Calendar of Events April–June 2016

Transcription

2 New Jersey Performing Arts Center
April - June 2016
inside
what’s
Alvin Ailey American
Dance Theater returns | 4
A spectacular 2016-17 classical season | 6
Calendar of Events | 8
NJPAC Shining Stars | 12
NJPAC Contributors | 13
Muse | 15
Season Funders | 17
NJPAC Staff & Administration | 19
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April - June 2016
njpac.org 3
“OPEN DOOR” WEEKEND
When Alvin Ailey American Dance Theater returns, NJPAC
throws a 3-day homecoming
By Robert Johnson
The title of Ronald K. Brown’s new dance
says it all.
the list of dances campaigning for social change
will be Rennie Harris’ powerful Exodus.
With Open Door, the visionary choreographer
welcomes everyone to come on down and join
the fun as the Alvin Ailey American Dance
Theater celebrates the dance traditions of the
African Diaspora. Set to the joyous sound of
Cuban band leader Arturo O’Farrill’s Afro
Latin Jazz Orchestra honking and swinging,
Brown’s creation will be among the highlights
when the Ailey company returns to NJPAC
over Mother’s Day weekend, May 6-8.
Exodus takes the Ailey company to the back
streets of “Ill-adelphia,” where the choreographer
honed his skills as a B-boy. Although this piece
is Harris’ third creation for Ailey, following
his collaboration on Love Stories in 2004 and
the premiere of Home in 2011, his presence in
the studio always represents a special challenge
for these dancers. In his day, founder Alvin Ailey
kept things real by incorporating social dancing
and everyday gestures into works he created for
the concert stage. But Harris, who was born in
1964, belongs to a different generation, and
contemporary dancers trained in a mix of
Horton Technique, ballet and Graham Technique
don’t necessarily have the information to
perform a dance that’s grounded in hip-hop.
In honor of the occasion, the theater will
reward Mom and her admirers with free
attractions available to ticket-holders on the
day of performance. The pampering begins on
Friday, when Savion Glover, NJPAC’s renowned
Dance Advisor, introduces patrons to Soul Steps,
a dance company that specializes in stepping
and other percussive dance styles, in a free
performance at 7pm in the lobby of Prudential
Hall. Saturday’s pre-performance event will
feature DanceWorks & Company of Montclair,
as part of a salute to Ailey’s Artistic Director
Emerita, Judith Jamison. On Mother’s Day itself,
young choristers will raise their voices on
Theater Square and perform gospel hymns
inspired by Ailey’s masterwork, Revelations.
Inside on Sunday, NICO Kitchen + Bar will
dish out a succulent Mother’s Day brunch
beginning at 11am.
And then the performances!
Open Door is just the beginning. The troupe’s
three programs at NJPAC will offer a mix of
classic modern repertoire by Ailey and Paul
Taylor, and local premieres by some of today’s
leading African-American choreographers. A
recent import, Taylor’s Piazzolla Caldera is a
suite of sizzling vignettes set to tango composer
Astor Piazzolla’s music of heartbreak. The
Newark engagement also features Ailey’s
Cry, Night Creature and Revelations, and a
restaging of Jamison’s impassioned duet A
Case of You. Among the world premieres is
artistic director Robert Battle’s Awakening,
this choreographer’s first creation since he took
the reins of the company in 2011. And joining
“It’s an issue of language,” Harris says. “I
couldn’t tell them to give me a five-rhythm
‘house turn,’ or give me a ‘Skeeter Rabbit.’”
While the dancers are busy learning steps,
Harris has to stretch his own technique,
adapting it to move across the stage. “With
street dancers, it’s a rough paper route, if you
know what I mean, to get across from one side
to the other, because the movement is intense
and it’s coming from this core place,” Harris
explains. “So I’m looking for movement that
allows them to use space.”
Does this mean street dance does not belong on
the concert stage? Harris, who pioneered the
transition, disagrees emphatically. “Of course
street dance can be a cogent and viable concertdance style,” Harris insists. “How ignorant of
people to think that it couldn’t be. I used to be
really offended by that. You know, they were
blowing fire and juggling back in the day, and
calling that ‘ballet.’ So, I figure we’re OK.”
