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June 25 – August 16, 2015 BARD SUMMERSCAPE OPERA THEATER DANCE MUSIC FILM SPIEGELTENT and THE 26TH BARD MUSIC FESTIVAL Chávez and His World

Bard Summerscape Festival Brochure

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Bard SummerScape | June 25 – August 16, 2015. Now in its 13th season, Bard SummerScape presents eight weeks of stellar events in opera, music, theater, dance, film, and cabaret.

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Page 1: Bard Summerscape Festival Brochure

June

25–Au

gust 16

, 2015

BARD

SUMMER

SCAP

E

OPERA • THEATER • DANCE •MUSIC • FILM • SPIEGELTENTandTHE 26TH BARD MUSIC FESTIVAL Chávez and His World

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above Carl Maria von Weber’s Euryanthe, SummerScape 2014. Photo: Cory Weavercover Creation (mural detail), Diego Rivera, 1922–23. Photo: Schalkwijk/Art Resource, NY©2015 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D. F./Artists Rights Society (ARS), New York

“SummerScape at Bard College . . . ever a hotbed of intellectual andaesthetic adventure.” —new york times

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Welcome!Bard SummerScape and the Bard Music Festival present “Carlos Chávez and His World”The heart of the 2015 Bard SummerScape lies in the 26th annual Bard Music Festival (BMF), which thisyear turns to Latin America, showcasing the life, times, and music of 20th-century Mexican composer,conductor, and educator Carlos Chávez (1899–1978). Considered outside of the mainstream, yet highlyinfluential, Chávez’s compositions synthesize Indian, Spanish, and Mexican elements together withtrends in European modernism. Festival highlights include well-known works such as his Sinfonía indiaand the Suite for Double Quartet from his ballet for Martha Graham, La hija de Cólquide (DarkMeadow), as well as music by such contemporaries as Aaron Copland, Conlon Nancarrow, SilvestreRevueltas, and Heitor Villa-Lobos.

Choosing another influential outsider, this year’s SummerScape presents English composer EthelSmyth’s opera The Wreckers, which the New York Times described as a “three-act British saga of landpirates, sex, betrayal and self-sacrifice.” Based on true stories, it concerns the impoverished inhabitantsof a Cornish coastal village who lure ships onto the rocks in order to plunder and pillage. Filled withdrama and intrigue, the plot focuses on what happens once mass hysteria and populist justice takeover, themes sure to resonate today. It is considered Smyth’s finest work.

Continuing the Latin American theme, the SummerScape bill includes Pam Tanowitz Dance with FLUXQuartet, offering inventive choreography and virtuosic performances set to the music of MexicanAmerican composer Nancarrow; Everything by my side, celebrated contemporary Argentinean artistFernando Rubio’s dreamlike outdoor installation and performance; and a film series, Reinventing Mexico,which examines the influences that shaped Chávez’s work.

Just as Chávez worked to establish a Mexican national musical identity, Rodgers and Hammerstein’sOklahoma! expresses an authentically American national identity, and like Chávez, his contemporaryRichard Rodgers turned to folk sources for inspiration. This summer, director Daniel Fish creates anexciting new chamber version of this classic American musical.

Performances take place in the acoustically superb Richard B. Fisher Center for the Performing Arts,which the New Yorker called “[possibly] the best small concert hall in the United States,” and othervenues on the Bard College campus.

And don’t forget the annual extravaganza that is Spiegeltent, hosted for the second year by theinimitable cabaret artist Justin Vivian Bond.

This summer, guarantee great seats in advance and save! Our package options make it easier than everto experience SummerScape with your own preferences and schedule in mind. Learn more aboutpackage discounts and dining options on pages 30–31.

The 2015 SummerScape season is made possible in part through the generous support of Jeanne Donovan Fisher, the Martin and Toni Sosnoff Foundation, the Board of the Richard B. Fisher Center for the Performing Arts at Bard College,the Board of the Bard Music Festival, and the Friends of the Fisher Center, as well as grants from the Andrew W. MellonFoundation, the Arthur F. and Alice E. Adams Foundation, the National Endowment for the Arts, and the New York StateCouncil on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

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The WreckersBy Ethel Smyth

American Symphony Orchestra,conducted by Leon Botstein, music director

Directed by Thaddeus Strassberger

Are killing and pillaging ever justified? For the dispossessed inhabitants of a small town on Britain’sCornish coast in the 19th century, their isolated and impoverished condition is enough justification.Their despair, fanned by the preaching of their fanatical religious leader, allows them to believe thattheir heinous actions are God’s will. This is the setting, based on historical events, Ethel Smyth chosefor her opera.

Smyth’s Der Wald was the first opera composed by a woman to be performed at the MetropolitanOpera, but it is The Wreckers that is perhaps the finest opera written by a woman before World War II.The interaction of voices, orchestral sound, and storyline make it Smyth’s masterpiece. The entire operais framed by a powerful display of orchestral writing, memorable motivic recurrence, and a brilliant useof chorus.

Thaddeus Strassberger, whose previous SummerScape productions include Oresteia (2013) and Le roimalgré lui (2012), returns to stage this work whose themes of mass hysteria and populist justice shouldfind powerful echoes in today’s world events. It casts subjects of love and death into a commentaryabout community, social change, and the heavy weight of inherited tradition. Sung in English.

sosnoff theater opera talkJuly 24 and 31 at 7:30 pm July 26 at noonJuly 26, 29, and August 2 at 2 pm Free and open to the publicTickets: $25–95

SummerScape Coach: $40 round-trip transportation from Manhattan to Bard is available for the July 24,July 26, and August 2 performances. Visit fishercenter.bard.edu/transportation for details.

Special support for this program is provided by Emily H. Fisher and John Alexander.

