Stanford Live-November-December-2014

Transcription

JULY/ AUG 2016
PERFORMING ARTS
SEASON MAGAZINE
SUMMER AT THE BING!
STANFORD GRAD VIENNA TENG
KICKS OFF THE SERIES
PLUS
A PREVIEW OF THE 2016–17 LINEUP:
SEASON FIVE AT STANFORD LIVE
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JULY/AUG 2016
CONTENTS
Stanford Live presents a wide range of the
finest performances from around the world,
fostering a vibrant learning community and
providing distinctive 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 performance to the significant issues,
ideas, and discoveries of our time.
FEATURE
14
Looking Ahead to 2016–17
PROGRAMS
18
JUL 16
Vienna Teng
20
JUL 17
Lisa Loeb
24
JUL 23
Salsa Dance Party
28
JUL 24
Morgan’s Journey
30
JUL 30
Bebel Gilberto
32
AUG 3
Los Tigres del Norte
STANFORD LIVE
7
Stanford Live Staff & Sponsors
8
Welcome
10
Campus & Community
12
Live Shots
36
Stanford Live Donors
37
Bing Concert Hall Donors
MEDICINE
38
Calendar
39
Things to Know
39
Parking / Venues / Seating
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PHOTO CREDITS
Cover: Vienna Teng, photo courtesy of the artist. Page 5: (Clockwise from top) Los Tigres del Norte,
photo by Portada Dix; Lisa Loeb, photo by Juan Patino; and Robert Morgan, photo courtesy of the artist.
Page 8: Photo by Harrison Truong. Page 10: Photos by Ryan Davis (top) and Rahim Ullah (bottom).
Page 11: Chris Lorway, photo by Joel Simon. Page 12: Photos 1, 2, 5, and 6 by Joel Simon; 3 and 4 by
Steve Castillo. Page 16: Photo by Fernando Aceves. Page 22: Photo by Juan Patino. Page 24: Photo by
Alex Tamkin. Pages 30-31: Photos by Harper Smith. Page 32: Photo by Portada Dix.
WELCOME
Dear Friends,
There have been some exciting developments over the past two months!
Chief among them is the appointment of Chris Lorway as the new executive
director of Stanford Live and Bing Concert Hall.
Stanford Live presents
a wide range of the
finest performances
from around the world,
fostering a vibrant
learning community and
providing distinctive
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 performance
to the significant issues,
ideas, and discoveries of
our time.
As you may have heard by now, Chris comes to us from Toronto where he
has been a major force on the arts scene for the past decade, most recently
as director of programming and marketing for Massey Hall and Roy Thomson
Hall—home of the Toronto Symphony Orchestra and the Toronto
International Film Festival—and before that as the founding artistic director
of the prestigious Luminato Festival, in addition to his work at other major
international festivals. Chris brings a strong vision and innovative approach to
the performing arts at Stanford, and I couldn’t be more thrilled to welcome
him as he officially takes the helm in mid-July.
Another milestone to celebrate is Stanford Live’s upcoming fifth season of
exceptional presentations at Bing. The 2016–17 lineup features more than
60 performances and community and student events—ranging from classical,
jazz, and world music to dance and multimedia—including a season-opening
concert by composer Philip Glass (celebrating his own birthday—his 80th!).
You can read more about the highlights in the season preview on page 14.
Thank you for joining us for summer at Bing. Enjoy the performances!
Sincerely,
Matthew Tiews
Associate Dean for the Advancement of the Arts
8
STANFORD LIVE MAGAZINE JULY/AUG 2016
CAMPUS & COMMUNITY
CAMPUS & COMMUNITY
ARTIST VISITS
UPCOMING EVENTS
AXIS Dance Company’s
Residency
AXIS workshop at the Palo Alto veterans hospital
STANFORD LIVE NEWS
Stanford Live’s yearlong Live
Context: Art + Ideas series
on War: Return and Recovery
culminated with an appearance
by Oakland’s innovative AXIS
Dance Company.
As part of its Bing Concert
Hall program on April 23, the
ensemble performed to go
again, a dramatic work of dance
theater by the esteemed
San Francisco choreographer
Joe Goode. Stanford Live
also brought AXIS dancers to
lead workshops with students
in Dance and Medicine and
Rhetoric of Mobility and with
recreation therapy patients
at the Palo Alto veterans
hospital who are being treated
for traumatic brain injury,
vision impairment, and other
combat-related conditions.
After a fun movement
workshop, the veterans viewed
a special performance of to
go again and shared their own
experiences in a discussion
with company members.
Chris Lorway Appointed
Executive Director of
Stanford Live and Bing
Concert Hall
AXIS DANCE COMPANY’S
RESIDENCY
JULY/AUG 2016
STANFORD SUMMER
FRIDAY, JULY 15, 7:30 PM
BING CONCERT HALL
The Stanford Summer Symphony
Orchestra is open to all members
of the Stanford community
each summer. Martín Fraile will
conduct this year’s Bing program
featuring works by Henryk
Wieniawski and Antonín Dvořák.
STANFORD SUMMER
Martín Fraile
ESPERANZA SPALDING
MEETS STANFORD JAZZ
WORKSHOP
SATURDAY, AUGUST 6
CHORUS
8:00 PM
FRIDAY, AUGUST 5, 7:30 PM
BING CONCERT HALL
BING CONCERT HALL
Preshow talk with Stanford neurologist Dr. Amit Etkin and
AXIS Dance artistic director Judith Smith
STANFORD LIVE MAGAZINE
MORE MUSIC AT BING
SYMPHONY ORCHESTRA
Live Context: Art + Ideas
brings together artists and
innovators with leading minds
at Stanford and beyond.
The “big ideas” behind next
season’s series are Imagining
the West and Islamic Voices.
Stay tuned for events to
be announced in the fall.
10
Esperanza Spalding
Rafael Ornes returns to conduct
the Stanford Summer Chorus in
a program of works written by
composers during their youth.
Featured will be Giacomo
Puccini’s Messa di gloria, in
addition to works by Wolfgang
Amadeus Mozart,
Felix Mendelssohn, Aaron
Copland, and Eric Whitacre.
With dazzling creativity and an
astonishing mastery of jazz, bassist,
vocalist, and composer Esperanza
Spalding comes to Bing Concert
Hall for a unique performance with
several of SJW’s most adventurous
young artists. Julian Lage, Taylor
Eigsti, Ambrose Akinmusire, and
Spalding are kindred spirits. Add to
the mix the incredible percussionist
Tupac Mantilla and bassist Linda
Oh, and you can expect a night of
unforgettable music.
Later this month,
Chris Lorway officially
joins Stanford Live as its
new executive director. His
appointment was announced
on May 23 by Stanford
University and the Stanford Live Advisory Council.
The Canadian arts leader was the founding artistic
director of Toronto’s internationally recognized Luminato
Festival. He was most recently director of programming
and marketing for Massey Hall and Roy Thomson Hall—
home of the Toronto Symphony Orchestra and the
Toronto International Film Festival.
“I’m thrilled to be joining the team at Stanford Live and
to have the opportunity to animate Bing Concert Hall
and to work in other spaces across the Stanford campus
in collaboration with the world’s foremost artists,” Lorway
said, adding that he is “incredibly excited” to have access
to the types of resources that Stanford offers. He said he
looks forward to working closely with faculty, students,
the advisory council, and other arts champions on and
off campus to make this one of California’s most exciting
cultural hubs.
Leslie Hume, co-chair of the Stanford Live Advisory
Council, and Stephen M. Sano, chair of the Stanford
Department of Music, served as co-chairs of the search
committee.
“As Stanford Live approached its fifth season, we sought
leadership with a long-term vision. A compelling depth and
breadth of experience in performing arts presentation, an
excitement about exploring an expansive diversity of music,
and a creative approach to engaging new audiences were
key criteria,” Hume explained.
“We found all of those qualities in Chris Lorway and
look forward to welcoming him to the uniquely creative
setting of Stanford University.”
CAMPUS & COMMUNITY
Campaign for
Stanford
Medicine
LIVE SHOTS
1
2
Stanford Live Welcomes
Chris Lorway
Following the announcement of
Chris Lorway’s appointment, the
Stanford Live Advisory Council
invited members of the Stanford
community to an informal meet
and greet with the incoming
executive director of Stanford Live
and Bing Concert Hall.
SECURING
THE FUTURE
OF STANFORD
MEDICINE AS
YOU SECURE
YOUR OWN.
3. Chris Lorway with Stanford
Department of Music
chair Stephen Sano, who
co-chaired the Executive
Director Search Committee
4. Stanford Live student
ambassadors Ryan Chen and
Tobin Asher chat with Lorway
during the reception
2
3
4
Bing Fling! An Evening
with Bernadette Peters
On April 16, Stanford Live
celebrated its Bing Members
and Performance Sponsors with
another fling at the Bing. The
evening began with a cocktail
reception and dinner in the Gunn
Atrium, which was followed by
a dazzling performance by the
beloved Broadway, film, and
television star Bernadette Peters.
Mark your calendars for next year’s
Bing Fling! On March 25, 2017,
we welcome another Broadway
dynamo: Kristin Chenoweth.
1. 5
12
6
JULY/AUG 2016
Chuck and Roberta Katz,
Stanford Live Advisory
Council co-chair Leslie
Hume, and John Freidenrich
2. Dr. Morton Grosser and
Dr. Divya Railan
5. Stanford Live Advisory
Council members John
Goldman and Betsy
Matteson with Lee Gregory
(center)
6. David Wollenberg, Christine
Williams, and Stanford’s
Associate Dean for the
Advancement of the Arts,
Matthew Tiews
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FEATURE
RD
E
LIV
What’s New, What’s Buzzworthy, and What’s Wonderful
SEA
NFO
STA
LOOKING AHEAD
TO 2016–17
SON
FIVE
!