Harris says he has assembled the music for
Exodus in collaboration with dancer and
composer Raphael Xavier Williams, who also
mixed the electronic score for Home. The title
of the new dance suggests a journey out of
slavery, and Harris reveals that he is concerned
with the state of the world today. The old
April - June 2016
models are coming apart, he says, and the
middle class is broke.
brimming over with movement that exploded
in a variety of colors and rhythms.
“This is about spiritual development,” Harris
says, noting that he is not speaking about
religion. “We are undeveloped as humans. Just
because we’re over 21 does not mean we’re
grown people. We’re not adults,” he adds.
“And part of that is because we’re stuck in this
need of consuming, consuming everything. As
long as we remain in that never-ending circle,
just cycling around in the abyss of materialism,
we’re not going to develop spiritually.”
Brown says he has been waiting for an
opportunity to work with O’Farrill, ever
since he first heard the Afro Latin Jazz
Orchestra on a visit to Cuba. For Brown, who
chose four tracks from O’Farrill’s collection
of albums, the music describes the way African
culture spread throughout the Caribbean and
Latin America.
Battle describes his own piece, Awakening, as
a meditation on leadership, which reflects his
experience growing up. “So much of my
upbringing was in the church, and seeing how
the preacher would galvanize the congregation,”
he says. In this case, however, the charismatic
leader must display a combination of strength
and vulnerability, as he is called upon to
sacrifice himself for the community.
Awakening combines two scores by
contemporary composer John Mackey, with
whom Battle has collaborated in the past.
The composer and the choreographer were
classmates at the Juilliard School, and Battle
remembers the first time he heard Mackey’s
music; he liked it so much that all he could
think to say was “Damn!” His expletive then
became the title of their first collaboration.
Damn came early in Battle’s career—so early,
in fact, that when he wrote Mackey a check,
it turned out to be made of rubber. They can
laugh about it now. “We’re pretty sure it won’t
bounce this time,” Battle says, chuckling.
Ever since the debut of Grace, in 1999, the
sight of Ronald K. Brown’s name on an Ailey
program has generated special excitement. “I
just can’t say enough about how happy I am
that this relationship has continued,” Battle
comments. Watching Brown as he worked on
his new piece, Open Door, in the studio, the
director observed that he seemed transported,
“This sound is from Puerto Rico, this sound
is from Colombia, this sound is from Peru,”
Brown says, describing the way the orchestra
mixes the influences of different regions.
“He’s trying to open us up, as listeners, to the
connection between these cultures.”
Brown began traveling to Cuba in 2001,
teaching his approach to modern dance and
deepening his knowledge of the African
traditions preserved in Santería. During his
most recent trip, in 2014, the choreographer
would go on Sundays to watch classes at a
folklore school in Havana. In addition to
learning ritual dances there, the youngsters
would cut loose performing Latin ballroom
numbers with a maturity and sophistication
that astonished Brown.
This experience then worked its way into
Open Door, which includes both salsa
partnering and references to the dance of
Elegba, who, in the Santería pantheon, is the
god who opens a path. To make the “Elegba
gesture,” the dancer pulls back her arms from
the hips, making an opening that she then steps
through, occasionally ducking her head.
“There’s a celebration that happens once the
door is open, and you realize the space is
ours,” Brown says.
Robert Johnson is a freelance dance writer. A version
of this piece originally appeared in Playbill and is
reprinted with permission.
Photo by Paul Kolnik
A spectacular 2016-17 classical season
It’s enough to make lovers of Beethoven roll over with joy.
“There are and will be a thousand princes;
there is only one Beethoven,” the bad-boy
genius somewhat pompously declared in a
letter to a royal patron.
Yuja Wang
No arguments here. There IS only one
Beethoven, the composer of nine towering
symphonies. And four of them (the first,
fifth, third and seventh) will be showcased in
NJPAC’s six-concert Bank of America Classical
Series announced for 2016-17.
If that doesn’t satisfy your ear-hunger for
music by The Master, the Budapest Festival
Orchestra presents an all-Beethoven program
(two symphonies, one piano concerto featuring
Richard Goode) on February 4, 2017.