Snow Storm, Steam-Boat off a Harbour's Mouth, Joseph Mallord William Turner, 1842Tate Gallery, London/Art Resource, NY

“A three-act British saga of land pirates, sex, betrayal and self-sacrifice.”—new york times

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Retrato del maestro Carlos Chávez, David Alfaro Siqueiros, 1948Acervo Museo de Arte Moderno, INBA - Conaculta©Instituto Nacional de Bellas Artes y Literatura, 2015

“A composer should know everything that has been done in composition before him:know it well and thoroughly. But he should not follow any rules in writing music,because in music there are no general rules; there are only special rules, personal rules:Wagner’s rules were good for Wagner, and Schoenberg’s for Schoenberg.”—carlos chávez, "the enjoyment of music" (1958)

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Carlos Chávez and His WorldThe Bard Music Festival turns, for the first time, to Latin America. The focal point is Carlos Chávez(1899–1978), the dominant figure in Mexican music in the 20th century. Chávez, an eminent composerand conductor—and tireless organizer—represented to the world the combination of the uniquelyMexican and the modern, as did his contemporaries, the muralists José Clemente Orozco, Diego Rivera,and David Alfaro Siqueiros and his close friend Rufino Tamayo in the visual arts, and Octavio Paz inliterature. Chávez’s synthesis of markers of Mexican identity with modernism led Aaron Copland topraise him as “one of the first authentic signs of a New World with its own new music.”

Chávez’s career provides a window through which to deepen our understanding of Mexico from theturn of the century (during the dictatorship of Porfirio Díaz) to the post–World War II decades. TheFestival focuses in particular on the Mexican Revolution of 1910 and the turbulent decades thatfollowed. This was a period of cultural renaissance in literature, film, the visual arts, and music. Chávez’scareer took him to Europe and the United States, where he became an integral part of the modernistscene of the 1920s. Chávez was politically engaged and in the 1930s helped integrate the Europeanrefugees from fascism, beginning with the Spanish Civil War.

Chávez incorporated emblems of modernity but was also among the first to reference Mexico’sindigenous past. Indeed, for a handful of major pieces, such as Sinfonía india (1935), Los cuatro soles(1925), and Xochipilli (1940), Chávez found inspiration and strength in Mexican themes. He played acrucial role in the celebration of indigenous culture (indigenismo). As a conductor, he promoted worksby composers from Mexico, Cuba, Canada, and the United States, including Copland, Colin McPhee,Henry Cowell, and Amadeo Roldán, and gave the first performances in Mexico of music by suchmodernist masters as Stravinsky, Shostakovich, Hindemith, Honegger, Ravel, and Milhaud. Through hiswork as a governmental arts administrator and founder of several major cultural institutions in Mexico,Chávez brought international visibility to Mexican musical and cultural life.

The 2015 Bard Music Festival will showcase masterworks by Chávez and his contemporaries. Festivalconcert programs and panel discussions are organized around themes such as the relationship of theLatin American musical scene to that in the United States; the role of European émigrés; the legacy ofSpain and the influence of France; Mexican musical traditions in the 19th century; music and Mexicannational identity; the link between music and the visual arts; Chávez’s work as a conductor; and hisplace among the other outstanding Latin composers of the 20th century. The work of Ricardo Castro,Julián Carrillo, Blas Galindo, Silvestre Revueltas, Alberto Ginastera, Manuel de Falla, and Manuel M.Ponce, among others, will be heard, as will choral music from Mexico dating back to the 16th century.

This season is made possible in part through the generous support of the Board of Trustees of the Bard Music Festival andand the Friends of the Fisher Center, as well as grants from The Andrew W. Mellon Foundation, the National Endowmentfor the Arts, and the New York State Council on the Arts. Additional underwriting has been provided by Jeanne DonovanFisher, James H. Ottaway Jr., Felicitas S. Thorne, Helen and Roger Alcaly, Bettina Baruch Foundation, Michelle R.Clayman, Dr. Barbara Kenner, the Furthermore Foundation, and Denise S. Simon and Paulo Vieiradacunha. Specialsupport has also been provided by the Mrs. Mortimer Levitt Endowment Fund for the Performing Arts. The Festivalthanks the Mexican Cultural Institute of New York for its support.

All programs and performers are subject to change.

bard music festival 26th season

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weekend one

The Musical Voice of MexicoThe first weekend begins with a survey of the Mexican musical heritage from the 18th to the early 20thcenturies. The concerts and panels that follow explore the Mexican Revolution, its legacy, the influenceof French modernism, and the radical politics of the 1930s, all through the prism of Chávez’s career. Theweekend closes with a concert linking music to the muralists, theater, dance, and puppets.

The Trinity of Revolution (mural detail), José Clemente Orozco, 1926. Photo: Schalkwijk/Art Resource, NY©2015 Artists Rights Society (ARS), New York/SOMAAP, Mexico City

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Friday, August 72015 Bard Music Festival Opening Night Dinnerspiegeltent5:30 pm

Tickets include a pre-performance dinner in the Spiegeltent and a premium seat for the evening’s concert. To purchase opening night dinner tickets, contact the Box Office at 845-758-7900 or [email protected] note: The Spiegeltent will be closed for regular dining on the evening of the dinner.

program one

Chávez and Mexico’s Musical Heritage sosnoff theater8 pm performance: Commentary by Leon Botstein; with the Daedalus Quartet; Ava Pine, soprano; Anna Polonsky,piano; Erika Switzer, piano; Jason Vieaux, guitar; Orion Weiss, piano; members of the American SymphonyOrchestra, conducted by Leon Botstein, music director

Carlos Chávez (1899–1978) H.P. Danse des hommes et des machines (1926), Unidad (1930), String Quartet No. 3(1943), from Ten Preludes (1937), Xochipilli: An Imaginary Aztec Music (1940); Manuel M. Ponce (1882–1948)Concierto del sur (1941); Silvestre Revueltas (1899–1940) Ranas (1931), Toccata (sin fuga) (1933). Songs and otherworks by Manuel de Sumaya (c. 1678–1755), Juventino Rosas (1868–94), Felipe Villanueva (1862–93), GustavoCampa (1863–1934), Ricardo Castro (1864–1907), Ernesto Elorduy (1854–1913), Julián Carrillo (1875–1965), andJosé Pablo Moncayo (1912–58)Tickets: $25–60

