lou KilclineBarbara Klein & Stanley SchrierRenate KlipstasChristina KongJeffrey Koseff & Thalia AnagnosLinda & Fredric KraemerEdward & Miriam LandesmanMr. & Dr. Kurt F. LangCathy & Stephen LazarusY. K. LeeJoan & Philip LeightonDoreen & David LeithRoxanne LeungSanford LewisIrene LinDrs. John & Penny LoebTeri Longacre & Richard HildebrandtRachel & Zohar LotanKathryn Naylor LowPatricia & George LundbergVera LuthRuth LycetteAlisa & Neil MacAvoyKathy Mach & David SchererCharlene & Dick MaltzmanS. Martin & R. ZemlickaMarylin McCarthyPenny & Jim MeierElyce MelmonEvelyn MillerNorman Naimark & Katherine JolluckChristine & Ronald OrlowskiShari & Donald OrnsteinNancy & Stephen PlayerBarbara & Warren PooleKitty & Lee PriceTony, Myrla & Sarah PutulinRichard & Karen RechtMaureen & Paul RoskophElise & Jay RossiterMarianne RussoLoren & Shelley SaxeLinda SchleinPaula & George SchlesingerThe Schwabacher FamilyRobyn & Mark SetzenCraig Sherman & Susan ShinJudith & William ShilstoneDiane & Branimir SikicMary Ann SingHannah & Richard SlocumKaren & Frank SortinoBarbara & Charles StevensTracy Storer & Marcia KimesEleanor SueRosi & Michael TaymorJan Newstrom Thompson & Paul GoldsteinPenelope & Robert WaitesJoan & Roger WarnkePatti & Ed WhiteJohn & Jane WilliamsPolly Wong & Wai Fan YauMitchell & Kristen Yawitz
SUPPORTER ($250 - $499)
Anonymous (17)Matthew & Marcia AllenDana & Juliana AndersenRichard & Delores AndersonDan & Leslie ArmisteadJames & Jennifer BaeAnne & Robert BaldwinBetsy & George BechtelBethel BerhanuPamela BernsteinJustin BirnbaumChristopher & Jane BotsfordCaroline Bowker & Charles BlissRuth BrillBeverly BrockwayAlex & Sonya BrousilovskyJefferson Burch & Christine WeigenLottie & Henry Burger
Michael A. CalabreseFrancis & Nancy CavagnaroCecily ChangBeth CharlesworthSusan ChristiansenAlbert & Betty CohenSusie Cohen & Barry WeingastJack and Angela ConnellyJonah & Jesse CoolElaine Costello & Warren DoughertyRichard & Suzanne CottlePatricia & Tim DanielsHilary Davis & Sanford RatnerLothar de TempleBernadine DonoghueDebra DoucetteMaureen & Paul DraperKatharine and William DuhamelEllen & Tom EhrlichMelanie & Stephen ErasmusPatricia & Fred EvansJoyce Farrell & Brian WandellTracy Fearnside & Joe MargeviciusNancy & Tom FieneBarry FleisherShelley Floyd & Albert LoshkajianMadeleine FrankelAmy C. FriedmanE. Alexander GloverThe Goldhaber-Fiebert FamilyPaul Goldstein & Dena MossarRon & Jan GraceHarry & Diane GreenbergLinda & John GriffinAnn & Barry HaskellTanya HastingsKarin HeckJeffrey & Caron HeimbuckWendy & John HillhouseJeanne HochmanBebe & Rich HoppeLinda HubbardRob Huffman & Emily SmithEdmon JenningsPatricia JohnsonArthur JohnsonJane & Bill JohnsonZeev KaliblotzkyStina & Herant KatchadourianRon Katz & Libby RothBarney & KeatsShirley KelleyLynn & Richard KelsonEdie & Bob KirkwoodMichael & Wendy KirstNorman & Nina KulgeinRalph & Rose LachmanUri LadabaumCathy & Dick LampmanCatherine Kawon LeeLaurie Leventhal-BelferReuben LevyClaire & Herbert LindenbergerEdward LohmannMarion & Erick MackNancy Marks & Steve MitchelJane & Thomas MarshburnMark MathisenLaure & Sam MazzaraJames McClelland & Heidi FeldmanMichael McFaul & Donna NortonMeghan McGeary & Chih SungMaura McGinnity & Erik RauschWallace MersereauAlan F. MillerJames MillerRudolf MoosMary MourkasCoralie & Gerhard MuellerKathryn & Peter MuhsSnehal and Hemali NaikFred & Kirstin NicholsTheodor & Lisa NissimJoan NortonCynthia & James NourseRichard OlshenDick & Sandi PantagesGary Peltz
2018–19 Advisory CouncilThe purpose of the Stanford Live Advisory Council is to support the mission of Stanford Live and to provide advice on the strategic direction of the organization.
