Gerald W. Lynch Theater at John Jay College

Please make certain all your electronic devicesare switched off.

This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.

Friday, October 20, 2017 at 7:30 pmSaturday, October 21, 2017 at 3:00 and 7:30 pm

Dancing Voices Meredith Monk, Composer, Director, and VoiceYoung People’s Chorus of New York CityFrancisco J. Núñez, Artistic Director and ConductorElizabeth Núñez, Associate Artistic Director and ConductorKatie Geissinger, VoiceAllison Sniffin, Voice and PianoAmerican Contemporary Music Ensemble

Ben Russell, ViolinLaura Lutzke, ViolinCaleb Burhans, ViolaClarice Jensen, Cello

David Cossin, PercussionBohdan Hilash, Woodwinds

Noele Stollmack, Lighting DesignLucas Indelicato, Sound DesignYoshio Yabara, Costume Design

This program is approximately 75 minutes long and will be performed withoutintermission.

Please join the artists for a White Light Lounge following the performance onFriday, October 20.

(Program continued)

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American Airlines is the Official Airline of LincolnCenter

Nespresso is the Official Coffee of Lincoln Center

NewYork-Presbyterian is the Official Hospital ofLincoln Center

Artist Catering provided by Zabar’s and Zabars.com

Dancing Voices is produced by The HouseFoundation for the Arts and Young People’s Chorusof New York City, and is supported in part by theAmphion Foundation, The ASCAP Foundation,Aaron Copland Fund for Music, Alice M. DitsonFund of Columbia University, Fan Fox and Leslie R.Samuels Foundation, Howard Gilman Foundation,Gladys Krieble Delmas Foundation, Pierre and TanaMatisse Foundation, New York City Department ofCultural Affairs, New York State Council on theArts, Blanchette Hooker Rockefeller Fund, JamesE. Robison Foundation, H. O. Peet Foundation, thePinkerton Foundation, and Edward and Sally VanLier Fund of the New York Community Trust.

All compositions by Meredith Monk © MeredithMonk Music (ASCAP)

UPCOMING WHITE LIGHT FESTIVAL EVENTS:

Thursday–Saturday, October 26–28 at 7:30 pm inthe Rose Theater

Sunday, October 29 at 3:00 pm Layla and Majnun (New York premiere)Mark Morris Dance GroupMark Morris, choreographer and directorSilk Road EnsembleAlim Qasimov, MajnunFargana Qasimova, LaylaHoward Hodgkin, scenic and costume designJames F. Ingalls, lighting designMusic composed by Uzeyir Hajibeyli and arranged

by Alim Qasimov, Johnny Gandelsman, andColin Jacobsen

Libretto based on the poem Leyli and Majnun byMuhammad Fuzuli

Sung in Azerbaijani with English supertitles

Wednesday–Thursday, November 1–2, at 7:30 pmin the Rose Theater

Stabat mater (New York premiere)Jessica Lang DanceJessica Lang, director and choreographerOrchestra of St. Luke’sSperanza Scappucci, conductorAndriana Chuchman, sopranoAnthony Roth Costanzo, countertenorMOZART: Divertimento in F majorPERGOLESI: Stabat mater

November 1–11 The Psalms Experience (U.S. premiere)Choir of Trinity Wall StreetNetherlands Chamber ChoirTallis ScholarsNorwegian Soloists’ Choir150 psalms. 150 composers. 4 choirs. 12 concerts.Visit PsalmsExperience.org for full concert schedule.

For tickets, call (212) 721-6500 or visitWhiteLightFestival.org. Call the Lincoln Center InfoRequest Line at (212) 875-5766 to learn about pro-gram cancellations or to request a White LightFestival brochure.

Visit WhiteLightFestival.org for full festival listings.

Join the conversation: #WhiteLightFestival

We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members.

In consideration of the performing artists and members of the audience, those who must leavebefore the end of the performance are asked to do so between pieces. The taking of photographsand the use of recording equipment are not allowed in the building.