Saturday, August 8panel one

Culture and National Identity: The Case of Mexicoolin hall10 am – noonClaudio Lomnitz, Alejandro L. Madrid, Leonora SaavedraFree and open to the public

program two

The Parisian Influence olin hall1 pm preconcert talk: Byron Adams1:30 pm performance: Amphion String Quartet; Bradley Brookshire, harpsichord; Joseph Eletto, baritone; Benjamin Fingland, clarinet; Simon Ghraichy, piano; Ava Pine, soprano; Lance Suzuki, flute; Jason Vieaux, guitar;Brian Zeger, piano; Bard Festival Chamber Players

Carlos Chávez (1899–1978) Seis exágonos (1923–24), Sonatina, for piano (1924), “36” (1925), Trio (1940); Paul Dukas(1865–1935) La plainte, au loin, du faune (1920); Maurice Ravel (1875–1937) 5 Mélodies populaires grecques (1904–6);José Rolón (1876–1945) String Quartet (c. 1920); Manuel M. Ponce (1882–1948) Sonata, for guitar and harpsichord (c. 1926); Darius Milhaud (1892–1974) Catalogue de fleurs, Op. 60 (1920); Francis Poulenc (1899–1963) Rapsodienègre (1917); Igor Stravinsky (1882–1971) Tango (1940)Tickets: $35

bard music festival

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Saturday, August 8 (cont.)program three

The Crossroads of Antifascismsosnoff theater7 pm preconcert talk: Sergio Vela8 pm performance: Jorge Federico Osorio, piano; American Symphony Orchestra, conducted by Leon Botstein, musicdirector

Carlos Chávez (1899–1978) Sinfonía de Antígona (1933), Piano Concerto (1938); Arthur Honegger (1892–1955) SymphonyNo. 3 “Liturgique” (1945–46); Silvestre Revueltas (1899–1940) Redes (1934–35); Conlon Nancarrow (1912–97) Piece forOrchestra (n.d.) (U.S. premiere)Tickets: $25–75

Sunday, August 9panel two

Mexico and the United States: Past, Present, and Future olin hall10 am – noonFree and open to the public

program four

Music and the 10-Year Mexican Revolution olin hall1 pm preconcert talk: Ricardo Miranda1:30 pm performance: Maria Bachmann, violin; Daedalus Quartet; Cecilia Violetta López, soprano; Nicholas Phan,tenor; Anna Polonsky, piano; Erika Switzer, piano; Benjamin Verdery, guitar; Orion Weiss, piano; Bard Festival Chamber Players

Carlos Chávez (1899–1978) Adelita y La cucaracha (1915), Las margaritas (1919), Jarabe (1922), Three Pieces, for guitar(1923), Sonatina, for violin and piano (1924), Foxtrot (1925), Cuatro melodías tradicionales Indias del Ecuador (1942);Silvestre Revueltas (1899–1940) Tierra pa’ las macetas (c. 1924), String Quartet No. 4 “Música de feria” (1932), Ocho porradio (1933). Songs and works for guitar or piano by José Rolón (1876–1945), José Pomar (1880–1961), Manuel M. Ponce(1882–1948), Tata Nacho (1894–1968), Alfonso Esparza Oteo (1894–1950), Blas Galindo (1910–93), and José PabloMoncayo (1912–58)Tickets: $35

program five

Music, Murals, and Puppets sosnoff theater5 pm preconcert talk: Ricardo Kolb-Neuhaus5:30 pm performance: Amphion String Quartet; Benjamin Fingland, clarinet; Cecilia Violetta López, soprano; LouisOtey, baritone; Nicholas Phan, tenor; Lance Suzuki, flute; members of the American Symphony Orchestra, conductedby Leon Botstein, music director; designed and directed by Doug Fitch; and others

Carlos Chávez (1899–1978) Suite for Double Quartet, from La hija de Cólquide (Dark Meadow) (1943); Manuel de Falla(1876–1946) El retablo de Maese Pedro (1922); Silvestre Revueltas (1899–1940) Troka (1933), El renacuajo paseador(1936)Tickets: $25–60

SummerScape Coach: $40 round-trip transportation from Manhattan to Bard is available for Programs One, Five, Six,and Eleven. Visit fishercenter.bard.edu/transportation for details.

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weekend two

Mexico, Latin America, and ModernismThe second weekend opens with two concerts linking Mexico and the United States: a percussionextravaganza and a concert devoted to the musical scene in New York. Using Mexico as a gateway toLatin America, the role of orchestral and choral music in defining historical memory and nationalidentity is revealed. The weekend closes with music from the post–World War II period and a concert of Latin American masterpieces of Romantic and Modernist orchestral music.

For the Social Welfare of All Mexicans (mural detail), David Alfaro Siqueiros, 1952–54. Photo: Alfredo Dagli Orti/ArtResource, NY. ©2015 Artists Rights Society (ARS), New York/SOMAAP, Mexico City

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Thursday, August 13Music by Contemporary Latin American Composers luma theater7:30 pm performance: Contemporaneous

Works by Esteban Benzecry (b. 1970), Enrico Chapela (b. 1974), Angélica Negrón (b. 1981), Vicente Alexim (b. 1987),Itzam Zapata (b. 1989), and Andrés Martínez de Velasco Escobedo ’15 (b. 1991)Tickets: $25

Friday, August 14Film Showingottaway film center3 pm

The Other Conquest/La Otra Conquista (dir. Salvador Carrasco ’91)Free and open to the public

Orquesta Mexicanaolin hall5 pm performance: Orquesta Mexicana

Works by Carlos Chávez (1899–1978) and others originally presented at the Museum of Modern Art, New York, 1940Tickets: $25

program six

East and Westsosnoff theater7:30 pm preconcert talk: Kyle Gann8 pm performance: Alessio Bax, piano; Lucille Chung, piano; Zohar Schondorf, horn; Jessica Thompson, viola; Eric Cha-Beach, Joshua Quillen, Adam Sliwinski, and students of The Bard College Conservatory of Music, percussion;Catskill Mountain Gamelan

Carlos Chávez (1899–1978) Toccata (1942); Henry Cowell (1897–1965) Ostinato pianissimo (1930); Amadeo Roldán(1900–39) Rítmicas 5 and 6 (1930); John Cage (1912–92) Construction No. 3 (1939–42); Lou Harrison (1917–2003)Threnody for Carlos Chávez (1979), Main Bersama-sama (1978); John Cage/Lou Harrison Double Music (1941); Colin McPhee (1900–64) Balinese Ceremonial Music (transcr. 1934)Tickets: $25–60