Fred Harman, ChairJeanne AufmuthPeter BingRick HolmstromDavid HornikGeorge H. HumeLeslie P. HumeBren LeisureBetsy MattesonLinda MeierTrine SorensenSrinija SrinivasanDoug TannerDavid Wollenberg
Ex officio:Maude BrezinskiStephen SanoMatthew Tiews
Bing Concert Hall Donors
BUILDING DONORS
Peter and Helen BingCynthia Fry Gunn and John A. GunnThe John Arrillaga FamilyAnne T. and Robert M. BassRoberta and Steve DenningElizabeth and Bruce DunlevieJill and John FreidenrichFrances and Theodore GeballeAndrea and John HennessyLeslie and George HumeSusan and Craig McCawDeedee and Burton § McMurtryLinda and Tony MeierWendy Munger and Leonard GumportJennifer Jong Sandling and
M. James SandlingRegina and John ScullyMadeline and Isaac SteinAkiko Yamazaki and Jerry Yang
BING EXPERIENCE FUND DONORS
With appreciation for the followingdonors, who provide major support forprogramming and musical instrumentsfor Bing Concert Hall.
AnonymousApogee Enterprises, Inc.The Adolph Baller Performance Fund
for Bing Concert HallFriends of Music at StanfordFred and Stephanie HarmanFong LiuElayne and Thomas Techentin,
in memory of Beatrice GriffinBonnie and Marty TenenbaumThe Fay S. and Ada S. Tom FamilyTurner CorporationThe Frank Wells FamilyMaurice and Helen Werdegar
Joseph PickeringKlaus & Ellen PorzigLowell & Carole PriceJennifer RoseRuth RothmanJohn Sack & Jeff RenschLinda SampsonAngela & Samuel SchillaceJoy & Richard ScottLorraine & Jerry SeeligJudy & Denis SeversonCarla ShatzAbby & Roger SimonsMatthew Sommer & Ih-hae ChangKerry Spear & Tim BellScott & Gayle SpencerKathy Stark & Christopher AokiElliot & Karen SteinSuzanne StoutElizabeth Trueman & Raymond PerraultIna TrugmanJames Tuleya & Karen HurstBrigitte & John TurneaureDebbie VallarinoAndrew Velline & Lisa ScheideckerTeri & Mark VershelLisa Voge-LevinDr. and Mrs. R. Jay WhaleyJeri & Kevin WheatonDiane WiederCurt WilliamsPaul Williams & Helge TernstenCatherine Wilson & Steven CallanderMike WrightWarren WuMary H. YoungCristina ZappacostaSelma Zinker
PERFORMANCE SPONSORS
Helen & Peter BingThe Bullard FamilyMary & Clinton GillilandMarcia & John GoldmanStephanie & Fred HarmanLeslie & George HumeTrine Sorensen & Michael JacobsonBonnie & Marty TenenbaumThe Wollenberg Foundation
INSTITUTIONAL PARTNERS
$100,000+The Koret Foundation
$50,000–$99,999The William and Flora Hewlett Foundation
$10,000–$49,999AnonymousCalifornia Arts CouncilChamber Music AmericaAnn and Gordon Getty FoundationNational Endowment for the ArtsDrs. Ben and A. Jess Shenson Funds $1,000–$9,999Aaron Copland Fund for MusicKinder Morgan FoundationWestern States Arts Federation
Contributions listed are from current Stanford Live members who made gifts through 12/6/18. For corrections, or to make a contribution, please contact us at 650.725.8782 or [email protected].
To learn more about giving to Stanford Live, visit live.stanford.edu/give.