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Dancing Voices All compositions by Meredith Monk

Part I

Dancing VoicesMEREDITH MONK, KATIE GEISSINGER, ALLISON SNIFFIN, YOUNG PEOPLE’SCHORUS OF NEW YORK CITY (YPC); ELIZABETH NÚÑEZ, Conductor

This original Dancing Voices program premiered with the Waelrant Children’s Chorusin Belgium in 2010.

Other Worlds Revealed, from ATLAS: an opera in three parts (1991) MEREDITH MONK, KATIE GEISSINGER, ALLISON SNIFFIN, YPC

Click Song #1, from Light Songs (1988) MEREDITH MONK

Jew’s Harp, from Juice (1969) MEREDITH MONK, YPC

Calling, from American Archeology #1: Roosevelt Island (1994) MEREDITH MONK, KATIE GEISSINGER, ALLISON SNIFFIN, YPC

Quarry Weave, from Quarry: an opera in three movements (1976) KATIE GEISSINGER, YPC

Hocket, from Facing North (1990) MEREDITH MONK, KATIE GEISSINGER

Choosing Companions, from ATLAS: an opera in three parts (1991) MEREDITH MONK, ADEDAYO PERKOVICH and TENZIN GUND-MORROW/ CARTER PATERSON; ALLISON SNIFFIN, Piano

Afternoon Melody, from Book of Days (1988) YPC

Plague, from Book of Days (1988) YPC

Cave Song, from Book of Days (1988) MEREDITH MONK, MILENA MANOCCHIA ALLISON SNIFFIN, Piano

Panda Chant I, from The Games (1984) MEREDITH MONK, KATIE GEISSINGER, ALLISON SNIFFIN

(Program continued)

Eva’s Song, from Book of Days (1988) ALLISON SNIFFIN, YPC

The Tale, from Education of the Girlchild (1973) MEREDITH MONK, YPC ALLISON SNIFFIN, Piano

Panda Chant II, from The Games (1984) MEREDITH MONK, KATIE GEISSINGER, ALLISON SNIFFIN, YPC

Part II

Three Heavens and Hells (1992/2017) (World premiere, choral version) YOUNG PEOPLE’S CHORUS OF NEW YORK CITY; FRANCISCO J. NÚÑEZ, Conductor Words by Tennessee Reed

ascent, from Songs of Ascension (2008) MEREDITH MONK, KATIE GEISSINGER, ALLISON SNIFFIN, YPC SOLOISTS DAVID COSSIN, Percussion; BOHDAN HILASH, Woodwinds AMERICAN CONTEMPORARY MUSIC ENSEMBLE YOUNG PEOPLE’S CHORUS OF NEW YORK CITY; FRANCISCO J. NÚÑEZ, Conductor

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Notes on the ProgramBy Steve Smith

Mercy...impermanence...On Behalf ofNature—the titles of some of MeredithMonk’s most recent major works testify toa singular artist grappling with some of themost substantial questions any person canface, concerning issues of mutual regard,mortality, and the fate of our planet. WhenMonk and Francisco Núñez first beganspeaking about creating a full-length pro-gram for the Young People’s Chorus ofNew York City, a different kind of questioncame to mind: How might a program befashioned from her existing canon for thisspecific group of young singers—one thatshares similar concerns over what’s hap-pening in our world, while containingmoments of joy, humor, and poignancy aswell as those emotions she describes as“existing between shades of feeling forwhich we don’t have words”?

Dancing Voices makes its own substantialstatement, one concerning the passage oftime, the formation of family, and the wayart and lore are passed along from one gen-eration to another. Having fashioned a dis-tinctive body of work to be performed byherself and a close-knit ensemble of expe-rienced colleagues, Monk now is inventingways by which to share her vital canon withyoung performers—who turn out to besome of her finest, most avid interpreters,since they come to her unique practicewithout inhibition or prejudice.

The music heard in the first part of DancingVoices—performed by Monk, longtimemembers of her Vocal Ensemble KatieGeissinger and Allison Sniffin, and 21 tre-ble voices from YPC—spans the crucialearly decades of Monk’s career. In selec-tions from Education of the Girlchild, Bookof Days, The Games, AmericanArchaeology, Songs from the Hill, FacingNorth, and the operas Quarry and ATLAS,the performers are inquisitive spirits

engaged in self-discovery, forming bonds,and acquiring knowledge.