B
ing Concert Hall, Stanford University’s acclaimed jewel box
of a venue, is already marking its fifth season. September
launches an appropriate celebration, with 60 performances
plus associated events for the community. But this celebration
isn’t just balloons and streamers—a complex choreography of
planning and preparation made it all come together. Each year,
it falls to Stanford Live, the university’s arts presenter, to fit
every genre, every program, into the calendar from fall to
spring. And the hard work paid off with a season of incredibly
wide-ranging offerings.
This year has been a transitional
one as Stanford Live searched
for, and found, its next executive
director, the well-regarded
Chris Lorway. Before coming
aboard as director of Stanford
Live and Bing Concert Hall,
Lorway was the founding
artistic director of Toronto’s
breakaway Luminato Festival.
“He knows all genres. He’s very
creative and collaborative,”
Evans says of her new boss,
adding that she’s looking
forward to Lorway putting his
stamp on the 2017–18 season.
Among the classical performers
who will deftly showcase the
Bing’s finely tuned acoustics is
Yo-Yo Ma, who, with notable
musicians Edgar Meyer and
Chris Thile, will ring changes
on Bach. And performers like
the Danish String Quartet, an
ensemble whose high-energy
vibe has been compared to that
of rock stars, and mezzo-soprano
Joyce DiDonato, an opera diva
for the 21st century, bring to light
a new side of classical music.
In shaping the upcoming lineup,
however, Evans collaborated with
artistic advisor Jim Fahey, director
of programming for Chicago’s
Symphony Center Presents
music series. Planning began in
earnest last January at New York’s
annual Association of Performing
Arts Presenters conference. It’s
a cross between something like
Match.com and speed dating for
arts professionals, presenting the
performers in mini-showcases
and then facilitating mixing and
mingling and trying to make
dates. It’s one of the events that’s
a key to the Bing’s calendar.
The season also includes world
music from Anoushka Shankar,
Ravi’s daughter, who has
collaborated with artists like Sting
and Herbie Hancock, and from
Omara Portuondo, who checks in
at Bing with Roberto Fonseca and
Regina Carter, classically trained
jazz masters. The blending of
genres continues with Tunisian
singer Emel Mathlouthi, who
counts Joan Baez, Björk, and
Tricky as influences, and Black
Violin, a duo versed in the classics
and hip-hop. There’s straightahead classical, to be sure; and
jazz; and composers Philip
Glass—whose season opener of
New Zealand’s Black Grace Dance Company performs on March 19
his complete piano études, which
will be played by Glass and four
others, marks his 80th birthday—
and Steve Reich, also 80, and
John Adams, who’s celebrating 70.
Pulling it all together takes a
village—or at least, a busy staff.
And that includes Laura Evans,
Stanford Live’s director of music
programs, who consults with
her colleagues, her contacts in
the performing arts world, and
university officials to figure out
what’s new, what’s buzzworthy,
what’s wonderful, what’s
needed—oh, and what will be
Bing Fling!-worthy as a special
thank-you for Bing members (this year, the event will feature
Kristin Chenoweth). Evans
has to match all that against
the budget and the artists’
schedules, and she and the
Stanford Live team have to plan
up to three years in advance.
The process is an art form
in itself, or maybe it’s like a
jigsaw puzzle or like “sausage
making,” Evans says with a little
laugh, “channeling what gets
the audience excited. There’s
no one right answer.” Taken
all together, the Bing’s season
yields “themes and interactions...
They may be just forming as
we’re putting things together.”
“We typically have three seasons
being planned at the same
time,” explains Evans. “I have a
workbook that starts with ideas
and builds by genre. Then I see
how it’s working chronologically.
In the beginning stages, it’s its
own enclosed world.” Then
Evans widens her net, connecting
with Stanford Live’s marketing,
finance, and production teams.
In the coming season, almost
all the shows will be at Bing
(exceptions include the New
STANFORD LIVE
FEATURE
open to the community.”
Always, she says, the first aim
for these interactive events
is “quality over quantity.”
Composer Philip Glass opens the season with a performance of
his complete piano études
Zealand dance troupe Black
Grace, in Memorial Auditorium,
and Chanticleer, at Memorial
Church). Built in the round, the
Bing holds 842 seats, a good
number of which are behind the
performers. “Since we’re focused
on music, sometimes we have
artists that aren’t used to the
audience seated behind them.”
But that’s unusual, Evans says;
in fact, most view working in the
round as an opportunity to build
rapport with the audience. “The
seats behind are also great,” says
Evans. “Everyone’s close and has
a good auditory experience.”
The mix of genres and interactions
is compounded by Stanford’s
fertile environment, which has
intensified thanks to its expanded
artistic infrastructure, the result of
a multiyear initiative. In addition
to the upgraded Cantor Arts
Center, the campus now boasts
the Anderson Collection and the
McMurtry Building—which form,
along with the Bing, a visual and
perceptual axis on campus. “The
presence of these buildings has
created a feeling of vibrancy and
increased activity,” Evans reports.
These other venues will also
play a part in Stanford Live’s
16
interdisciplinary programs. The
Live Context program planned
for October, Islamic Voices, on
contemporary youth culture in
Islamic countries, will make use of
the garage door that rolls up to
open the back wall of McMurtry,
presenting spoken-word and hiphop showcases from the inside
out to the students gathered on
the lawn. Sometimes Stanford
Live goes where the students live;
a scratch DJ workshop with Kid
Koala at a student co-op dorm
was a big draw last semester.
Stanford Live even has its own
student cadre, the Stanford
Live Ambassadors—with its
own acronym, SLAm. These
undergrads blog and program
their own events to help preview
and generate excitement
for upcoming concerts.
With every performance, the
goal is to make connections
between the students with the
art. Evans explains, “We try to
find out what the artists like
to do, to leverage the kinds
of interactions they like and
create a setting that facilitates
connection…maybe a master
class or a conversation with
the artist or a workshop that’s
JULY/AUG 2016
And opportunities to experience
and engage with quality
performances will abound
this season. One annual
highlight, the residency of the
St. Lawrence String Quartet,
will feature two free events
and three Sunday afternoon
concerts saluting John Adams
on his 70th birthday. SLSQ is
his favorite chamber group.
They will also play at the annual,
free Harmony for Humanity
Daniel Pearl World Music Days
Concert at Memorial Church.
In addition, the lineup features
a splendid array of large
ensembles. The list includes
Cappella Romana (which
will reprise its sellout Hagia
Sophia concert from 2013),
the Emerson String Quartet,
Ensemble Basiani, the Berlin
Philharmonic Wind Quintet,
the Jazz at Lincoln Center
Orchestra with Wynton Marsalis,
the Philharmonia Baroque
Orchestra, Kremerata Baltica,
the Academy of St. Martin in
the Fields chamber orchestra,
and the Bruckner Orchestra
of Linz. Other more intimate
offerings include violinist
Christian Tetzlaff and pianist
Lars Vogt, Alisa Weilerstein
and Inon Barnatan, Rhiannon
Giddens and Dirk Powell, and
indie pop artist José González
performing with the Göteborg
String Theory ensemble.
For something completely
different, Jazz 100, directed by
one of Dizzy Gillespie’s former
keyboardists, Danilo Pérez,
will pay tribute to Gillespie, Ella
Fitzgerald, Mongo Santamaría,
and Thelonious Monk, all of whom
would be 100 in 2017. Jazz singer
extraordinaire Cécile McLorin
Salvant will headline the Aaron
Diehl Ensemble in Jelly and
George, a celebration of Jelly Roll
Morton and George Gershwin.
New media and old are
highlighted on screens. Manual
Cinema’s Ada/Ava uses shadow
play, slides, puppets, and more to
weave a tale of death and destiny.
Murat Eyuboglu’s multimedia
documentary The Colorado
explores a natural national treasure.
And if these offerings are too
much for your eyes to take in,
try EarFilms’ To Sleep to Dream,
an audio play customized for the
Bing Studio.
For family fun, there’s a free
arts open house with interactive
performances and crafts. The
event features the Okee
Dokee Brothers, who present
American Western music; the
Box Brothers, who clown outside
the box; and much more.
Arts presenting means dealing
with everything from the big
picture to the smallest details,
from purchasing the artists’ favorite
snacks to booking complex travel
arrangements, from arranging
sound checks to picking just the
right piano for the show. Evans
says the staff is glad to go out of
its way to make the performers
feel at ease to give their best.
Happy artists lead to happy
audiences, and, Evans hopes,
another step toward Stanford
Live’s goal in a community rich in
entertainment options: “to build
a reputation, and a following,
and a splash.”
•
PROGRAM: VIENNA TENG
JULY 16 / 7:30 PM
BING CONCERT HALL
ARTIST
PROGRAM
Vienna Teng, piano and vocals
Tonight’s program will be announced from the stage.
At 6:30 pm, the indie female duo Dagmar will perform an opening-act set in the
Gunn Atrium.
PROGRAM SUBJECT TO CHANGE. Please be considerate of others and turn off all phones, pagers, and
watch alarms, and unwrap all lozenges prior to the performance. Photography and recording of any kind are not
permitted. Thank you.
18
“So come out. You have
been waiting long enough.”
This clarion call opens Aims, Vienna Teng’s
fifth studio album. It’s as much a reminder
for Ms. Teng herself as an invitation to her
listeners—a call to awaken one’s full potential.
The singer-songwriter lives by her own words.