“The most majestic music in the Western
canon is synonymous with Beethoven,” says
John Schreiber, NJPAC’s President and CEO.
“Classical music lovers expect an aweinspiring experience when listening to these
brilliant symphonic works. The Arts Center’s
Prudential Hall offers both jewel-like acoustics
and a resplendent setting.”
“The top-line artists and orchestras
appearing in the new season are among the
most renowned interpreters of Beethoven’s
compositions… as well as the music of Ravel,
Shostakovich, Rachmaninoff, Mozart and
company,” adds Executive Vice President
and Executive Producer David Rodriguez.
“Subscribers will be glad to see returns by some
of the past season’s best-loved artists—Renée
Fleming, Yuja Wang or Valery Gergiev, just a
few examples—while having the opportunity
to hear live for the first time a distant orchestra
or a rarely performed piece.”
The series gets off to a smashing start with the
return of the London Symphony Orchestra,
heard at NJPAC last October under the baton
of Valery Gergiev. This time (October 29),
Gianandrea Noseda, who becomes Music
Director of the National Symphony Orchestra
in Washington, D.C. at the launch of the
2017-18 season, leads the British players in
Shostakovich’s Symphony No. 5 from 1937, a
triumph for the politically oppressed composer
and a much-recorded favorite. Wagner’s
lighthearted Overture to Die Meistersinger
opens the program.
Photo by Norbert Kniat
Pianist Yuja Wang, who made an electrifying
NJPAC recital debut last season, solos with
the LSO in Ravel’s jazz-flavored Piano
Concerto in G (1929-31). And there’s more
Ravel to come—read on.
Seguing from opera stage to concert hall,
soprano Renée Fleming will grace NJPAC on
November 4 in a program to be announced.
“The People’s Diva,” a four-time Grammy
winner who is as captivating singing the
national anthem at Super Bowl as she is
performing leider by Schubert, made her
Broadway debut in 2015, starring in Living
on Love by Jersey playwright Joe DiPietro.
She is heard on a wealth of recordings and
TV and radio broadcasts—many of which
she has hosted—and splendid Prudential
Hall is as good as it gets for listening to her
radiant voice.
Beethoven himself considered Symphony
No. 7, with its alluring second movement,
one of his greatest hits. On Thanksgiving
weekend, a November 27 concert by the
Salzburg Mozarteum Orchestra showcases
that masterpiece, along with a pair of works
by the Austrian orchestra’s namesake. Who
better to lay claim to the authentic sound of
Mozart than the ensemble founded in part by
his family in 1841?
So without traveling to the Salzburg Festival,
where the orchestra has deep roots, audiences
will be treated to Mozart’s last symphony,
the “Jupiter,” with its heart-tripping finale,
as well as one of Mozart’s horn concertos.
April - June 2016
British conductor Matthew Halls, an earlymusic specialist frequently on the podiums
of North American orchestras, leads the
proceedings. The guest soloist is Croatian
horn player Radovan Vlatkovich.
Pianist Richard Goode, a globally-praised
interpreter of Beethoven’s music, appears
with the Budapest Festival Orchestra in
the previously mentioned all-Beethoven
program on February 4, 2017. The mighty
Symphony No. 5 crowns the concert, which
will be conducted by the orchestra’s longtime
Music Director and co-founder, Iván Fischer.
The other selections—the First Symphony
and Piano Concerto No. 2—represent the
prodigious artistry of young Beethoven.
“Making music with Iván Fischer and
the Budapest Festival Orchestra is always
a pleasure, and it’s wonderful to have
the opportunity of revisiting some of the
Beethoven Concertos that we recorded for
Nonesuch with audiences here in the U.S.,”
Goode says. “I have always been struck by
the extraordinary relationship between Iván
and the Budapest Festival Orchestra, especially
the immense vitality of their playing that puts
such life in every note.”
Goode, who recently performed Beethoven’s
last three sonatas in a recital at Carnegie
Hall, was applauded by The New York
Times for his “majestic, profound readings…
Mr. Goode’s playing throughout was organic
and inspired, the noble, introspective themes
unfolding with a simplicity that rendered
them all the more moving.”