Saturday, August 15panel three

Mexico and Latin America olin hall10 am – noonFree and open to the public

program seven

“New York New York” olin hall1 pm preconcert talk: Christopher H. Gibbs1:30 pm performance: Alessio Bax, piano; Randolph Bowman, flute; Lucille Chung, piano; Daedalus Quartet; Ieva Jokubaviciute, piano; Romie de Guise Langlois, clarinet; Sarah Shafer, soprano

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Carlos Chávez (1899–1978) Piano Sonata No. 3 (1928), “Blues” (1928),“Fox” (1928), North Carolina Blues (1942); Edgard Varèse (1883–1965) Density 21.5 (1936); Henry Cowell (1897–1965) Quartet Euphometric (1919); Aaron Copland(1900–90) Sextet (1937). Songs and piano works by Dane Rudhyar (1895–1985),William Grant Still (1895–1978),Roger Sessions (1896–1985), Virgil Thomson (1896–1989), Silvestre Revueltas (1899–1940), Ruth Crawford (1901–53),Israel Citkowitz (1909–74), Paul Bowles (1910–99), and Conlon Nancarrow (1912–97)Tickets: $35

program eight

Reimagined Landscapes and Pasts sosnoff theater7 pm preconcert talk: Leonora Saavedra8 pm performance: Nicole Cabell, soprano; Bard Festival Chorale, James Bagwell, choral director; American SymphonyOrchestra, conducted by Leon Botstein, music director

Carlos Chávez (1899–1978) Sinfonía india (1935); Heitor Villa-Lobos (1887–1959) Amazonas (1917), Forest of theAmazons (1958); Silvestre Revueltas (1899–1940) Cuauhnáhuac (1930); José Pablo Moncayo (1912–58) Three Pieces forOrchestra (1947)Tickets: $25–75

Sunday, August 16program nine

Sacred and Secular Choral Music from Five Centuriesolin hall10 am performance with commentary with Bard Festival Chorale, conducted by James Bagwell, choral director

Choral works by Hernando Franco (1532–85), Juan Gutiérrez de Padilla (c. 1590–1664), Francisco López Capillas (c. 1615–73), Manuel de Sumaya (c. 1678–1755), Manuel de Falla (1876–1946), Juan Bautista Plaza (1898–1965),Carlos Chávez (1899–1978), and Aaron Copland (1900–90)Tickets: $30

program ten

Post–World War II Latin Americaolin hall1 pm preconcert talk: Richard Wilson1:30 pm performance: Harlem Quartet; Ieva Jokubaviciute, piano; Orion Weiss, piano; and others

Carlos Chávez (1899–1978) From Five Caprichos (1975); Alberto Ginastera (1916–83) Piano Sonata No. 1, Op. 22 (1952);Celsa Garrido-Lecca (b. 1926) String Quartet No. 2 (1988).Works by Juan José Castro (1895–1968), Roque Cordero(1917–2008), Ástor Piazzolla (1921–92), and others.Tickets: $35

program eleven

Musical Culture of the Hemisphere sosnoff theater3:30 pm preconcert talk: Walter Clark4:30 pm performance: American Symphony Orchestra, conducted by Leon Botstein, music director

Carlos Chávez (1899–1978) H.P., Ballet Symphony (1932); Alberto Nepomuceno (1864–1920) Série Brasileira (1892);Julián Carrillo (1875–1965) Symphony No. 1 in D Major (1901); Alberto Ginastera (1916–83) Estancia, Op. 8 (1941)Tickets: $25–75

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SummerScape GalaJuly 11, 2015Join us for the 2015 SummerScape Gala, a festive dinner, and performance of Oklahoma!celebrating groundbreaking artists and extraordinary artworks.

For more information and to reserve Gala tickets, please call Linda Baldwin,special events manager: 845-758-7414

“Oh, the farmer and the cowman should be friends.One man likes to push a plough, the other likes to chase a cow,But that’s no reason why they cain’t be friends.”

The Ballad of the Jealous Lover of Lone Green Valley, Thomas Hart Benton, 1934Spencer Museum of Art, The University of Kansas, Gift of Mr. and Mrs. Thomas Hart Benton, 1959.0062©T. H. Benton and R. P. Benton Testamentary Trusts/UMB Bank Trustees/Licensed by VAGA, New York, NY

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theaterrodgers & hammerstein’s

Oklahoma!Music by Richard RodgersBook and lyrics by Oscar Hammerstein IIBased on the play Green Grow the Lilacs by Lynn Riggs

Original dances by Agnes de Mille

New music arrangements by Daniel KlugerNew choreography by John HeginbothamDirected by Daniel Fish

More than seven decades after its wartime premiere, director Daniel Fish (Rocket to the Moon,SummerScape 2005) invites us to experience Oklahoma! in an entirely new way—a revelatory chamberproduction where actors and audience come together as one community, sharing food, music, and song.

Rodgers and Hammerstein’s first collaboration overturned the conventions of musical theater when it premiered in 1943, introducing an unprecedented depth of psychological realism to a form betterknown for light comic entertainment. Set in the Territory of Oklahoma in the years before statehood,this complex drama combines the sunny romance of farm girl Laurey Williams and cowboy CurlyMcLain with the darker story of a community rising up against a reviled outsider, Jud Fry.

Like his contemporary Carlos Chávez, Richard Rodgers turned to folk sources to create a new nationalmusical identity, in a score that includes many of his best-loved songs, including “Oh, What a BeautifulMornin’,” “Many a New Day,” and “I Cain’t Say No.” Staged in the round with audience members seatedat long tables and featuring new musical arrangements for a six-piece band, this intimate Oklahoma!offers you the chance to experience Rodgers and Hammerstein’s exuberant, complex musical as if forthe first time.

luma theaterJune 25–27 at 7:30 pm and June 28 at 2 pmThursdays through Sundays, July 2–19 at 7:30 pmWednesdays, Saturdays, and Sundays, July 1–19 at 2 pmTickets: $25–55

meet the artistsPost-performance discussion with the artists following the June 28 and July 1matinees

Not suitable for children under 13SummerScape Coach: $40 round-trip transportation from Manhattan to Bard is available for the June 28,July 12, and July 19 matinee performances. Visit fishercenter.bard.edu/transportation for details.