A computer science major at Stanford, she
worked briefly at Cisco Systems in Silicon
Valley before signing a record deal. She spent
the next seven years as a full-time musician,
releasing four acclaimed albums and touring
both stateside and abroad. Her song craft
has gathered accolades from the likes of
National Public Radio, David Letterman,
and Entertainment Weekly. But in 2010, she
shifted gears yet again, this time in pursuit of
decidedly nonmusical interests: a graduate
program in sustainability at the University of
Michigan. “I like to joke that I have long-term
ADD,” she says of her unorthodox career
moves. “But going back to school made total
sense to me. It was time.”
Now graduated with an M.B.A. and an M.S.
in environmental science, she brings new
intention and ambition to her song craft—as
well as a newfound lightness. “I want to write
songs that feel aware of the wider world,”
she explains, “songs that speak to you on a
personal level and on a grander scale at the
same time. The issues we grapple with as a
society are just variations on what happens
inside a family or between lovers. I want to
Indeed, the new album finds Ms. Teng in full
adventurous mode. Recorded in Nashville
with producer Cason Cooley (Katie Herzig,
Matthew Perryman Jones), Aims is exuberant
and buoyant in its enthusiasm yet crafted with
the same creative precision that has defined
her previous work. The acoustic piano, once
the centerpiece of her recordings, plays an
occasional supportive role here; in its place
are intricate layers of electronica, percussion,
strings, and electric guitars. “Cason and I built
a playlist of reference songs when we started
working,” Ms. Teng remembers. “We put Beck,
and Florence and the Machine, and Kanye
West on there, James Blake, Foster the People,
Vampire Weekend. We started by stealing
from the music we were obsessed with.”
The result is glorious, intelligent pop music
with a signature all its own. Against a backdrop
of stomping percussion and a gospel-inspired
refrain, “In the 99” rejects the black-and-white,
us-versus-them conflict view of the Occupy
movement, instead exploring inequality
through the eyes of a compassionate
investment banker. In the gorgeous and
disturbing “The Hymn of Acxiom,” Ms. Teng
sings from the perspective of “big data,”
densely layering and manipulating her vocals
into an electronically textured choir to spin
an eerily relevant cautionary tale. There are
tender moments as well, as in the folk-tinged
album closer “Goodnight New York,” a love
letter to a previous home, relationship, and
perhaps vocation. “I’ll say goodnight, but it’s
never goodbye,” she promises. If Aims is any
indication, there’s even finer music to come
from this artist in the years ahead.
Personal attention
thoughtful litigation
final resolution
Our goal is to preserve our
client’s dignity and humanity.
L A W
F A M I LY
shine a light on that connection.” Not an easy
task, but Ms. Teng found it a joyful endeavor.
“I got to fall in love with music again,” she says.
“Being a musician no longer defines my whole
identity; I’m doing other work now, too. So I’m
not pinning so many expectations on these
little songs. I don’t need them to be ‘successful’
in ways that are beyond my control. I can just
have fun.”
Proud to
Support
the Arts at
Stanford
FA M I LY L AW G R O U P, P. C .
575 Market Street, Suite 4000
San Francisco, CA 94105
415.834.1120
www.sflg.com
A meric an Conser vator y Theater • Berkeley
Reper tor y Theatre • Broad way San Jose
• California Shakespeare Theater• San Francisco
Ballet • San Francisco Opera • SFJAZZ • Stanford
Live• TheatreWorks • Weill Hall at Sonoma State
Reach a
SophiSticated
audience
University • 5th Avenue Theatre • ACT Theatre •
Book-It Repertory Theatre • Broadway Center for
the Performing Arts • Pacific Northwest Ballet •
Paramount & Moore Theatres • Seattle Children’s
Theatre • Seattle Men’s Chorus • Seattle Opera
• Seattle Repertory Theatre •Seattle Shakespeare
Company • Seattle Symphony • Seattle
Women’s Chorus • Tacoma City Ballet • Tacoma
Philharmonic • Taproot Theatre • UW World
Series at Meany Hall • Village Theatre Issaquah
& Everett • American Conservatory Theater•
Berkeley Repertory Theatre• Broadway San Jose•
California Shakespeare Theater• San Francisco
Ballet • San Francisco Opera • SFJAZZ • Stanford
put your business here
Live • TheatreWorks • Weill Hall at Sonoma State
University • 5th Avenue Theatre • ACT Theatre
• Book-It Repertory Theatre • Broadway Center
•
—Notes by Daniel Hoffman
www.encoremediagroup.com
EAP House Ad Reach 1_6V 3.19.13.indd 1
3/20/13 3:00 PM
PROGRAM
Today’s program will include selections from Lisa Loeb’s latest album,
Nursery Rhyme Parade! Selections will be announced from the stage.
At 1:15 pm, circus artist Bri Crabtree will perform an hour of roving
juggling and unicycling in the Gunn Atrium.
PROGRAM:
SING ALONG WITH
LISA LOEB
JULY 17 / 2:30 PM
BING CONCERT HALL
“First Republic shares our passion for innovation
and world-class performance.”
ARTIST
Lisa Loeb, guitar and vocals
ANDREA MILLER
Founder, Artistic Director and Choreographer, Gallim Dance
2014 Guggenheim Fellow
Seagate is the official sponsor of Stanford Live’s
family series.
PROGRAM SUBJECT TO CHANGE. Please be considerate of others and
turn off all phones, pagers, and watch alarms, and unwrap all lozenges prior to the
performance. Photography and recording of any kind are not permitted. Thank you.
20
(855) 886-4824 or visit www.firstrepublic.com New York Stock Exchange Symbol: FRC
Member FDIC and Equal Housing Lender
PROGRAM:
SING ALONG WITH LISA LOEB
Night to her big-screen credentials.
The acclaimed artist has also gained
recognition for her voice-over talent by
providing voices for several animated
television shows and video games. In 2003,
Ms. Loeb gave voice to Spiderman’s gal
pal Mary Jane in MTV’s animated series
Spider-Man. She also served as the voice
of Milli the Microphone on the animated
Disney Junior show Doc McStuffins in
2011 and is currently the voice of Princess
Winger on the animated series Jake and
the Never Land Pirates on Disney Junior.
Grammy-nominated singer-songwriter Lisa
Loeb started her career with the platinumselling number one hit song “Stay (I Missed
You)” from the film Reality Bites. To this
day, she is the only artist to have a number
one single while not signed to a recording
contract, a remarkable and unparalleled
feat for an unsigned artist, though perhaps
not a surprising one for the Brown-grad girl
with the cat-eye glasses, who at the time
was already making her mark in New York’s
burgeoning singer-songwriter scene.
A native of Dallas, Texas, Ms. Loeb earned a
degree in comparative literature from Brown
University, where she experienced her first
taste of real musical success with the duo
Liz and Lisa. The pair built a substantial
following on campus and often booked
shows in New York on the weekends. Fellow
singer-songwriter Duncan Sheik also played
in the band during Ms. Loeb’s final year of
college. When Ms. Loeb moved to New
York City after graduation, she continued
to develop her vision, this time as a solo
artist, and hone her artistic talents while
carefully managing the business side of her
career. This led to Reality Bites and “Stay”
in 1994, and the rest, as they say, is history.
The fact that “Stay” became a number
one single in 1994 and still resonates with
people today is a testament to Ms. Loeb’s
gift as a songwriter and storyteller. Ms. Loeb
has successfully parlayed her talents into a
multidimensional career encompassing music,
film, television, voice-over work, and children’s
recordings. Her acclaimed studio CDs include
her major-label debut, the gold-selling
Tails (Geffen, 1995), and its follow-up, the
Grammy-nominated, gold-selling Firecracker
(Geffen, 1997). In 2002, Ms. Loeb distributed
the album Cake and Pie through Interscope
Records, and the record was later rereleased,
complete with additional tracks, as Hello Lisa
(Artemis, 2002). She reunited with her college
music partner Elizabeth Mitchell on the
award-winning children’s CD and companion
book Catch the Moon in 2003 and released
another solo album titled The Way It Really
22
Is on Zoë/Rounder Records in 2004. The
Very Best of Lisa Loeb was released through
Universal in 2006, and during that year, she
captivated the hearts of a younger audience
with three stellar children’s videos, “Catch the
Moon,” “Stop and Go,” and “Jenny Jenkins”
from Catch the Moon. In January 2008, Ms.
Loeb released the long-awaited CD version
of Purple Tape, an acoustic guitar and vocals
album from her early New York days.
Ms. Loeb’s foray into acting began in 1997
with cameos in television shows such as The
Nanny and Cupid. She has since continued
to perform and add television credits to
her ever-expanding repertoire, including
appearances on The Drew Carey Show, The
Chris Isaak Show, and Gossip Girl. In 2004,
Ms. Loeb starred in the first of two television
series, Dweezil and Lisa, a weekly culinary
adventure for Food Network. Her second
show, Number 1 Single, appeared on E!
Entertainment Television in 2006 and featured
Ms. Loeb’s inspiring journey to find love.
Ms. Loeb starred in her first feature
film role, opposite Oscar-winning actor
Geoffrey Rush, in the movie House on
Haunted Hill in 1999. In 2011, she added
a small role in the horror remake Fright
In 2008, Ms. Loeb took her talents to the
nonprofit sector to launch The Camp Lisa
Foundation to help raise funds to send kids
to camp. She enlisted her musician pals such
as Kay Hanley, Jill Sobule, and Nina Gordon
and funnyman Steve Martin to record a
companion CD, Camp Lisa, and released
it via partnership with Barnes and Noble,
with all the proceeds going to charity.
Continuing her passion for children’s music,
Ms. Loeb released her first children’s book
with a companion CD, Lisa Loeb’s Silly
Sing-Along: The Disappointing Pancake and
Other Zany Songs, in October 2011. The
CD includes four original silly songs plus
six all-time kids’ favorites that showcase
her wit, wacky humor, and creativity.