The choral version of Three Heavens andHells—commissioned by YPC and basedon poetry from Electric Chocolate, whichthe poet Tennessee Reed wrote when shewas 11 years old—evokes headier, heartierruminations concerning what might liebeyond the immediate physical world.Accordingly, the chorus swells to 40 girls’voices. The concluding “ascent” comesfrom Monk’s elaborate 2008 work Songs ofAscension, first performed in an eight-storytower designed by artist Ann Hamilton, andinspired in part by poet Norman Fischer’stranslations of the Psalms and by conceptsof ascension found in Christian, Jewish,Muslim, and Buddhist spiritual practices.With treble voices soaring ever upward,lower male voices arrive to signify growththrough transformation, even as a stringquartet and other instruments provide areassuring foundation.

What Monk has produced with DancingVoices is a new creation with a dramaticarc that progresses from youthful inquisi-tiveness, exploration, and bonding,through contemplation of existential ques-tions, to reach spiritual awakening. Usingmaterial filled with echoes of her past, shebestows the gift of her presence upon theperformers who constitute the future ofher art.

Steve Smith is director of publications forNational Sawdust, a performing-arts incuba-tor and concert space in Brooklyn. He previ-ously wrote about music as a freelance cor-respondent for the New York Times, andserved as an editor for the Boston Globeand Time Out New York.

—Copyright © 2017 by Lincoln Center for the

Performing Arts, Inc.

Please turn to page 60 for an article on thecreation of Dancing Voices.

For poetry comments and suggestions, please writeto programming@LincolnCenter.org.

My friend, the stain of the Great Dancer has penetrated my body.I drank the cup of music, and I am hopelessly drunk.Moreover I stay drunk, no matter what I do to become sober.Rana, who disapproves, gave me one basket with a snake in it.Mira folded the snake around her neck, it was a lover’s bracelet,

lovely!Rana’s next gift was poison: “This is something for you, Mira.”She repeated the Holy Name in her chest, and drank it, it was good!Every name He has is praise; that’s the cup I like to drink, and only

that.“The Great Dancer is my husband,” Mira says, “rain washes off

all the other colors.”

Illumination

The MusicBy Mirabai

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Meet the Artists

Meredith Monk is a composer, singer,director/choreographer, and creator of newopera and music-theater works. Recog -nized as one of the most unique and influ-ential artists of our time, she is a pioneer inwhat is now called “extended vocal tech-nique.” Celebrated internationally, herwork has been presented at major venuesthroughout the world. In conjunction withher 50th season of creating and perform-ing, Ms. Monk was appointed the 2014–15Richard and Barbara Debs Composer’sChair at Carnegie Hall. In September 2015,she received the National Medal of Artsfrom President Obama.

In 1965 Ms. Monk began her innovativeexploration of the voice as a multifacetedinstrument. In 1978 she founded MeredithMonk & Vocal Ensemble to expand hermusical textures and forms. In addition toher numerous vocal works, she has createdvital new repertoire for orchestra, chamberensembles, and solo instruments, withcommissions from Carnegie Hall, MichaelTilson Thomas/San Francisco Symphony,and St. Louis Symphony, among others.Selected scores of her work are availablethrough Boosey & Hawkes. Ms. Monk hasalso made more than a dozen recordings,most of which are on the ECM New Serieslabel, including the 2008 Grammy-nomi-nated impermanence and highly acclaimedOn Behalf of Nature (2016). Her music hasbeen featured in films by Jean-Luc Godard,the Coen brothers, and Terrence Malick.

Since graduating from Sarah LawrenceCollege in 1964, Ms. Monk has received

eight honorary doctor of arts degrees. Hernumerous honors include the prestigiousMacArthur “Genius” Award, two Guggen -heim Fellowships, a 2006 USA PrudentialFellow award, and a 2012 Doris Duke ArtistAward. More recently she was named oneof National Public Radio’s 50 Great Voices,Musical America’s 2012 Composer of theYear, and an Officer of the Order of Arts andLetters by the Republic of France.