These performances have been underwritten by the Martin and Toni Sosnoff Foundation.

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Dancers, Rufino Tamayo, 1942©Tamayo Heirs/Mexico/Licensed by VAGA, New York, NY

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dance“The wittiest choreographer since Mark Morris.”—new york times

“The FLUX Quartet is one of the most fearless and importantnew-music ensembles around.”—san francisco chronicle

Pam Tanowitz Dance & FLUX QuartetPam Tanowitz’s acclaimed contemporary dance works embrace the energy, clean lines, and structuralcomplexity of ballet and the limitless possibilities of space, time, and movement pioneered by moderndance. Working between these styles, Tanowitz’s dances are sophisticated, virtuosic, surprising, andwholly original.

This debut program includes Heaven on One’s Head, set to the music of Conlon Nancarrow, anAmerican-born composer who lived and worked in Mexico alongside Carlos Chávez. Acclaimed as oneof the best new dance works of 2014, the piece “produced a buzz that lasted for days” (New York Times).Also, former American Ballet Theatre principal dancer Ashley Tuttle will perform a new en pointe solo,and Tanowitz will premiere works created specifically for SummerScape.

The FLUX Quartet, “an intrepid ensemble devoted to illuminating the pricklier corners of thecontemporary repertory” (New York Times), brings its assured and engrossing playing to the music ofNancarrow and others. Paired with Tanowitz’s extraordinary dancers, this will be a SummerScapeopening to remember.

sosnoff theater meet the artistsSaturday, June 27 at 8 pm Post-performance conversation June 27Sunday, June 28 at 3 pm Pre-performance talk June 28 at 2 pm Tickets: $25–60

SummerScape Coach: $40 round-trip transportation from Manhattan to Bard is available for the June 28performance. Visit fishercenter.bard.edu/transportation for details.

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Everything by my side, New York City. Photo: Maria Baranova

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performance/installation

Everything by my sideCreated by Fernando Rubio

SummerScape moves outside the Fisher Center with this dreamlike, intimate performance bycontemporary Argentinean artist Fernando Rubio. Seven actresses in seven white beds whisper vividchildhood memories to individual audience members among the midsummer trees. The performancelasts only a few minutes, but you can stay and experience the meditative and enigmatic sight of theoutdoor installation for as long as you like.

Fernando Rubio is one of South America’s most acclaimed contemporary theater makers. Seen andpraised at festivals around the world, from Chile and Colombia to Athens and the Netherlands,Everything by my side was most recently performed on the Hudson River Piers in New York City, whereits run sold out within minutes. A private moment in a public space, Rubio’s unique and mesmerizingcreation is not to be missed.

fisher center lawnThursday, July 9 from 5–7 pmFriday, July 10 from 2–4 pm and 5–7 pmSaturday, July 11 and Sunday, July 12 from 12 –2 pm and 5–7 pm Tickets: $5 (not available in subscription packages)

Individual performances for seven audience members at a time begin every 15 minutes. Spanish language performances available.

“Seven little islands of intimacy . . . dreams of thefuture, of disappointment and disillusion, of restingin the moment. If you can, give it a try.”—new york times

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Men of Santa Ana, Pátzcuaro Lake, Michoacán, Paul Strand, 1933©Aperture Foundation Inc., Paul Strand Archive

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Reinventing MexicoTo pay tribute to the confluence of influences shaping the work of Carlos Chávez, the SummerScape2015 Film Series explores the relationship between realism, modernism, and nationalism in films fromand about Mexico. The series begins with the landmark, proto-neorealist Redes (The Wave), whichbrought together photographer Paul Strand, director Fred Zinnemann, Chávez, and fellow composerSilvestre Revueltas. It concludes with a group of international films—including Sergei Eisenstein’sunfinished Mexican project and John Ford’s adaptation of Graham Greene’s The Power and the Glory—that treat 19th- and 20th-century Mexican history from different vantage points. These programsbookend an extensive retrospective of surrealist master Luis Buñuel, who worked in Mexico for nearlytwo decades and whose peripatetic career mirrored that of Chávez.

Films are screened in the Jim Ottaway Jr. Film Center in the Milton and Sally Avery Arts CenterAll film tickets: $10

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Saturday, July 11 at 5 pm

Redes (The Wave) Emilio Gómez Muriel and Fred Zinnemann, 1936, Mexico, 65minutes

Sunday, July 12 at 7 pm

Land Without BreadLuis Buñuel, 1933, Spain, 30minutes and

Simon of the Desert Luis Buñuel, 1965, Mexico, 45minutes

Saturday, July 18 at 5 pm

Los Olvidados Luis Buñuel, 1950, Mexico, 80minutes

Sunday, July 19 at 7 pm

The Criminal Life of Archibaldo de la Cruz Luis Buñuel, 1955, Mexico, 89minutes and

Mexican Bus Ride Luis Buñuel, 1952, Mexico, 85minutes

Saturday, July 25 at 5 pm

Viridiana Luis Buñuel, 1961, Spain, 90minutes

Sunday, July 26 at 7 pm

The Exterminating Angel Luis Buñuel, 1962, Mexico, 95 minutes

Saturday, August 1 at 5 pm

¡Que viva México! Sergei Eisenstein and Grigori Aleksandrov, 1932–1979,USSR/USA/Mexico, 84 minutes

Sunday, August 2 at 7 pm

Vera Cruz Robert Aldrich, 1954, USA, 94minutes and

The Fugitive John Ford and Emilio Fernández, 1947, USA/Mexico, 104 minutes

Page 22: Bard Summerscape Festival Brochure

Circus Bareback Rider, María Izquierdo, 1932Blanton Museum of Art, The University of Texas at Austin, Gift of Thomas Cranfill, 1980. Photo: Rick Hall©Maria Rosendo Lopez Posadas

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spiegeltent

The SpiegeltentHosted by Justin Vivian Bond

July 2 – August 15

Justin Vivian Bond is throwing a party that lasts all summer long—and you are the guest of honor.