Today, Ms. Loeb continues to grow as an artist
and to push herself and her career forward
with a creative zeal and an inner drive not
often seen. The mom of two designs an
eyewear line, in partnership with Classique
Eyewear, Lisa Loeb Eyewear. Her second
picture book with a companion CD, Lisa
Loeb’s Songs for Movin’ and Shakin’ (2013),
includes her hit songs “Going Away” and
“The Disappointing Pancake” (also available
as an app via Mibblio). Her newest album is
Nursery Rhyme Parade!, available exclusively
from Amazon Music. Forever the fearless
performer, Ms. Loeb is constantly exploring her
creativity and telling original stories—whether
by writing a book, producing a TV show, or
continuing to develop her acting career.
•
Now with over 60 locations, Stanford
Children’s Health has never been
easier for families to access. One of
our Stanford doctors can be reached
within 10 miles of most Bay Area
homes — providing extraordinary care
for your extraordinary kid.
Find a location near you at
stanfordchildrens.org
“City National helps keep
my financial life in tune.”
So much of my life is always shifting; a different city,
a different piece of music, a different ensemble. I need
people who I can count on to help keep my financial
life on course so I can focus on creating and sharing the
“adventures” of classical music. City National shares my
passion and is instrumental in helping me bring classical
music to audiences all over the world. They enjoy being
a part of what I do and love. That is the essence of a
successful relationship.
PROGRAM: SALSA DANCE PARTY
JULY 23 / 8:00 PM
BING CONCERT HALL
GUNN ATRIUM
City National is The way up® for me.
ARTISTS
PROGRAM
Christian Pepin and Orquesta Bembé
The evening will begin with a free salsa dance lesson at 7:00 pm led by Hector Reyes of
Mambo Nova Dance Company.
Erick Peralta, piano
Kevin Silveria, bass
Carlos Caro, conga
Oscar Soltero, bongos
Christian Pepin, timbales
Bill Ortega III, trumpet
Mike Rinta, trombone
Galen Green, sax/baritone sax
Juan Luis Perez, vocals
Jeff Cordoba, vocals
Michael Tilson Thomas
Conductor, Educator and Composer
Find your way up.
SM
To learn more about how we can help keep your
financial life in tune, visit
FindYourWayUp.com/Tuned2SF or call
(866) 618-5244 to speak with a personal banker.
©2015 City National Bank
Special guest Oscar Hernández, piano
watch alarms. Photography and recording of any kind are not permitted. Thank you.
24
City National Personal Banking
CNB MEMBER FDIC
PROGRAM:
SALSA DANCE PARTY
ORQUESTA BEMBÉ
San Francisco salsa sensation Orquesta Bembé
was formed by Grammy Award–winning
percussionist and 2016 Grammy Award
nominee Christian Pepin and pianist, composer,
and arranger Erick Peralta. A 10-piece band
with the elegance and sophistication of a
large orchestra, the ensemble brings a unique
sound inspired by salsa, Latin jazz, tropical, and
traditional Cuban and Puerto Rican music.
Orquesta Bembé has been taking the Bay Area
by storm, with fans and critics raving about its
high-energy performances. The band’s unique
approach brings a global edge to timeless salsa,
infused with styles and rhythms reflecting the
vast musical experiences of its members.
CHRISTIAN PEPIN
“If a conga could talk and sing, it would certainly
be in the voice of Christian Pepin, for he speaks
through his instrument. Equally fluent in jazz,
salsa, and other Latin and world idioms, his
fluid versatility sets him apart. Christian’s total
command of his instrument allows him a freedom
of expression that is at once captivating and
liberating, powerful and genuine.” Christian Pepin is a versatile musician who
embodies the soul of a percussionist, inherently
creating rhythms that stir the human spirit.
From his supersonic slaps to his thunderous
open tones and heavy-hitting bass notes, the
young Mr. Pepin shows perceptiveness and
adoration for Latin and world music. His keen
26
sense, his gifted interpretation of music,
and the influence of the New York streets
have allowed Mr. Pepin to translate his bliss.
Whether it be on the stage or set to avantgarde jazz, salsa, or Latin jazz, he can make his
drums speak fluently to any listener.
From his humble roots in Rio Piedras, Puerto
Rico, Mr. Pepin has played music all his life. His
father, a gifted musician in his own right, and
mother, a talented vocalist, gave him a set of
drums at the tender age of six. As he became
older, he made the transition to timbale, then
congas, and on to bongos, all while perfecting
his musical craft. Music is innately a dominant
part of the Pepin family: his great-grandfather
Toño Pepin, his grandfather Papo Pepin, and
his cousin Bobby Allende are all musical icons
and legends in their own right. Music breathes
life into the soul of Mr. Pepin and sustains him
as a musician.
He moved to Spokane, Washington, from New
York City with his family during his teenage
years and continued his studies. He learned to
improvise in many styles, such as rumba, which
helped shape and develop Mr. Pepin’s melodic,
versatile, and danceable sound.
In 2001, Mr. Pepin moved to Seattle, where
he continued to develop his unique sound as
well as a strong following. During that time, he
excelled in marching band and went on to play
all the instruments in the “battery,” also known
as the drum line. He fell in love with third
bass drum for its complex and challenging
odd time. In 2005, he was asked to join the
Cascade Marching Band and tour all over the
United States.
In 2008, he started touring with many Latin,
world, rock, and R & B artists, developing a
versatile style of playing with the ability to
adjust to many types of situations with class
and sophistication. In 2012, Mr. Pepin moved to San Francisco,
where he was asked to record the Grammywinning album Pacific Mambo Orchestra. Since then, he continues to tour all over the
world. He has performed or recorded with the
likes of Poncho Sanchez, Tommy Igoe, Nestor
Torres, Pete Escovedo, Steve Turre, and Sheila
E. as well as other Latin artists such as Roberto
Roena, José Alberto “El Canario,” Tito Nieves,
Michael Stuart, Tony Vega, Tito Rojas, Ray de
La Paz, the Spanish Harlem Orchestra, and
many others.
OSCAR HERNÁNDEZ
Three-time Grammy Award winner Oscar
Hernández has long been considered one
of the most gifted and prominent pianistarrangers on the Latin jazz and salsa music
scene. Mr. Hernández has recorded and
performed with artists such as Tito Puente,
Celia Cruz, Julio Iglesias, Juan Luis Guerra,
and Ray Barretto. He was the musical director
and conductor for The Capeman, Paul Simon’s
Broadway musical. He recently finished
working as the arranger and orchestrator
for the new hit Broadway musical by Gloria
Estefan, On Your Feet!
Mr. Hernández is the leader and producer
of the Grammy-winning Spanish Harlem
Orchestra (SHO). He performs regularly with
SHO and also recently performed on and
directed the world tour of Rubén Blades and
Seis del Solar. Currently living in Los Angeles,
he also performs with his Latin jazz quintet,
LA-NY Connection. When it comes to Latin
music, he is continually in demand as a pianist,
composer, arranger, and producer.
•
Play
.
Walk. Sit.
Stay.
Living here we
can have it all.
Jim Smith doesn’t like to sit still for
long, and neither does his best friend
MacDuff. Good thing they live at The
Sequoias. Jim loves the central location,
city views and delicious menu choices.
MacDuff loves the Pet Club Dog Park
and the walkable neighborhood. When
it comes to The Sequoias, one thing
is certain. No one has to tell them to
stay. Call Alison at (415) 351-7900
to learn more.
A Life Care Community
sequoias-sf.org
1400 Geary Boulevard
This not-for-profit community is part of Northern California Presbyterian Homes and Services.
License# 380500593 COA# 097
PROGRAM
Morgan’s Journey
In this award-winning production, Morgan the Clown takes us on
a journey full of self-discovery and celebration, sharing a valuable
lesson about the true meaning of friendship and happiness.
Today’s performance will last approximately one hour without
intermission.
ABOUT THE SHOW
The play is a captivating exploration of joyous
yet challenging human experiences and offers
audiences a unique opportunity for active
participation. The magic of this production
lies in the strong connection between
Morgan the Clown and the young (or young
at heart) audiences. This play has been
delighting families of all ages, backgrounds,
and languages for over three decades and
recently traveled to Hong Kong and Juarez
and Chihuahua, Mexico. Originally created by
Robert Morgan and director David S. Craig
in 1980, Morgan’s Journey is now the longestrunning touring play in Canadian history. It
won the prestigious Chalmers Canadian Play
Award for outstanding play and has rightly
earned the description given to it: “a true
Canadian classic.”
PROGRAM:
MORGAN’S JOURNEY
JULY 24 /
11:00 AM & 4:00 PM
BING CONCERT HALL
STUDIO
ROBERT MORGAN
ARTIST
Robert Morgan has enjoyed a lengthy and
eclectic career. His work has helped establish
Canada as one of the world’s foremost
producers of theater for young audiences.
Over the past 25 years, he has written more
than 20 professionally produced plays and
acted in and directed over 40 productions.
He has won the prestigious Chalmers Award
for outstanding playwriting six times.
Robert Morgan
Seagate is the official sponsor of Stanford Live’s
family series.
PROGRAM SUBJECT TO CHANGE. Please be considerate of others and
turn off all phones, pagers, and watch alarms, and unwrap all lozenges prior to the
performance. Photography and recording of any kind are not permitted. Thank you.
28
His work has received a total of 10 Dora
Award nominations, four of which won best
production, and has been performed in
countries around the world, including Cuba,
the former Czechoslovakia, France, Italy, India,
Thailand, Nepal, and Iran as well as extensively
throughout the United Kingdom, the United
States, and Canada. Journeys to Hong Kong
and Singapore occurred in 2015.