§ Deceased
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FridayMARCH 15Germán López & Antonio Toledo
Friday & SaturdayMARCH 15 & 16Old Stock2b Theatre
SaturdayMARCH 16Ben Caplan
MondayMARCH 18Philharmonia Orchestra, London
WednesdayMARCH 20 *New Date*Hotel AmourMeow Meow & Thomas Lauderdale
ThursdayMARCH 21The Quebe Sisters
FridayMARCH 22
Oscar, With Love
SaturdayMARCH 23Pay Respect to Aretha FranklinKim Nalley & Tammy Hall
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WednesdayMARCH 6Anne Sofie von OtterPhilharmonia Baroque Orchestra
ThursdayMARCH 7PBO SessionsPhilharmonia Baroque Orchestra
FridayMARCH 8Tales of Two Cities: Leipzig and DamascusTafelmusik Baroque Orchestra
Friday & SaturdayMARCH 8 & 9Matt Ray Plays Hoagy Carmichael
Friday & SaturdayMARCH 8 & 9Justin Vivian Bond
TuesdayMARCH 12VenezuelaBatsheva Dance Company
SINGLE TICKETS NOW ON SALE!LIVE.STANFORD.EDU OR 650.724.BING (2464)Visit the Stanford Live website for updates. All programs and prices are subject to change.
Presented by Stanford LiveStanford University 365 Lasuen Street, Second Floor Littlefield Center, MC 2250Stanford, CA 94305
SundayMARCH 31Australian Chamber Orchestra
MAR 12
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APR 4 & 6
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Thursday & SaturdayAPRIL 4 & 6Meredith Monk
Thursday APRIL 11What Makes it Great?Late CompositionsRob Kapilow
SaturdayAPRIL 13Considering Matthew ShepardConspirare
SundayAPRIL 14Tesla Quartet
Tuesday–ThursdayAPRIL 16–18Sō Percussion
Friday & SaturdayAPRIL 26 & 27Go ForthKaneza Schaal
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Parking for Bing Concert Hall and Frost Amphitheater can be found in the Galvez Lot and on Lasuen Street, Museum Way, Roth Way, and the Oval.
Parking for Memorial Church can be found along the Oval at the end of Palm Drive, on Roth Way, on Museum Way, and on Lasuen Street.
DirectionsFor driving directions or public transportation information, please consult our website: live.stanford.edu. For comprehensive campus parking information and maps, visit http://visit.stanford.edu/plan/parking.html.
The Interlude Café in Bing Concert Hall’s lobby serves guests before performances and during intermission. For complete hours, menus, and preordering options, visit live.stanford.edu/dining.
Latecomers arriving after curtain time will be seated at a suitable interval in the program or at intermission. We recommend that you arrive at least 30 minutes prior to performances.
Assisted-listening devices are available. Please visitPatron Services prior to the show for more information.
Bing Concert Hall & Bing
Concert Hall Ticket Office
Frost Amphitheater
Memorial Church
Memorial Auditorium
Stanford Ticket Office
Anderson Collection at
Stanford University
Public Parking
Walking Path
Alumni Café, Arrillaga
Alumni Center
Change your plans? Exchange your tickets or make a tax-deductible donation at live.stanford.edu/changes.
Wheelchair seating, with up to three companion seats per wheelchair space, is available for all performances. Please indicate your needs when purchasing tickets so that an appropriate location can be reserved for you.
Sign language interpreting is available with five business days’ notice given to the administrative office—call 650.723.2551 or email us at [email protected].
Large-print programs are available with 72 hours’ notice given to the administrative office. Please send all requests to [email protected].
Volunteer usher positions are available throughout the year. For more information, please send an email to [email protected].
Things to Know
Performance Venue Information
Parking is FREE on the Stanford campus in metered and lettered parking zones on weekdays after 4:00 pm and on weekends at all times. Disabled parking, loading, and service-vehicle restrictions are enforced at all times.
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Precision Health is a
fundamental shift to more
proactive and personalized
health care that empowers
people to lead healthy lives.
Stanford Medicine is driving
this transformation by
leveraging the art and
science of medicine to
predict and prevent disease
before it strikes and cure it
decisively if it does.
med.stanford.edu
P R E D I C T P R E V E N T C U R E precisely