In 1999 Ms. Monk performed her VocalOffering for His Holiness the Dalai Lama aspart of the World Festival of Sacred Music inLos Angeles. She is the subject of tworecent books of interviews: Conversationswith Meredith Monk, by arts critic andPerforming Arts Journal editor BonnieMarranca, and Une voix mystique, byFrench author Jean-Louis Tallon. Nextweek, Ms. Monk will be awarded with theesteemed Dorothy and Lillian Gish Prize, inrecognition of her ongoing achievements asa composer, singer and interdisciplinaryartist. Her newest music-theater work,Cellular Songs, will premiere in March 2018.

Francisco J. Núñez, a MacArthur Fellow, isa composer, conductor, leading figure inmusic education, and the artistic director/founder of the Young People’s Chorus ofNew York City. Since the group’s foundingin 1988, Mr. Núñez has heightened anawareness of the ability of children to rise tounforeseen levels of artistry. He also leadsthe University Glee Club of New York City,its fifth conductor since the all-men’s choruswas established in 1894, and is sought afternationwide as a guest conductor by profes-sional orchestras and choirs and as a masterteacher. Through his Núñez Initiative forSocial Change, he is working to expand the

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YPC model to children’s choruses beyondNew York City and is a frequent keynotespeaker on the role of music in achievingequality and diversity among children intoday’s society. Mr. Núñez composes origi-nal works and arrangements in all musicalformats and styles for choirs, orchestras,and solo instruments, and has received anASCAP Victor Herbert Award and the NewYork Choral Society’s Choral ExcellenceAward. Musical America Worldwide namedhim among 30 “Influencers” for his contri-butions to the music industry, NYUSteinhardt honored him with itsDistinguished Alumnus AchievementAward, and he received an honorary doctorof music degree from Ithaca College.

Elizabeth Núñez is the associate artisticdirector of the Young People’s Chorus ofNew York City, renowned worldwide for itsdiversity and artistic excellence. She cre-ated and directs YPC’s acclaimed Cantarechorus and serves as vocal coach for over400 children in YPC’s after-school perfor-mance program. Ms. Núñez is also thedirector of YPC’s School Choruses pro-gram, which brings YPC’s unique musiceducation program to an additional 1,100children annually in 16 New York City publicschools. Since joining YPC in 2004, she hasled YPC choristers in New York City’s mostprestigious venues, from Lincoln Center tothe Apollo Theater, and at internationalchoral festivals and competitions on fourcontinents. She helped lead YPC to fivegold medals at the Golden Gate Inter -national Choral Festival and first prize in theCantonigròs International Music Festival inBarcelona this past summer. She is also thefounding artistic director of SoHarmoniums,an intergenerational women’s communitychorus based in New York’s SoHo neighbor-

hood and is sought after as a conductor andchoral clinician for workshops nationwide.

Katie Geissinger (voice) has performed withMeredith Monk worldwide in concert andtheater pieces such as ATLAS, mercy, theGrammy-nominated impermanence, Songsof Ascension, On Behalf of Nature, and ThePolitics of Quiet, which received a Bessieaward. Career highlights include the pre-miere of Bang on a Can’s Obie-winning TheCarbon Copy Building (Canteloupe), appear-ing in Philip Glass and Robert Wilson’sEinstein on the Beach (Elektra Nonesuch),and performances as a soloist in Bach’sMagnificat, Honegger’s Le Roi David, andOsvaldo Golijov’s Ainadamar at CarnegieHall. Other credits include Jonathan Miller’sstaging of Bach’s St. Matthew Passion atBAM, John Tavener’s The Veil of theTemple at Lincoln Center, and AnnHamilton’s the event of a thread, withmusic by David Lang, at the Park AvenueArmory. Her Broadway credits include BazLuhrmann’s production of La Bohème andCoram Boy. Recent performances includeJulia Wolfe’s Steel Hammer in collaborationwith Anne Bogart’s SITI Company and theBang on a Can All-Stars.