In 2001, Mr. Morgan founded the Children’s
Peace Theatre in Toronto, which has involved
thousands of children and young people in
active programs of training and performing.
In his role as artistic director, Mr. Morgan
delivered two official presentations to the
United Nations in New York at the 2002
Special Session on the Children of the
World. The Peace Theatre is part of a global
movement committed to establishing “a
culture of peace for the children of the world,”
and its work has been honored with several
awards, most recently a Leonardo Da Vinci
Award for creativity and innovation in 2007.
In 1986, Mr. Morgan formed Roseneath
Productions with David S. Craig to produce
and tour his solo show Morgan’s Journey.
The play, which has been performed every
year since and become the longest-touring
play in Canadian history, has been called “a
true Canadian classic,” and the company, which
incorporated as Roseneath Theatre in 1993, has
gone on to establish an international reputation
for producing plays of the highest quality for
audiences of all ages. Mr. Morgan has been
a strong advocate for bringing the arts to all
children. While he has enjoyed performing in
some of the most prestigious venues in the
world, he continually welcomes opportunities to
perform in rural and remote areas.
Throughout his career, Mr. Morgan has
planned, produced, and presented a variety of
special celebrations and spectacles nationally
and internationally: Living Water, the Easter
Sunday celebration for more than 16,000 in
Lourdes, France; The Circus of the Heart with
Dom Hélder Câmara and a cast of over 150
performers at the University of Toronto; One Heart at a Time, with a cast of 60
members of the communities of L’ Arche at
the Winter Garden and Markham Theatres
in Toronto; and officially thanking Mother
Teresa at a peace rally at Varsity Arena in
Toronto. In addition, Mr. Morgan was invited
to direct A Time for Magic, coauthored with
David S. Craig, at an international festival of
the arts in Belfast, and he has given countless
workshops and made many appearances as a
keynote speaker.
He is perhaps best recognized in theatrical
circles for his groundbreaking work with
Theatre Columbus. His creation with Leah
Cherniak and Martha Ross, co–artistic
directors of Theatre Columbus, of the often
produced The Anger in Ernest and Ernestine
helped usher in a new era of creation of
new work in Canada. His other work with
Cherniak and Ross, The Betrayal, won the
1999 Chalmers Canadian Play Award.
Other disparate artistic endeavors include
writing and directing When the Bough Breaks
for Dancemakers, Patricia Fraser, artistic
director; the musical version of his Chalmers
Award–winning How I Wonder What You
Are for Tapestry Music Theatre, Wayne
Strongman, artistic director; Not as Hard as
It Seems for Frontier College (featuring then
unknown University of Toronto students
Yanna McIntosh, Valerie Buhagiar, and Don
McKellar); directing and cocreating a onewoman show for Michele George; writing
and directing two shows for symphony
orchestra starring Mag Ruffman; and writing,
producing, and starring in The Heart of Mine
Tour, David S. Craig directing, a tribute to the
music of Bob Dylan with a seven-piece rock
band backing.
In 2006, Mr. Morgan was honored for
his “vision, commitment, creativity, and
leadership within his field and beyond” by
being named one of 21 inaugural recipients
of Trent University’s Distinguished Alumni
Award. He currently lives in Toronto with his
wife, Susan Morgan.
•
BEBEL GILBERTO
“Bebel Gilberto has taken on traditional bossa
nova rhythms and infused [them] with her
trademark alluring vocals to create a hypnotic
new sound.” —National Public Radio
PROGRAM: BEBEL GILBERTO
JULY 30 / 7:30 PM
BING CONCERT HALL
ARTISTS
PROGRAM
Bebel Gilberto, vocals
Masa Shimizu, guitar
At 6:30 pm, the Brazilian band Dona Francisca will perform an opening-act set in the
Gunn Atrium.
World-renowned singer-songwriter Bebel
Gilberto, who has earned multiple Grammy
nominations over the course of her career,
has captivated fans and earned media
acclaim worldwide with her trademark
electronic bossa nova, taking over clubs
around the world and positioning herself as
one of the top-selling Brazilian artists in the
United States since the 1960s. Ms. Gilberto’s
penchant for sonically transporting listeners
to Brazil—with bright, incandescent bossa
nova–infused melodies, lyrics about love, and
a lilting performance style—has earned her
raves for her live performances.
Ms. Gilberto was born in New York to Brazilian
music icons João Gilberto and Miúcha. Her
musical education was her childhood in Brazil.
She was surrounded by extended family
including her uncle Chico Buarque and family
friends like Milton Nascimento, Tom Jobim,
Caetano Veloso, and João Donato. She made
her first recording at age 7. “I turned 50 this
year, so I’ve been recording and performing
music for 47 years!” exclaims Ms. Gilberto with
a laugh.
Ms. Gilberto’s influences are vast and eclectic.
In addition to living and breathing all types
of Brazilian musical styles as a child, she was
exposed to the greats, from Debussy to Prince,
Michel Legrand to Billie Holiday, and Björk to
Gershwin. She also has a strong love for North
American soul. She discovered Donna Summer;
Earth, Wind, and Fire; and Michael Jackson on
the dance floor as a budding teenager. “The
whole disco thing plays a big role in my heart,”
says Ms. Gilberto, who still loves to dance.
30
Several years after Ms. Gilberto moved to
New York City in 1991, her present-day
sound of electronic meets Brazilian began
to crystallize. “Little by little, I learned what
I wanted musically,” says Ms. Gilberto, who
gigged all around the city and collaborated
with many artists. “I think there I became a New
Yorker—with a Brazilian heart of course!”
Ms. Gilberto released her latest album,
Tudo, on Sony Masterworks in 2014—her first
studio recording in five years. Tudo, which
translates to “everything” in English, showcases
Ms. Gilberto’s ethereal vocals and wistful,
dreamy songwriting in each of the CD’s
12 tracks. Ms. Gilberto splits her time between
Rio de Janeiro and New York City, and she’s
exquisitely synthesized musical influences from
both cities in every track. Her sultry tonality
is constant throughout Tudo as are the warm
and playful Brazilian rhythms that include the
berimbau, wood bongos, and shakers. The
gorgeous melodies are shaped by touches of
electronica, and Ms. Gilberto’s intimate vocals
hint at a fantastical Rio de Janeiro.
•
LOS TIGRES DEL NORTE
PROGRAM: LOS TIGRES DEL
NORTE
AUGUST 3 / 7:30 PM
BING CONCERT HALL
ARTISTS
Los Tigres del Norte
Jorge Hernández
Hernán Hernández
Eduardo Hernández
Luis Hernández
Óscar Lara
PROGRAM
At 6:30 pm, the San Jose–based DJ collective Sonido Clash will perform an opening-act set
in the Gunn Atrium.
This performance is generously supported by the
Koret Foundation.
In the diverse world of Latin music, the regional
Mexican genre alone accounts for more
than half of all music sales (outpacing the
combined sales of pop, rock, tropical, urban,
and all other styles), and Los Tigres del Norte
are the undisputed legends of the genre. In a
cover profile on the group, Billboard magazine
declared the family of musicians as “the most
influential regional Mexican group in the United
States,” and went on to say, “Los Tigres del
Norte are not just another popular musical act…
Instead, they’re widely viewed as the voice of
the people.”
With more than 500 recorded songs to their
credit, Los Tigres del Norte have sold over
37 million albums worldwide, while earning
22 number one albums and more than 50
number one singles. The group has received
countless platinum records and numerous
awards, including multiple Grammy and
Latin Grammy Awards, the Latin Recording
Academy’s Lifetime Achievement Award,
and the Hispanic Heritage Legend Award at
the Kennedy Center. Even after an unrivaled
four-decade career, Los Tigres continue to be
at the forefront of Latin music popularity, still
performing regularly to audiences exceeding
100,000 a night, debuting at number one on
the charts with each album and single they
release, and continually blazing new trails
for the genre. The band’s recent milestones
include headlining Mexico’s historic bicentennial
celebration, being joined by numerous
members of Congress while headlining the
massive Camino Americano immigration
rally and march upon the National Mall in
Washington, DC, and releasing the first MTV
Unplugged album dedicated to the regional
Mexican genre, MTV Unplugged: Los Tigres
del Norte and Friends, which quickly went on to
earn a rare diamond sales certification.
LOS TIGRES DEL NORTE IN
THE NEW MILLENNIUM
32
The dawn of the new millennium has seen the
continued growth of Los Tigres del Norte, with
the legendary group expanding its reach into
new international markets and experiencing
the most successful years yet in its nearly
40-year career.
Los Tigres’ role as an essential influence to a
generation of new Latin music performers was
clearly seen with the 2001 tribute album El
mas grande homenaje a Los Tigres del Norte.
The album, which is now a highly sought after
collector’s item, saw a wide range of leading
Mexican rock bands performing a collection
of Los Tigres del Norte’s greatest hits and
demonstrating that the group’s fan base now
spanned multiple generations.
“The most influential
regional Mexican group in
the United States—the voice
of the people”—Billboard
This respect for Los Tigres was demonstrated
again in 2002 when the band gave the most
highly anticipated performance at Mexico’s
30th annual Festival Cervantino. As a special
tribute to the group’s influence, Los Tigres were
joined onstage by top rock performers such as
Molotov, La Barranca, and Julieta Venegas.
The year of 2002 continued as a pivotal year
for Los Tigres del Norte with the release of
the internationally critically acclaimed album
La Reina del Sur. Inspired by the group, Arturo
Pérez-Reverte, a Colombian-born author
living in Spain, penned the novel La Reina
del Sur—inspired by the heroine (Camelia La
Tejana) from the group’s famed early corrido
“Contrabando y tración.” In support of the
album, Los Tigres mounted an extensive and
highly successful tour of Spain.