The Bard Spiegeltent returns with legendary cabaret artist and Tony-nominated performer JustinVivian Bond as host, emcee, and guest curator for a second season. Each weekend Justin welcomes youto a realm of sophistication, spectacle, and glamor in the company of world-class performers andmusicians. These unforgettable evenings are capped off with After Hours dancing to the finest DJs inthe company of Justin and SummerScape artists.

Join us for balmy summer nights of entertainment, or come to dine and dance under the sparklinglights of this timeless, enchanted tent of mirrors.

Spiegeltent Cabaret and After Hours performances may contain nudity, and are for mature audiencesonly. No one under 18 admitted to Cabaret or Thursday programming without a parent or guardian. No one under 18 permitted during After Hours.

spiegeltent special event

Benefit concert to celebrate The Bard College Conservatory of Music's first decadeSunday, July 19 at 4 pmThe People United Will Never Be Defeated! by Frederic Rzewski Benjamin Hochman, pianoTickets: $25–35

“The greatest cabaret artist of our generation.”—the new yorker on justin vivian bond

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Cabaret

All performances start at 8:30 pmTickets $25–$65

Alan Cumming: I Bought a Blue Car TodayFriday, July 3We kick off the Spiegeltent season with the beloved,ferocious, Tony Award–winning star of stage and screenAlan Cumming (Cabaret, The Good Wife, X-Men), in hisSpiegeltent debut. The “first and foremost fabulous” (LosAngeles Times) Cumming shares an evening of story andsong chronicling the Scottish actor’s life in America.Featuring a slew of iconic songs led by his EmmyAward–winning music director Lance Horn, and withEleanor Norton on cello, this special evening heralds asummer to remember.

Martha WainwrightSaturday, July 4This promises to be an unforgettable Independence Day celebration, with vocal fireworks provided by two-time Grammy Award–nominee Martha Wainwright.Returning home to the Hudson Valley after lastsummer’s sensational sold-out concert in theSpiegeltent, Wainwright performs pared-down folk-rock with a voice that blends honey and grit. Part of amusical royal family, the singer-songwriter “roughs up life’s smooth spots, then digs her fingertips into thecracks that form” (NPR).

The Wau Wau SistersFriday, July 10New York City’s bravest and bawdiest burlesque duoreturns to the Spiegeltent to seduce and scandalize withtheir kamikaze costuming and cantankerous comictiming. Straddling the hilarious gap between seductionand slapstick, The Wau Wau Sisters—anarchic, astute,and adorable—careen through a show full of surprises,always teetering on the brink of a delicious disaster!Bringing their best bits, these two tricksters take thestage as they truly are—“irreverent, sacrilegious,lascivious” (New York Times).

Spencer DaySaturday, July 11“Dreamy crooner” (Time Out NY) Spencer Day has beencompared to Harry Connick Jr. and Paul Simon for hisseamless fusion of classic jazz, pop, soul, and folk music.Day has released five solo albums to critical acclaim(including 2014’s Daybreak) and has earned raves at jazzfestivals and venues all over the world. Making hisSpiegeltent debut, this white-hot singer-songwriter willdraw you in with his sophisticated music and the raw,fiery emotion under its surface.

Weimar New YorkFriday, July 17 and Saturday, July 18Pop a cork and throw on your vintage best as wecelebrate the sixth edition of Weimar New York at theSpiegeltent! This theatrical cabaret takes Weimar-eraGermany as the inspiration for a fabulous gathering ofburlesque, cabaret, comedy, drag, and East Village–sceneperformance artists. “Keeping the Weimar-era spirit ofcultural resistance alive” (Village Voice), this collection ofdowntown stars infuses a cabaret tradition with a newpolitical edge.

Stephin Merritt (of the Magnetic Fields)Friday, July 24Front man of the Magnetic Fields (69 Love Songs) andresident of Hudson, Stephin Merritt is recognized theworld over for his deep voice and dry wit, juxtaposingbouncy, electro-dance pop with his signature poeticlyrics. Marking his Spiegeltent debut, this is a can’t-missintimate evening with one of indie music’s greatestsongwriters, the “Cole Porter of his generation” (TimeOut NY).

Lea DeLaria: House of DavidSaturday, July 25What could be better than a full-on jazz concert of DavidBowie songs? A full-on jazz concert of David Bowiesongs from the high-powered energy, wit, and voice ofLea DeLaria! Grab a seat and hear the multitalentedcomedian, singer, actress, and Orange Is the New Blackstar perform her soulful rendition of “Fame,” the

Wau Wau Sisters. Photo: Don Spiro

Spencer Day. Photo: Alysse Gafkjen

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spiegeltentswinging “Let’s Dance,” and the acid jazz funk fusion of“Jean Genie.” It’s all the Bowie you love sung by “TheButch That Belts.”

Eisa DavisFriday, July 31Since her celebrated role in Broadway’s Passing Strange,singer-songwriter Eisa Davis has turned toward makingnew music of her own. This two-time Obie winner andPulitzer Prize finalist whose music has a “stripped-downsoul, with flecks of Joni Mitchell” (New York Times) makesher Spiegeltent debut with original, infectious songsalong with audience favorites from the Americancatalogue. Her irresistible sound will lift your spirit longafter the sweet chords have faded away.

The Julie RuinSaturday, August 1Feminist punk icon and original riot grrrl KathleenHanna (Bikini Kill, Le Tigre) returns to “her rightfulplace leading a noisy bunch of smart pleasure seekers”(NPR) with her band The Julie Ruin. Flowing betweenguitar-based punk and spunky synths, this is loud,playful, intelligent dance-floor music for a modern age.Filling out The Julie Ruin’s sound are Hanna’s formerBikini Kill bandmate Kathi Wilcox, Kenny Mellman (Kikiand Herb), Carmine Covelli, and Sara Landeau.

Mary Testa and Michael Starobin: Have FaithFriday, August 7After entrancing us this summer as Aunt Eller inOklahoma!, two-time Tony Award-nominee and “latterday [Ethel] Merman” (New York Times) Mary Testa willwow the Spiegeltent with her radiant presence andpowerful pipes. One of New York’s greatest musicaltheater stars, Testa gives a not-to-be-missedperformance of her recently lauded album Have Faith,with her collaborator Michael Starobin, a two-time Tony Award–winning orchestrator.