Multi-instrumentalist, singer, and com-poser Allison Sniffin (voice, piano) has beena member of Meredith Monk & VocalEnsemble since 1996, performing in ThePolitics of Quiet, A Celebration Service,Magic Frequencies, mercy, Turtle Dreams,

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Book of Days (concert version), imperma-nence, Songs of Ascension, and On Behalfof Nature. She has collaborated withMeredith Monk on the orchestration ofPossible Sky, Night, WEAVE, RealmVariations, and Backlight; arranged hermusic for Bang on a Can All-Stars; editedand contributed to two albums of her pianomusic; and prepared numerous a cappellaand instrumental works of Monk’s for pub-lication. Ms. Sniffin has received grantsfrom Meet the Composer and ConcertArtists Guild for her compositions. She is afrequent arranger/orchestrator for theStonewall Chorale and Melodia Women’sChoir of NYC. She was also a winner in theNew York Philharmonic’s 2017 New WorldComposition Challenge. Ms. Sniffin servesas organist at Middle Collegiate Church andTemple Shaaray Tefila in New York City.

David Cossin’s (percussion) interest in clas-sical percussion, drum set, non-Westernhand drumming, composition, and improvi-sation has led to performances across abroad spectrum of musical and artisticforms to incorporate new media with per-cussion. He has recorded and performedinternationally with composers and ensem-bles including Steve Reich and Musicians,Philip Glass, Yo-Yo Ma, Meredith Monk, TanDun, Cecil Taylor, Talujon PercussionQuartet, and the trio Real Quiet. Numeroustheater projects include collaborations withBlue Man Group, Mabou Mines, and direc-tor Peter Sellars. Mr. Cossin was featuredas the percussion soloist in Tan Dun’sGrammy- and Oscar-winning score to AngLee’s film Crouching Tiger, Hidden Dragon.He also performed with Sting on his worldtour, Symphonicity. Mr. Cossin has alsoperformed as a soloist with orchestrasthroughout the world. He creates sonic

installations and is an active composer,inventor of several new instruments, andcurator for the Sound Res Festival. Heteaches percussion at Queens College inNew York City.

Bohdan Hilash (woodwinds) has appearedat many renowned concert venues and fes-tivals as a performer of orchestral, cham-ber, and contemporary music; opera; musi-cal theater; and jazz. He has performedwith leading orchestras, including theLondon Symphony Orchestra and NewYork Philharmonic with conductors such asLeonard Bernstein, Kurt Masur, and ZubinMehta. Mr. Hilash has premiered numer-ous new compositions written for himthroughout the world and worked withmany of the field’s foremost artists andensembles including the Bang on a Can All-Stars, Chamber Music Society of LincolnCenter, and Continuum. His diverse perfor-mance career encompasses projects in jazzand ethnic music, music for radio and tele-vision, and numerous recordings andsoundtracks for feature films. In the the-ater, Mr. Hilash has been a featured per-former in collaboration with leading theatercompanies, playwrights, and directors,including Arthur Miller and Lee Breuer.

Young People’s Chorus of New York CityThe Young People’s Chorus of New YorkCity (YPC) is a multicultural youth chorusrenowned not only for its superb virtuosityand brilliant showmanship, but as a modelfor an inclusive society that is being repli-cated globally. Founded by Artistic DirectorFrancisco J. Núñez, a MacArthur Fellow,this groundbreaking program harnessesthe power of music to fulfill the potential ofevery child musically, academically, and

David Cossin

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socially, and has established the youth cho-rus as a significant and often untappedinstrument for making music. Over 1,600children from ages 8 to 18 participateannually in YPC through its after-school, in-school program, and community pro-grams. The ensemble’s repertoire rangesfrom Renaissance and Classical traditionsthrough gospel, folk, pop, contemporary,and world music. In addition, YPC hasextended and invigorated the repertoire foryoung voices by commissioning and pre-miering over 100 pieces of new musicfrom many of today’s most distinguishedcomposers. YPC’s commitment to artisticexcellence and diversity has resulted incollaborations with and performances at aglobal array of festivals, cultural institu-tions, and cities on four continents. YPCwas named New York’s first radio choir byWNYC and was the first children’s chorusto open Lincoln Center’s Mostly MozartFestival. Among its many awards are aChorus America Education OutreachAward, two Chorus America/ASCAPAwards for Adventurous Programming,and the 2017 Margaret Hillis Award forChoral Excellence. In 2011 YPC receivedthe National Arts and Humanities YouthProgram Award, America’s highest honorfor youth programs.