This would signal the start of Los Tigres del
Norte’s greatest international expansion to date,
as a tour soon followed that took the band to
Asia (performing for U.S. troops stationed in
Japan and Korea). The band also undertook
much more in-depth touring in Chile and
Colombia and throughout Latin America.
As Los Tigres were winning over a legion of
new fans across the world who demanded
recordings that highlighted the group’s rich
history, Fonovisa Records decided to launch the
highly successful Herencia Musical (“Musical
Heritage”) collection in CD/DVD format.
This collection compiled the group’s musical
legacy, along with offering new material and
an accompanying DVD that includes the
group’s videos, photo gallery, and biography.
Thus far, the following collections have been
released: 20 corridos inolvidables (2003),
20 boleros romanticos (2003), 20 norteñas
famosas (2004), and Cumbias y algo mas
(2005), all which have scored top-tier
positions on Billboard magazine’s Top Latin
Albums sales chart.
Adding to the success of Los Tigres del
Norte’s discography (albums and collections),
Fonovisa Records released DVD and CD
soundtrack packages of some of the band’s
most important films—movies that not only
marked milestones in the group’s career but
have become historical archives in Mexican
cinema.
Two of these 2006 rereleases highlight Los
Tigres’ work with the renowned director Rubén
Galindo, a leading filmmaker in the genre
of cine de frontera (“border cinema”), which
addresses the economic and cultural divides
between the Unites States and Mexico.
The first film and soundtrack made available
again was the 1976 classic La banda del carro
rojo. The rereleased package spent two weeks
at number one on the regional Mexican album
chart and was quickly followed by the release
of 1977’s La muerte del soplón.
With Historias que contar charting throughout
2006, the success of both the soundtrack
rereleases and the Herencia Musical series
saw Los Tigres chart three simultaneous titles
in the top 20 on the regional Mexican album
chart and, most impressively, chart a total of
six albums in one calendar year.
This success was celebrated in the fall of 2006
when Los Tigres del Norte were recognized by
PROGRAM:
LOS TIGRES DEL
NORTE
Billboard with both an in-depth cover story and
an invitation to be the featured Q & A artists
at the magazine’s first ever Regional Mexican
Music Summit.
THE BAND’S HISTORY
Simply put, Los Tigres del Norte have
achieved worldwide success by becoming
the leading musical storytellers for multiple
generations of Latin immigrants.
The band members have taken the centuriesold tradition of corrido (story and song
celebrating the enduring pursuit of truth,
justice, and opportunity, whether by heroes
or ordinary folk) as an art form and made it
their own powerful vehicle not only to express
the plight and adventures of many who have
come to the United States from different
parts of the world seeking a better life for
their families but also to bring attention to the
many challenges faced by working people.
The godfathers of the norteño genre have
towered in the realm of Latin music, taking
the polka-rooted norteño sound and mixing
it with true tales of social injustices and
current events. Their unique lyrics of social
conscience have endeared them to millions
of people who see in them a reflection of
their past, present, and future. Thus their
fans have affectionately nicknamed them
“Los Idolos del Pueblo” (“Idols of the Town”)
for their sincerity and humbleness.
A career spanning more than three decades,
millions of records sold, and extensive concert
tours throughout the United States, Mexico,
Latin America, Europe, and Asia have made
Los Tigres del Norte international legends.
Made up of founding musical director,
lead vocalist, and accordionist Jorge
Hernández and his brothers Hernán,
Eduardo, and Luis and cousin Óscar Lara,
Los Tigres del Norte have followed their
unique calling as musical messengers and
documentarians on a journey that has
brought them to unimaginable heights.
From the beginning, Los Tigres del Norte’s
34
music had been steeped in emotions of
honor, pride, and respect for Latin culture.
where immigrants enjoy economic progress
but their children often forget their culture.
In 1968, young brothers led by the eldest
child—Jorge, who was all of 14—left their
hometown of Rosa Morada, Mocorito, in the
state of Sinaloa in Mexico and headed to the
United States in the hope of providing help to
support their family. The group’s name came
about when an immigration official called
them “little tigers” (a nickname for kids) while
crossing the California border. Since they were
headed north, the name of Los Tigres del
Norte (“The Tigers of the North”) was born.
As part of Los Tigres’ mutually agreed upon
musical mission, group members have never
allowed their images to be misrepresented
by being photographed with weapons or by
the use of offensive language in their music.
The group members established themselves
in San Jose, California, the city that to this
day remains their base. It was in San Jose
during the early 1970s that Los Tigres del
Norte were discovered by an aspiring music
impresario named Art Walker, who happened
to listen to a live radio presentation of the
group broadcast from the local Parque de
las Flores on Keyes Street, where San Jose’s
Mexican community congregated on Sundays.
The group quickly became the first artist
signed to Walker’s upstart Fama Records,
which in time became the leading Spanishlanguage recording company on the
West Coast. Upon signing, the group was
advised to modify its sound from traditional
acoustic to more of an electric sound
with a full set of instruments (drum set,
electric guitar, and bass) and went on to
record its first album. With time, the group
modernized its music, exploring elements
of boleros, cumbias, rock, and waltzes.
The band’s socially conscious tradition began
to manifest itself on Los Tigres del Norte’s
earliest hits, such as “Contrabando y tración,”
a tale of contraband and betrayal starring
drug-trafficking couple Emilio Varela and
Camelia La Tejana (1971) and 1973’s “La banda
del carro rojo.” The group’s preeminent role as
a leading voice on the struggles of immigration
took form with later songs, such as “La jaula
de oro” (1986), which spoke of life in the
gilded cage represented by the United States,
They have also taken it upon themselves
to express their love and respect of women
in their songs and to never glorify narcotic
themes, instead approaching the subject in
the group’s role as true-to-life storytellers.
•
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STANFORD LIVE DONORS
Stanford Live thanks the
following donors for generously
supporting the 2015–16 season.
PRODUCING SPONSORS
Marcia & John Goldman
Bonnie & Marty Tenenbaum
PERFORMANCE SPONSORS
Mary & Clinton Gilliland
Lynn Gretkowski & Mary Jacobson
Agatha & Stephen Luczo
Michael Jacobson & Trine Sorensen
K–12 EDUCATION SPONSOR
Anonymous
BING MEMBERS BING CIRCLE
($25,000+)
Anonymous
Gioia & John Arrillaga
Jeanne & Lawrence Aufmuth
Helen & Peter Bing
Roberta & Steven Denning
Ann & John Doerr
Barbara & Bill Edwards
Cynthia & John Gunn
Leslie & George Hume
Mary Jacobson & Lynn Gretkowski
Michael Jacobson & Trine Sorensen
Deedee & Burton McMurtry
Barbara Oshman
Mindy & Jesse Rogers
Bonnie & Marty Tenenbaum
Priscilla & Ward Woods
BING MEMBERS DIRECTOR’S
CIRCLE
($15,000–$24,999)
Anonymous
Carol & Myles Berg
Jill & John Freidenrich
Leonard Gumport & Wendy Munger
Mort Grosser & Diva Railan
Larry Horton & George Wilson
Cathy & Pitch Johnson
Leatrice Lee
Bill Meehan
Linda & Tony Meier
Condoleezza Rice
Peggy & Donald Satterlee
Marian & Abraham Sofaer
Madeline & Isaac Stein
Karin & Paul Wick
BING MEMBERS ARTIST’S
CIRCLE
($7,500–$14,999)
Anonymous
Felicity Barringer & Philip Taubman
Alison & James Barta
Sally Benson & Terry Surles
Recia & Mark Blumenkranz
Iris & Paul Brest
Janice Brody & Robert Rule
Shona Brown & John Rohrer
Shawn & Brook Byers
James Canales Jr. & James McCann III
Evanthia & Christopher Canellos
Diane & Stephen Ciesinski
36
Ann & David Crockett
Julia & James Davidson
Sallie De Golia-Jorgenson &
John Jorgenson
Susan Ford Dorsey & Michael Dorsey
Phyllis & William Draper III
Laura & John Fisher
Mary & William Fitch
Jill & Norman Fogelsong
Jean Marc Frailong & Richard Halton
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Marcia & John Goldman
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Anne & John Holloway
Rick Holmstrom & Kate McKellar Ridgway
Larry Horton & George Wilson
Elizabeth & Zachary Hulsey
Betty & Robert Joss
Roberta & Charles Katz
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Jeanne & William Landreth
Joan Lane
Robert Lence
Debra & Mark Leslie
Rhoda Levinthal
Cynthia & Richard Livermore
Jane & Michael Marmor
Victoria & James Maroulis
Carrick & Andrew McLaughlin
Phyllis Moldaw
Tashia & John Morgridge