On February 19, the revered, seven-time
Grammy winner Leonard Slatkin returns to
NJPAC to conduct the Orchestre National de
Lyon, which he serves as Music Director, along
with the Detroit Symphony Orchestra. Pianist
Olga Kern is the solo artist; her affinity for
the music of Rachmaninoff makes her an
inspired choice to perform his high-spirited
Piano Concerto No. 1. Kern has a familial
connection to the composer as well: Her
great-grandmother, a mezzo-soprano, once
was accompanied by Rachmaninoff on the
concert stage.
A first-prize recipient of the Rachmaninoff
International Piano Competition at 17 years
old, Kern has been described in this way
by The Washington Post: “Call it star
April - June 2016
Leonard Slatkin
quality… Music likes Kern the way the
camera liked Garbo.”
Opening the French orchestra’s bill is Ravel’s
Persian fantasy, Shéhérazade, ouverture de
féerie. Berlioz’s Symphonie Fantastique, a
fulsome, early Romantic work born of the
composer’s torment and passion over his
love for an actress, brings the evening to a
resounding close.
The grandeur of Beethoven’s Symphony No.
3, the “Eroica,” is on full display April 2,
2017 with the Munich Philharmonic under
Music Director Valery Gergiev. Originally
dedicated in homage to Napoleon Bonaparte,
Beethoven’s Third is largely regarded as a
signpost to the Romantic period.
Also sharing the program is another piece
by Ravel—the Piano Concerto in D for the
Left Hand (1929-30)—commissioned by
concert pianist Paul Wittgenstein, whose
right arm was amputated following battle in
World War I. Pierre-Laurent Aimard, a highly
lauded interpreter of the piano repertoire
and 2015-16 artist-in-residence with the
Vienna Symphony Orchestra, is guest soloist.
“He takes exploration to exhilarating
extremes,” writes The New York Times.
Richard Strauss, another famous composer
employed by Wittgenstein, rounds out the
Sunday evening concert when the Munich
digs into Don Juan, his fiery 1888 tone poem.
For a complete schedule of the Bank of America
Classical Series at NJPAC and subscription
information, visit njpac.org.
njpac.org 7
Photo by Jennifer Altman
Revered by other comedians as one of the best in the business, Brian Regan, the unique comic whose
material appeals to generations of fans, makes his Prudential Hall debut on May 8... Irish music
sensation Celtic Woman, Billboard’s No. 1 World Music Artist, returns on June 30 with The Destiny
Tour, an entirely new production that honors Ireland’s past while bringing a contemporary musical
edge to songs old and new... Before he was the star of Homeland, Criminal Minds, Yentl,The Princess
Bride and so much more, Mandy Patinkin was a Tony-winning Broadway legend in Evita and Sunday
in the Park with George. On May 22, Patinkin will take you on a dazzling musical journey from Irving
Berlin to Stephen Sondheim, and from Cole Porter to Harry Chapin.
Calendar of Events
April–June 2016
All events and programs subject to change without notice.