American Contemporary Music EnsembleThe American Contemporary MusicEnsemble (ACME), led by Artistic DirectorClarice Jensen, was honored by ASCAPduring its 10th anniversary season in 2015for the “virtuosity, passion, and commit-ment with which it performs and champi-ons American composers.” ACME’srecordings appear on the DeutscheGrammophon, New World, Butterscotch,and New Amsterdam labels, and its firstportrait album was released on SonoLuminus in 2017. Notable highlights ofACME’s 2017–18 season include a tourwith Max Richter, and performances pre-sented by the Metropolitan Museum of Art

and the Kennedy Center. Conceived as aflexible ensemble of 21 instrumentalists,ACME’s dedication to new music extendsacross genres and has earned the group areputation among both classical and rockcrowds. Its many collaborators haveincluded several dance companies, actors,filmmakers, rock and new music groups.ACME has performed at leading venuesincluding Carnegie Hall, BAM, Le PoissonRouge, Miller Theatre, the MetropolitanMuseum, Constellation Chicago, StanfordLive, UCLA, Peak Performances, Mel -bourne Recital Hall, Big Ears, SydneyOpera House, the Sacrum ProfanumFestival in Poland, and All Tomorrow’sParties in the U.K., among many others.

Noele Stollmack Noele Stollmack’s (lighting design) sceneryand lighting design includes The FlyingDutchman, Giulio Cesare in Egitto, AlbertHerring, Dido and Aeneas, Venus andAdonis, Río de Sangre, Macbeth, Tristanund Isolde, and The Magic Flute (FlorentineOpera); Rape of Lucretia (Toledo Opera);Pagliacci (Opera Columbus); Mirandolina(Milwaukee Repertory Theater); lightingand scenic realization for Meredith Monk’sinternational tours of mercy and imperma-nence. Ms. Stollmack’s lighting hasappeared onstage at BAM, Sydney OperaHouse, Opera Ontario, Opera Pacific,Portland Opera, Vancouver Opera, NewOrleans Opera, Madison Opera, NashvilleOpera, American Players Theatre,Milwaukee Repertory Theater, Jeff Daniels’Purple Rose Theater, and Skylight MusicTheatre. As a lighting director for HoustonGrand Opera, she supervised lighting forover 50 operas and designed such produc-tions as Andrei Serban’s Elektra, JonathanMiller’s Der Rosenkavalier, Aida, and theworld premieres of Harvey Milk, Desert ofRoses, and The Dracula Diary.

Lucas Indelicato Lucas Indelicato (sound design) toured asthe sound engineer for Meredith Monk’s

mercy and impermanence from 2003 to2006, and more recently designed pro-grams for Monk’s 50th anniversary season.He has recently served as the productionaudio engineer for the Broadway produc-tions of Aladdin, Finding Neverland, TheTragedie of King Richard the Third, andCirque du Soleil’s Paramour.

Yoshio Yabara Yoshio Yabara (costume design) received abachelor of arts degree in linguistics in hisnative Japan, and studied stage design atthe German state art universities inStuttgart and West Berlin. He began hisprofessional career as a costume designerfor the Oscar-winning film The Tin Drum,directed by Volker Schlöndorff. His firstwork for stage was in the 1970s and early1980s at the Schaubühne in West Berlin,where he first met Meredith Monk and col-laborated on her Vessel: An Opera Epic.Their subsequent collaborations includeATLAS, the feature film Book of Days,impermanence, and Songs of Ascension.Mr. Yabara has also worked as a costumedesigner, stage designer/art director formany theatrical and film productions inEurope, the U.S., and Asia, including theCIVIL warS, Robert Wilson’s King Lear,Oedipus Rex, Madame de Sade by TadashiSuzuki, Don Giovanni, Le Nozze di Figaroproduced and conducted by DanielBarenboim at the Staatsoper Unter DenLinden Berlin, Bin ich schön?, Nackt, andBliss by Doris Dörrie, among others.