Dean Morton
Susan & William Oberndorf
Susan & Franklin Orr
William Reller
Donna & Channing Robertson
Tom Sadler & Eila Skinner
Charlotte & George Shultz
Barbara & Arnold Silverman
Susan Speicher
Peter Staple & Harise Stein
Diane & Hal Steuber
Andrea & Lubert Stryer
Carol & Douglas Tanner
Lena & Ken Tailo
Lorna & Mark Vander Ploeg
John Weeden
David Wollenberg
BENEFACTOR
($5,000–$7,499)
Fred Alvarez & Beth McLellan
SUSTAINER
($2,500–$4,999)
Debbie Duncan & Bill Stone
Margaret & Stephen Gill
Stella Hwang & Philip King
Michael Kronstadt & Joji Yoshimura
Tanya Luhrmann & Richard Saller
Dick Miller & James Stutts
Og & Ogina
John O’Farrell & Gloria Principe
Barbara & Gregory Rosston
Meryl & Rob Selig
Ann Tsukamoto-Weissman &
Irving Weissman
Susan & David Young
JULY/AUG 2016
BING CONCERT HALL
DONORS
PARTNER
($1,000–$2,499)
Anonymous
Marilyn & Herbert Abrams
Marian & Jim Adams
Keith Amidon & Rani Menon
Markus Aschwanden & Carol Kersten
Frances & Jonathan Axelrad
Lindy Barocchi
Lisa Barrett
Elaine Baskin & Kenneth Krechmer
Deborah & Jonathan Berek
Cameron & Tito Bianchi
Jill & Bruce Bienenstock
Celeste & Wendell Birkhofer
Carolyn & Gary Bjorklund
Sukey & James Brooks
Peter Carpenter & Jane Shaw
Joyce Chung & Rene Lacerte
Joanne & Michael Condie
Toni Cupal & Michelangelo Volpi
Joyce & Thomas Dienstbier
Margaret & Donald Fidler
Betsy & David Fryberger
Peg & Buzz Gitelson
Ed Haertel & Andrew Oman
Richard Halton & Jean Marc Frailong
Eric Hanushek & Margaret Raymer
Judy & Jerrol Harris
Nancy & Jerre Hitz
Leslie Hsu & Richard Lenon
Sarah Ingber
Kay & Edward Kinney
Iris & Hal Korol
Janna & Kurt Lang
Albe & Raymond Larsen
Ayleen & Emory Lee
Yune Lee
Sanford Lewis
Anne Maggioncalda
Joan Mansour
Yoshiko Matsumoto & John Ryan
Judy Mohr & Keith Reeves
Betsy Morgenthaler
Joan & Stanley Myers
Michael & Eugenia Nilsson
Nisha Pillai
Kathryn Pryor
Nancy & Norman Rossen
Paula Moya & Ramon Saldivar
Paula & George Schlesinger
Diane Shemanski
Judy & Lee Shulman
Srinija Srinivasan
Barbara & Frank Tatum
John & Mary Wachtel
ADVOCATE
($500–$999)
Anonymous (5)
Laura Adams
Katherine Aitken
Dorothy & Theodore Anderson
Lois & Edward Anderson
Janice & William Anderson
Craig Barratt & Celia Oakley
Douglas Barry
Melody & Walter Baumgartner
Richard Baumgartner & Elizabeth Salzer
Bern Beecham & Cheryl Lathrop
Mildred & Paul Berg
Jackie Berman
Susan Berman & Leon Lipson
Charlotte & David Biegelsen
Stephanie Biorn
Susan Blanco
Vera Blume
Bonnie & William Blythe
Linda & Steven Boxer
Tim Bresnahan & Lenis Hazlett
Maude & Phil Brezinski
Carol & Donald Brown
Charles Browning
Terri Bullock
Lise Buyer
John Carter & Edie Goldberg
Andrew Chan
Donald Cheu & Jennie Wong
Hisae Chiba & Larry Hatlett
Ann Clark
Mary Clarke
Janet & William Coggshall
Holly & Andrew Cohen
Mark Cohen & Jacqueline Pelavin
Kaylani Comal & Arun Ramachandran
Jacqueline & Robert Cowden
Ann & George Crane
Suzanne & Bruce Crocker
Melanie & Peter Cross
Anna & Peter Davol
Ann & Robert DeBusk
Carol Dressler
Michelle & Stan Drobac
Sally Dudley & Charles Sieloff
Carol & Robert Dutton
Diane Elder & Bruce Noble
Patricia Engasser
Anna Espinosa
Sally & Craig Falkenhagen
Tracy Fearnside & Joseph Margevicius
Mary & Michael Federle
Joan & Allan Fisch
Shela & Stephen Fisk
Barry Fleisher
Margaret Forsyth & Glenn Rennels
Rona Foster & Kenneth Powell
Carol & Joel Friedman
Judith & Otis Frost
Aileen Furukawa
Sara Gandy
Karen & Edward Gilhuly
Sabine & Bernd Girod
Charles Goldenberg & Pamela Polos
Susan Goodhue
Sally Gressens & Lee Yearley
Mary Ann & John Grilli
Steven Guggenheim
Elizabeth Gulevich
Andrew Gutow
Laura & Peter Haas
Cynthia Harris & Daniel Sze
Joyce & James Harris, Jr.
Joerg Heilig
John Heineke & Catherine Montfort
Keith Hennessey
Karen Hohner & Randall Keith
Freda Holfand & Lester Thompson
Tamaki & Takeo Hoshi
Alyson & James Illich
Lynne Issacs
Aileen James
Dorothy & Rex Jamison
Lil & Todd Johnson
Leigh & Roy Johnson
Katherine Jolluck & Norman Naimark
Barbara Klein & Stanley Schrier
Renate Klipstas
Suzanne Koppett
Christina Kong
Nora Kruger
Amy Ladd
Danielle Lapp & Jerome Yesavage
BUILDING DONORS
Peter and Helen Bing
Cynthia Fry Gunn and John A.
Gunn
John Arrillaga Family
Anne T. and Robert M. Bass
Roberta and Steve Denning
Elizabeth and Bruce Dunlevie
Jill and John Freidenrich
Frances and Theodore Geballe
Andrea and John Hennessy
Leslie and George Hume
Susan and Craig McCaw
Deedee and Burt McMurtry
Linda and Tony Meier
Wendy Munger and Leonard
Gumport
Jennifer Jong Sandling and
M. James Sandling
Regina and John Scully
Madeline and Isaac Stein
Akiko Yamazaki and Jerry Yang
BING EXPERIENCE FUND
DONORS
With appreciation for the following
Donors, who provide major support
for programming and musical
instruments for Bing Concert Hall.
2015–16 ADVISORY
COUNCIL
The purpose of the Stanford Live
Advisory Council is to support
the mission of Stanford Live
and to provide strategic advice
on programmatic goals and
vision, financial sustainability,
communications and marketing,
development goals and strategies,
community outreach and education,
and the overall arts branding at
Stanford University.
Leslie P. Hume, Co-chair
George H. Hume, Co-chair
Peter Bing
Jim Canales
John Goldman
Fred Harman
Bren Leisure
Betsy Matteson
Linda Meier
Srinija Srinivasan
ex officio:
Maude Brezinski
Stephen Sano
Matthew Tiews
Anonymous
Apogee Enterprises, Inc.
The Adolph Baller Performance
Fund for Bing Concert Hall
Friends of Music at Stanford
Fred and Stephanie Harman
Fong Liu
Elayne and Thomas Techentin, in
memory of Beatrice Griffin
Bonnie and Marty Tenenbaum
The Fay S. and Ada S. Tom Family
Turner Corporation
The Frank Wells Family
Maurice and Helen Werdegar
Jazz virtuoso Jon Batiste and Stay Human (house band of The
Late Show with Stephen Colbert) make a visit to Eastside College
Prep in East Palo Alto as part of Stanford Live’s community
engagement program. Thanks to donor support, Stanford Live’s
artists bring music into classrooms of underserved youth in the
Bay Area.
Grace Lee
Shirley Lee
Joan & Philip Leighton
Doreen & David Leith
Shirley Liebhaber
Marcia Linn & Jack Morris
Deveda & Ernest Littauer
Marge & Roger Lobbes
Penny & John Loeb
Teri Longacre
Kathryn Low
Evelyn Miller & Fred Snively
Ann Lowry & John Perez
Glen Lutchman
Ruth Lycette
Jeff Magill
Leslie & Timothy Maier
Charlene & Richard Maltzman
M. Richard Maser
Darle & Patrick Maveety
Thomas & Julie McGannon
Molly & William McKenna
Evelyn McMillan
Penny & Jim Meier
Luis Mejia & Julie Skelton
Victoria & James Merchant
Sue & Tom Merigan
Tina & Trygve Mikkelsen
David Moor
Mariam Nayiny
Kristina & Ethan Nicholls
Linda & William Northway
Jill & Erik Olson
Christine & Ronald Orlowski
Ginger & Daniel Oros
Kevin Osinski & Marc Sinykin
Margo Parmacek
Carmela & Eliezer Pasternak
Marlene Rabinovitch
Zakia Rahman
Shirley & Robert Raymer
Katherine & Gary Reback
Karen & David Recht
Rossannah Reeves
Laura Richardson
Brigid & Orrin Robinson
Diane & Joseph Rolfe
Diana & Philip Russell
Eva & Ben Sah
Shelley & Loren Saxe
Doris Sayon
Grady Seale
Lorraine & Gerard Seelig
Vandana & Arvind Sharma
Lee Ann & Martin Shell
Kathy & Len Sherman
Judith & William Shilstone
Curt Francis & Sandra Sigurdson
Diane & Branimir Sikic
Gail Sinquefield
Sommer Family
Alfred Spivack
Geraldine Steinberg-Thompson &
John Thompson
Barbara & Charles Stevens
Edward Storm
Kimberly & Philip Summe
Susan & Seksom Suriyapa
Linda & Jeffrey Suto
Rosalina & Michael Taymor
Carol & Christopher Thomsen
Alicia Torregrosa & Stuart Weiss
Onnolee & Orlin Trapp
Tzipor Ulman
Susan & Ronald Van Buskirk
Wendy & Roger von Oech
Patricia & Emil Wang
Christine Weigen
Karen & Rand White
Patti & Ed White
Ronna & Bernie Widrow
Darlene Wiglert
Abigail & Henry Wilder
Mansie & Gary Williams
Marilyn & Irvin Yalom
Selma Zinker
SUPPORTER
($250–$499)
Anonymous (2)
Charles Bliss & Caroline Bowker
Maggie Burgett & Kimble Smith
Thomas Bush & Grace Sanchez
Jane Chai
Judith Dean & Ben Encisco
Carol & Harry Gelatt
Anne & William Hershey
Jane & William Johnson
Grady & Kenneth Kase
Julia Kazaks
Rita & Wayne Knudtsen
Charlotte & Larry Langdon
Jane & Richard Levin
Leslie & Tai-Ping Liu
Jane & Thomas Marshburn
Gayle & Grady Means
Elyce Melmon
Coralie & Gerhard Mueller
Frederic & Kirstin Nichols
Joan Norton
Raymond Perrault & Elizabeth Trueman
Kathleen Quinn
Gloria & Matthew Sakata
Nancy & Richard Schumacher
Joy & Richard Scott
Hannah & Richard Slocum
Ting & Randall Vogel
Penelope & Robert Waites
Joan & Roger Warnke
Jane & Warren Zuckert
FOUNDATION &
GOVERNMENT PARTNERS
$100,000+
Koret Foundation
$50,000–$99,999
The William and Flora Hewlett Foundation
$10,000–$49,999
Ann and Gordon Getty Foundation
U.S. Bank Foundation
$2,500–$9,999
Aaron Copland Fund for Music
Kinder Morgan Foundation
Western States Arts Federation
Contributions listed are in support of
the 2015–16 season and were received
between 4/1/2015 and 2/29/2016. Program
deadlines and limitations prevent us from
listing all of our greatly appreciated donors.