Suzanne VegaSaturday, August 8One of the most brilliant songwriters of her generation,Suzanne Vega is a masterful storyteller with a uniqueand powerful style. From “Tom’s Diner” to “Luka,” herunforgettable songs made her a leading figure of theneo-folk movement, and today her voice and presenceare as captivating as ever. Spend a special evening in theSpiegeltent with a music legend, dubbed by RollingStone “a modern singer-songwriter landmark.”

Taylor Mac’s 24-Decade History of PopularMusic: The 1990sFriday, August 14“Fabulousness can come in many forms, and Taylor Macseems intent on assuming every one of them,” ravesthe New York Times. Equal parts bedazzled shaman,subversive historian, social critic, and radical angel, TaylorMac continues his most ambitious project to date—asubjective look at the last 240 years of American historythrough popular songs. In his return to the Spiegeltent,Taylor imbues the music of the 1990s with his lyricalbeauty, disarming vulnerability, and soaring spirit.

Justin Vivian Bond: Love Is CrazySaturday, August 15“Cabaret messiah” (Time Out London) and Spiegeltentchaperone Justin Vivian Bond brings the summer to abittersweet end with a sublime and seductive evening ofsongs and stories about love. Originally commissionedfor a Valentine’s Day performance in Paris, the HudsonValley meets Parisian elegance in this celebration ofobsession, sex, and romance, with all their queer andmysterious complications.

Performances by female singer-songwriters have beenunderwritten by the Thendara Foundation.

The Julie Ruin. Photo: Shervin Lainez

Suzanne Vega. Photo: Courtesy of the artist

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After Hours with Justin and Friends

Dance away your weekend nights in the company ofthese tune slingers who are at the top of theirgame—guaranteed to keep your dance card full allsummer long.

Fridays and Saturdays July 2 – August 15 from 10 pm to 12:30 am

Tickets: $12, or free with your ticket to another same-daySummerScape event.* (*not included in the Spiegeltent and Create Your OwnSeries)

DJ Sveta | July 3 and July 4

DJ AndrewAndrew | July 10 and July 11

DJ Jonjon Battles | July 17 and July 18

DJ Musty Chiffon | July 24 and July 25

DJ JD Samson | July 31 and August 1

DJ Lady Bunny | August 7 and August 8

DJ Sammy Jo | August 14 and August 15

Thursday Night Live

Thursday evenings in the Spiegeltent bring world-classjazz, dancing, celebrated authors, and explorations ofLatin culture. The perfect start to each summerweekend!

Tickets: $25* (*not included in the Spiegeltent and Create Your OwnSeries)

Summertime Swing with Eight to the BarJuly 2 Doors open at 6 pm, performance and instruction beginat 6:30 pm, dancing until 11 pmStart your Independence Day weekend off with a bang . . .and a swing! Spiegeltent favorites Linda and ChesterFreeman of Got2Lindy Dance Studios return for a nightof swing dancing to the fabulous music of Eight to theBar. Influenced by American roots music, Eight to the Baris known for its outstanding instrumentalists andcolorful mix of tunes and vocals that will have you upand swinging in no time!

Leo Genovese and the Legal Aliens: A La Voz Cultural CelebrationJuly 9 at 8 pmComposer and pianist Leo Genovese is a product of1970s Argentina and the psychedelic sound andlanguage of a generation that embraces both pop andjazz, and effortlessly shifts between the melodic and thechromatic, celebrating the inherent mystery and beautyin each. In partnership with La Voz, Bard’s Spanish-language publication covering Hispanic culture andnews in the Hudson Valley, Genovese brings his prolificbrand of contemporary Latin jazz for a festive evening tobenefit the magazine.

Catskill Jazz Factory Presents Harlem on theHudson: Etienne Charles and Creole SoulJuly 16 at 8 pmLaunching the Catskill Jazz Factory’s Harlem on theHudson series is the Trinidadian trumpet player EtienneCharles, “a daring improviser who delivers with heart-wrenching lyricism” (Jazz Times), bringing a night ofrhythm, groove, and soul! Charles’s Creole Soul project,which received international acclaim on the iTunes,Jazzweek, and Billboard jazz charts, explores the musicalconnections between Afro-Caribbean, Creole, NewOrleans, and American traditions.

Conjunctions: Francine Prose, MichaelCunningham, and Bradford Morrow CelebrateBard’s Legendary Literary JournalJuly 23 at 8 pmPremium seating: $50Above benefits and author meet-and-greet: $100Above benefits and a lifetime subscription toConjunctions: $500At this very special night of language and story, pre-eminent writers Francine Prose (Lovers at the ChameleonClub, Paris 1932) and Michael Cunningham (The Hours)join Bradford Morrow (The Forgers, editor of the literaryjournal Conjunctions) for an evening of readings cele-brating and benefitting the 25th anniversary of the part-nership between the journal and Bard College.

Etienne Charles. Photo: Laura Ferreira

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spiegeltent

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Catskill Jazz Factory Presents Harlem on theHudson: Heatin’ up the Hudson with Chris Washburne and SYOTOSJuly 30 at 8 pmTrombonist Chris Washburne and his acclaimed groupSYOTOS return to Bard with the Brazilian pianist André Mehmari. SYOTOS pushes the genre of Latin jazz,combining Afro-Cuban, funk, jazz, gospel, andcontemporary classical music—“think Tito Puente meets James Brown meets Charles Ives!” The stellarband will be joined by special guest Mehmari,considered one of the most talented young musicians of his native Brazil. The sounds of North and SouthAmerica meet as these musicians come together in anight of sizzlin’ hot Afro-Latin jazz.

Total Tango in the SpiegeltentAn Evening of Dance and Performance withMaestros Gustavo Naveira and Giselle Anne August 6. Doors open at 6 pm, performance andinstruction begin at 6:30 pm, dancing until 11 pmA very special event in tandem with the festival’s explor-ation of 20th-century music from Latin America, wewelcome two of the world’s most respected tangomaestros, Gustavo Naveira and Giselle Anne, to theSpiegeltent. Artists at the heart of the global revival ofArgentine Tango, they will demonstrate the historical andcultural reach of tango, and guide those unfamiliar withthe practice. Later, dance to live music with renownedtango musician Joe Powers and DJ Ilene Marder, as theSpiegeltent transforms into its own summery milonga.Special support for this program is provided by ChunginGoodstein.