The House Foundation for the Arts Incorporated in 1971, the House Foun -dation for the Arts is a nonprofit arts orga-nization with a mission to promote, dis-seminate, and celebrate the work of theiconic American artist Meredith Monk. TheHouse Foundation provides development,management, production and administra-tive services for Meredith Monk andMeredith Monk & Vocal Ensemble. In addi-tion to the presentation of new work, theHouse Foundation is committed to building

a legacy for Monk and sharing her prolificbody of work with future generations ofartists, scholars and the public alike.

Gerald W. Lynch Theater at John Jay CollegeJohn Jay College of Criminal Justice of theCity University of New York, an interna-tional leader in educating for justice, offersa rich liberal arts and professional studiescurriculum to upwards of 15,000 under-graduate and graduate students from morethan 135 nations. In teaching, scholarshipand research, the college approaches jus-tice as an applied art and science in serviceto society and as an ongoing conversationabout fundamental human desires for fair-ness, equality and the rule of law.

Since opening its doors in 1988, the GeraldW. Lynch Theater has been an invaluablecultural resource for John Jay College andthe larger New York City community. Thetheater is dedicated to the creation andpresentation of performing arts program-ming of all disciplines with a special focuson how the artistic imagination can shedlight on the many perceptions of justice inour society. The theater is also a memberof CUNY Stages, a consortium of 16 per-forming arts center located on CUNY cam-puses across New York City.

The Gerald W. Lynch Theater has hostedevents in the Lincoln Center Festival sinceits first season in 1996, as well as perfor-mances by Lincoln Center’s GreatPerformers series, New York City Opera,Metropolitan Opera Guild, and Alvin AileyAmerican Dance Theater/Ailey II. The the-ater has also been the site of many televi-sion and film specials including A&E’s Liveby Request, Comedy Central’s PremiumBlend, Robert Klein in Concert, and VH1’sSoundtrack Live.

White Light Festival I could compare my music to white light,which contains all colors. Only a prism can

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divide the colors and make them appear;this prism could be the spirit of the lis-tener. —Arvo Pärt. Now in its eighth year,the White Light Festival is LincolnCenter’s annual exploration of music andart’s power to reveal the many dimensionsof our interior lives. International in scope,the multidisciplinary festival offers a broadspectrum of the world’s leading instru-mentalists, vocalists, ensembles, choreo-graphers, dance companies, and directors,complemented by conversations withartists and scholars and post-performanceWhite Light Lounges.

Lincoln Center for the PerformingArts, Inc.Lincoln Center for the Performing Arts(LCPA) serves three primary roles: presenter

of artistic programming, national leader inarts and education and community rela-tions, and manager of the Lincoln Centercampus. A presenter of more than 3,000free and ticketed events, performances,tours, and educational activities annually,LCPA offers 15 programs, series, and festi-vals including American Songbook, GreatPerformers, Lincoln Center Festival, LincolnCenter Out of Doors, Midsummer NightSwing, the Mostly Mozart Festival, and theWhite Light Festival, as well as the EmmyAward–winning Live From Lincoln Center,which airs nationally on PBS. As manager ofthe Lincoln Center campus, LCPA providessupport and services for the Lincoln Centercomplex and the 11 resident organizations.In addition, LCPA led a $1.2 billion campusrenovation, completed in October 2012.

Lincoln Center Programming DepartmentJane Moss, Ehrenkranz Artistic DirectorHanako Yamaguchi, Director, Music ProgrammingJon Nakagawa, Director, Contemporary ProgrammingJill Sternheimer, Director, Public ProgrammingLisa Takemoto, Production ManagerCharles Cermele, Producer, Contemporary ProgrammingMauricio Lomelin, Producer, Contemporary ProgrammingAndrew C. Elsesser, Associate Director, ProgrammingLuna Shyr, Senior EditorRegina Grande Rivera, Associate ProducerDaniel Soto, Associate Producer, Public ProgrammingWalker Beard, Production CoordinatorNana Asase, Assistant to the Artistic DirectorOlivia Fortunato, Programming AssistantDorian Mueller, House Program CoordinatorJanet Rucker, Company Manager