For corrections, or to make a contribution,
please contact Danielle Menona at
650.725.8782 or [email protected].
To learn more about giving to Stanford
Live, visit live.stanford/edu/give.
FRI, NOV 4
Icons of Sound:
Hagia Sophia Reimagined
Featuring Cappella Romana
WED, NOV 16
Rhiannon Giddens and
Dirk Powell
DECEMBER
FRI, DEC 2
THU, SEP 29
Joyce DiDonato and Il
Pomo d’Oro
The Complete Piano Études
by Philip Glass
WED, DEC 14
FRI, SEP 30
Memorial Church
Chanticleer
A Chanticleer Christmas
FRI, FEB 10
FRI–SUN, APRIL 7–9
SUN, FEB 12
Bing Concert Hall Studio
Robert McDuffie, violin
FRI, APRIL 14 FREE
Bruckner Orchestra of Linz
FRI, FEB 17
Christian Tetzlaff and
Lars Vogt
SUN, FEB 19
Berlin Philharmonic Wind
Quintet
MARCH
WED, MAR 1
Philharmonia Baroque
Orchestra
Iestyn Davies, countertenor
THU, MAR 2
38
DR
PA L M
P
P
THE
OVA
L
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P
P
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LVE
GA
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CA
2
F
Alum
Centeni
r
ORIA
4
L WA
Y
SUN, MAY 7
Tyler Duncan, baritone
2016–17 SEASON SUBSCRIPTIONS NOW ON SALE!
LIVE.STANFORD.EDU OR 650.724.BING (2464)
Single tickets go on sale August 23. Visit the Stanford Live website for updates.
All programs subject to change.
CENTER 2
S
BALCONY CIRCLE
CENTER 1
TERRACE
8
REAR ORCHESTRA
TERRACE
4
TERRACE
7
P
FRONT ORCHESTRA
CHORAL TERRACE
QUA
D
P
Hoo
Towever
r
SERR
Tressid
Union er
RUZ
A ST
P
JUNIPE
RO SERR
TERRACE
5
TERRACE
6
STAGE
Seating at Memorial Church is general admission. Access to the
reserved-seating section is available for donors of $250 or more.
5
A BLVD
TO
28
0S
SAT, APRIL 29
The Box Brothers
101
STAGE
The Stanford Marguerite is Stanford University’s free public shuttle
service. The shuttle travels around campus and connects to nearby transit,
shopping, dining, and entertainment. For detailed schedules and maps,
please visit transportation.stanford.edu/marguerite.
MAY
RD
TO
TERRACE
3
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.
Yo-Yo Ma, Edgar Meyer,
and Chris Thile
RO
ST
WED, APRIL 26
Alisa Weilerstein and
Inon Barnatan
DE
P
1
Littlefi
Centeeld
r
MEM
2
BAR
BALCONY
TERRACE
1
ST
ROT P
H WA
Y
EM
CENTER 3
MEMORIAL AUDITORIUM
VEZ
UM W
AY
GALV
EZ
LOT
/8
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.
The Colorado
St. Lawrence String Quartet
JULY/AUG 2016
P
AL
SAT, APRIL 22
Memorial Church
SUN, MAR 5
With Wynton Marsalis
MUSE
MAIN
TA C
RE
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.
FRI–SUN, MAY 5–7
The Okee Dokee Brothers
P
3
SAN
O
Good Friday Concert
José González and
The String Theory
Jazz at Lincoln Center
Orchestra
Presented by Stanford Live
Stanford University
365 Lasuen Street, Second Floor
Littlefield Center, MC 2250
Stanford, CA 94305
EarFilms
To SleepTo Dream
MIN
ST
NOVEMBER
Inon Barnatan, piano
CA
EA
Academy of St. Martin
in the Fields
EL
VE
SUN, OCT 30
SUN, APRIL 2
E RD
Memorial Church
N
Anoushka Shankar
Kremerata Baltica
NOTE: MAP NOT TO SCALE
ALPIN
Daniel Pearl
World Music Days Concert
F Alumni Café, Arrillaga Alumni Center
STO
CK F
ARM
TERRACE
2
RD
6
Canto
CenrteArts
r
BING CONCERT HALL
1N
RI
THU, OCT 27 FREE
P Public Parking
SAT, APRIL 1
10
CAMPUS DRIVE WEST
--- Walking Path
APRIL
UM
TO
D
Robert Levin, fortepiano
Manual Cinema
Ada/Ava
Anderson Collection at
Stanford University
BO
R ET
E
S
Orchestra
WED–SAT, FEB 1–4
Stanford Ticket Office
IV
AV
PU
WED, OCT 19
FEBRUARY
AR
Y
AM
Ensemble Basiani
Black Violin
UN
Memorial Church
Memorial Auditorium
IT
C
SUN, OCT 16
FRI, JAN 27
Bing Fling! with Kristin
Chenoweth
3
4
5
6
S
ER
GAL
Danish String Quartet
Isabelle Faust, violin
SAT, MAR 25
Bing Concert Hall Ticket Office
2 Frost Amphitheater
EN ST
THU, OCT 13
Orchestra
Emerson String Quartet
1 Bing Concert Hall &
LASU
Inside/Out: Arts Open House
WED, JAN 25
FRI, MAR 24
ITA D
R
SUN, OCT 9 FREE
Diana Doherty, oboe
SEATING INFORMATION
Memorial Auditorium
LOM
Jazz 100: The Music of Dizzy,
Ella, Mongo & Monk
PERFORMANCE VENUE INFORMATION
Black Grace
L RD
THU, OCT 6
SUN, JAN 22
SUN, MAR 19
D HIL
Steven Schick, percussion
Emel Mathlouthi
Aaron Diehl Ensemble featuring
Cécile McLorin Salvant
SAN
WED, OCT 5
International
Contemporary Ensemble
INFORMATION
N
SAT, JAN 21
Jelly and George
SAT, MAR 11
2 80
SAT, OCT 1
Omara Portuondo
SEPTEMBER
JANUARY
TO
OCTOBER
Bike to the Bing!
Bing Concert Hall is a bicycle-friendly venue with 244 bike racks available
in front of the main entrance and student entrance. Bicycles are not allowed
to obstruct walkways, railings, doorways, or ramps intended for use by
pedestrians or people with disabilities. Improperly parked bikes will be
removed and impounded by Stanford Public Safety.
Directions
For driving directions or public transportation information, please consult our
website: live.stanford.edu. For comprehensive campus parking information
and maps, visit www.stanford.edu/dept/visitorinfo/plan/parking.html.
THINGS TO KNOW
Wheelchair seating, with up to three
companion seats per wheelchair
space, is available for all Stanford Live
performances at every price level. Please
indicate your needs when purchasing
tickets so that an appropriate location
can be reserved for you.
Assisted-listening devices are available
for Stanford Live performances. Please
visit Patron Services prior to the show for
more information.
Sign language interpreting is available
for Stanford Live performances 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].
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.
Please turn off all cell phones and any
other light- or sound-emitting devices
before the performance. Also, please
note the use of cameras—including cell
phone cameras—and recording devices
is strictly prohibited.
The primary restrooms in Bing
Concert Hall are located on the stage
level, easily accessible by going down
the stairs at Doors C and F or by using
the lobby elevator near the information
desk. Additional restrooms are located
on the lobby level across from Door D
near the café.
The Bing lobby and Ticket Office
open 90 minutes prior to the
performance. Auditorium doors
open 30 minutes prior to curtain.
The Interlude Café in Bing
Concert Hall’s lobby serves guests
before each performance and during
intermission. For complete hours,
menus, and preordering options,
visit live.stanford.edu/dining.
Cell phone service is limited at Bing
Concert Hall, especially in the auditorium,
because of the design of the building.
Medical professionals and others who
may need to be reached during a concert
can either check in a cell phone or pager
device at the Patron Services desk or
direct outside callers to call the Patron
Services desk, with their seat location, at
650.725.3095. The desk is located across
the lobby from Door F at the coat check.
Volunteer usher positions are
available throughout the year. For
more information, please send an
email to [email protected].

Stanford Live-November-December-2014

Transcription

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