Catskill Jazz Factory Presents Harlem on theHudson: Steven Feifke and the Catskill JazzFactory All-Star Big BandAugust 13 at 8 pmNew York–based pianist, composer, and arranger StevenFeifke is bringin’ the swing with his big band of CatskillJazz Factory alumni and all-stars! Join Catskill Jazz Factoryin the Spiegeltent for the final night of Harlem on theHudson, featuring compositions by select members of thegroup and a special guest vocalist. Talented beyond hisyears, Feifke has been called “a virtuoso and a highlycommunicative and creative musician” by GrammyAward–winning trumpeter Brian Lynch.

Justin Vivian Bond on stage in the Spiegeltent. Photo: Cory Weaver

Steven Feifke. Photo: Lauren Desberg

Page 28: Bard Summerscape Festival Brochure

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Plan Your Visit

dining at the spiegeltentThe Spiegeltent is the SummerScape festival’s oasis, a place to enjoy seasonal, local food and drinkbefore and after performances. A variety of musicians serenade diners on Friday and Saturday evenings,while the lovely outdoor garden provides the perfect spot to relax in the company of friends andfestival artists long after the curtain comes down. Quick concession savories, sweets, and beverages arealso available one hour prior to curtain and during intermission at all Fisher Center events and at OlinHall on August 8, 9, 15, and 16.

To review our dining calendar, explore our lunch, dinner, After Hours, and beverage menus, and makereservations, please visit fishercenter.bard.edu/visit/eatstay.

If you are attending a mainstage performance we recommend you dine with us at least an hour beforecurtain.

getting hereThe Richard B. Fisher Center for the Performing Arts at Bard College is located at 60Manor Avenue,Annandale-on-Hudson, New York, 12504. Our venue is accessible by car, train, and SummerScape Coach.Detailed directions and parking information will be mailed with your tickets and are also availableonline at fishercenter.bard.edu/visit/directions. For best parking, please try to arrive at least 30minutesbefore show time. This will allow you ample time to park and make your way to the theater.

accessibilityAll our venues and restrooms are wheelchair accessible. The Fisher Center utilizes golf carts to assistpatrons with disabilities between the parking lot and the Center. If you need any additional assistance,please call 845-758-7948. Infrared assistive listening devices are available in the Fisher Center and OlinHall. Receivers may be borrowed on request at the Box Office.

Programs, dates, times, and venues are subject to change without notice. All sales are final and normalprocessing fees apply. If you are unable to use your tickets we will make every effort to offer a comparableexchange, subject to availability, or issue a credit. You may also choose to donate your tickets in support of the Fisher Center.

Page 31: Bard Summerscape Festival Brochure

Subscribe and Save!

Guarantee your seats in advance with one of our convenient and affordable package options.

Create your own series: save 25%

Summerscape main stage series: save 30%

Spiegeltent series: save 30%

new this year: out-of-town packagesJoining us from New York City? Out-of-Town packages are available for select performances duringSummerScape. Packages include round-trip transportation from New York City to Bard in ourSummerScape Coach, three-course lunch/dinner at the Spiegeltent, and your ticket to the performance(with no ticketing fee).

For complete information and to order tickets and packages, visit fishercenter.bard.edu/tickets/subscriptions or call the Fisher Center Box Office at 845-758-7900.

fisher center membershipIndividual supporters are essential to sustaining the Richard B. Fisher Center for the Performing Arts as an extraordinary part of cultural life in the Hudson Valley. Our members support world-classperforming arts and enjoy a variety of discounts and benefits through our Friends and Patronsprograms, including: Advance ticket access, invitations to exclusive events, discounts on dining andmerchandise.

Membership benefits start at just $75.

For more information about how to become a Friend or Patron of the Fisher Center, contact 845-758-7414 or visit fishercenter.bard.edu/support.

Major support for the Fisher Center’s programs has been provided by:

Helen and Roger AlcalyFiona Angelini and Jamie Welch The Andrew W. Mellon FoundationThe Ann and Gordon Getty FoundationArthur F. and Alice E. Adams FoundationBettina Baruch FoundationCarolyn Marks BlackwoodDr. Leon Botstein and Barbara HaskellMichelle R. ClaymanJoan K. DavidsonAlicia Davis and Steve EllisMichael J. Del Giudice and Jaynne KeyesElizabeth W. Ely ’65 and

Jonathan K. GreenburgEstate of John A. DierdorffEstate of Richard B. FisherEstate of Murray LiebowitzBritton FisherCatherine C. Fisher and

Gregory A. Murphy

Emily H. Fisher and John Alexander Jeanne Donovan FisherCarlos Gonzalez and Katherine StewartMatthew M. Guerreiro and

Christina MohrAmy and Ronald GuttmanDr. Thomas HesseThe J. M. Kaplan Fund, Inc.Jane W. Nuhn Charitable TrustSusan and Roger KennedyDr. Barbara KennerEdna and Gary LachmundMrs. Mortimer LevittDoris J. LockhartAmy and Thomas O. MaggsThe Marks Family FoundationMartin and Toni Sosnoff FoundationMillbrook Tribute Garden, Inc.The Mortimer Levitt Foundation Inc.Martin L. and Lucy Miller Murray

National Endowment for the Arts (NEA)New England Foundation for the ArtsNew York State Council on the Arts

(NYSCA)Mr. and Mrs. James H. Ottaway Jr.Stephen SimcockDenise S. Simon and

Paulo VieiradacunhaMartin T. and Toni SosnoffThendara FoundationFelicitas S. ThorneThe Wise Family Charitable Foundation

845-758-7900 | fishercenter.bard.edu 31

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Nonprofit OrganizationU.S. Postage PaidBard College

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The Richard B. Fisher Center for the Performing Arts at Bard College. Photo: ©Peter Aaron ’68/Esto

Bard CollegePO Box 5000Annandale-0n-Hudson, NY12504-5000