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Francisco J. Núñez, Artistic Director and FounderElizabeth Núñez, Associate Artistic Director

Young People’s Chorus of New York City

Dancing VoicesLuc AgudeloLauren BreenRachael GirsangEliana GrahamTenzin Gund-MorrowMaddalena HonablueLeda KahnOlivia ManningMilena ManocchiaJenia MarquezIsabel MedinaAlexander MoustakerskiJaden PaceCarter PatersonHazel PeeblesAdedayo PerkovichAiri PortalatinCaleb SalladinMaya Scott-LuibAbebaw SilverAriana WhiteKaia Yamaguchi

Three Heavens andHells / ascent

Alyssa BlakeGeorgia BomarFei BuThenjiwe ButheleziEve Calderon-CastroKendra CastroMiriam CiaccaKatherine CookZaria Dickerson-ParkerMadeline DominguezMichaela DuryeaDea ElezajEloise EsseksAmberlis FernandezLennon FranklinNaya GrilesChyanne GyemfiAlexia HeurtelouNyota Holmes-CardonaRaychel JacksonSvetlana JacksonBianca JeffreyJessica JiaoKai KellyGia KhannaNefelie Kiskinis Irena KogarovaGabrielle KoneRiya Koshy

Gabrielle KukerAyline Le SourdVictoria ManningNatalie McCormickFrancesca MichielliMina MooreJoy MotzAnna MoustakerskiJasmine NealKayla PhanorAnani RamosIandra RamosSamantha RatnerJ’Noir RichardsonAiyana RomanThea RoseHannah RudtJeniecy ScarlettNoa ScheinfeldAlexa SchwartzKate ShenThalia St. HubertEvie Strausfeld-Barenberg Skye TarshisKaia TienTheodora TomutaTais TorresCaroline WattersCierra WillisSylvie WrinklerAaron Agudelo

Jahi BandeleDylan BatistaJordan BatistaSean BeaugeWilliam BrooksSamuel ChachkesNicolas de AzevedoByron De LeonSebastian GarciaAndy GuzmanJason KreloffDwayne LewisBrandon LouisorRonan McKinnonHowell-John NúñezZachary OmosoDeminan RamosMarcelo Ranghelli-DuranIsaac ReevesElliot SadoffJohnathan ScreenAjeya ShivaTucker SmithAlec SpectorSantiago VargasElliangel VegaKarll Velez-DomingoAundre WilliamsZaccariah WrightMartin Zakoian

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For Dancing VoicesKatie Geissinger, Rehearsal DirectorAllison Sniffin, Music Director and Score PreparationHjørdis Linn-Blanford, Production ManagerJosé Rivera, Production AssistantMs. Monk’s wardrobe for ascent by Gary Graham

The House Foundation for the Arts StaffMeredith Monk, Artistic DirectorKirstin Kapustik, Executive DirectorPeter Sciscioli, Projects DirectorHjørdis Linn-Blanford, Production ManagerAnna Lublina, General ManagerJenée-Daria Strand, Intern

Young People’s Chorus of New York City StaffFrancisco J. Núñez, Artistic Director/FounderElizabeth Núñez, Associate Artistic DirectorNancy Bloom, Executive ProducerLindsay Bogaty, Concert and Events CoordinatorMaria Peña, Project ManagerKerry Allen, Wardrobe CoordinatorJon Holden, PianistTaisiya Pushkar, Pianist

John Jay College AdministrationKarol V. Mason, PresidentSteven Titan, Vice President, Office of Finance and Administration Jeffrey C. Brown, Executive Director, Gerald W. Lynch TheaterJoshua Redfearn, General ManagerRubina Shafi, Assistant General ManagerRosie Cruz, Assistant Technical SupervisorDavid Nelson, Head CarpenterStuart Burgess, House ElectricianWilliam Grady, House Audio EngineerJeffrey Marsey, House StagehandLarissa DiCosmo, House ManagerAlyshia Burke, Custodian