APRIL 2016
Wed
Apr 6
8pm
Dancing in the Streets: Motown’s Greatest Hits
Fri
Apr 8
8pm
Jersey Moves! Festival of Dance – Carolyn Dorfman Dance
Sat
Apr 9
6pm Lea DeLaria
Sat
Apr 9
8:30pm Lea DeLaria
Sun
Apr 10
11am Dorthaan’s Place Jazz Brunch: Freddy Cole Quartet
Sun
Apr 10
1pm Dorthaan’s Place Jazz Brunch: Freddy Cole Quartet
Apr 10
7pm One Night of Queen featuring Gary Mullen and The Works
Sun
Thu
Apr 14
8pm New Jersey Speakers Series: Michio Kaku
Apr 15 8pm San Francisco Symphony – Michael Tilson Thomas, conductor
Fri Sun Apr 17
4pm Michel Camilo – Solo Jazz Piano
Sun Apr 17
7pm Michel Camilo – Solo Jazz Piano
Mon Apr 18
6pm Newark History Society: Puritans, Protestors, and Patriots:
Newark in the Colonial Period
Thu
Apr 21
8pm Mint Condition and Floetry
Apr 22
8pm Dodge Poetry at NJPAC: PoemJazz
Fri
Fri
Apr 22
8pm
Riverdance 20 Years – The Anniversary Tour
Sat
Apr 23
12:30pm WBGO Free Kid’s Jazz Concert
Sat
Apr 23
2pm
Sat
Apr 23
8pm
Sun
Apr 24
2pm
Apr 24
7pm
Sun
Thu
Apr 28
8pm Richard Marx
Apr 29
7pm
NJPAC Stage Exchange: David Lee White and Passage Theatre
Fri
Company (Trenton), a reading of Sanism
Fri
Apr 29
7pm Shen Yun
Sat
Apr 30
2pm Shen Yun
MAY 2016
Sun
Sun
Fri
Sat
Sat
Sun
Sun
Sat
Sat
May 1
May 1
May 6
May 7
May 7
May 8
May 8
May 14
May 14
2pm
3pm
8pm
7pm
8pm
3pm 8pm 6pm
8pm
Shen Yun
Well Fargo Jazz For Teens Concert
Alvin Ailey American Dance Theater
Jonathan’s Choice: Cyrille Aimée & Kate McGarry
Brian Regan, comedian
You’ve Got a Friend: The Music of the Brill Building
Paul Reiser
April - June 2016
Sat
May 14
8:30pm You’ve Got a Friend: The Music of the Brill Building
Sun
May 15
3pm Ethan Bortnick
Fri
May 20
7pm
NJPAC Stage Exchange: Nikkole Salter and Luna Stage –
reading of Indian Head
Sat May 21
8pm Jessye Norman, soprano, with New Jersey Symphony Orchestra
May 22
3pm Mandy Patinkin in Concert: Dress Casual
Sun
Fri
May 27
7pm Hispanic Youth Showcase
Fri
May 27
8pm Dodge Poetry at NJPAC: Oigo Cantar a América:
Latino/a Poets with Bobby Sanabria
Fri
May 27
8pm Todd Rundgren with The Tubes featuring Fee Waybill
Sat
May 28
8pm
Sinatra at the Movies
JUNE 2016
Thu
Jun 2
7pm Colors of the Rainbow Team Match
Fri
Jun 3
7:30pm
Jersey Moves! Festival of Dance: Nai-Ni Chen Dance Company
Fri
Jun 3
8pm SWV and Jagged Edge
Sat
Jun 4
8pm Júlio Pereira and James Hill
Sun
Jun 5
3pm Richard Nader’s 27th Annual Summer Doo Wop Concert
Fri
Jun 11
8pm Invincible: A Glorious Tribute to Michael Jackson – ALL NEW SHOW!
Fri
Jun 17
7pm Bill Burr Live
Fri
Jun 17
8pm Jersey (New) Moves! Emerging Choreographers (on sale 2/26)
Fri
Jun 17
9:30pm Bill Burr Live
Sat
Jun 18
7:30pm Bill Charlap – Solo Jazz Piano
Sun
Jun 19
8pm Earthquake’s Father’s Day Celebration
6pm Newark History Society: Progressives and Reformers:
Mon Jun 20
Newark Takes the Lead
Fri
Jun 24
7pm
NJPAC Stage Exchange: Chisa Hutchinson and Playwrights
Theatre of NJ – reading of Surely Goodness and Mercy
Jun 25
3pm David Cassidy: Up Close & Personal
Sat
Sat
Jun 25
7:30pm David Cassidy: Up Close & Personal
Sat
Jun 25
8pm Winans Brothers and Clark Sisters
Thu
Jun 30
8pm Celtic Woman – The Destiny Tour
April - June 2016
njpac.org 9
April - June 2016
Prudential Hall
Friday, April 15, 2016 at 8pm
NJPAC presents
San Francisco Symphony
Michael Tilson Thomas, music director & conductor
Inon Barnatan, piano
Program
AARON COPLAND
(1900–1990)
Orchestral Variations
Inscape
Piano Concerto
Andante sostenuto
Molto moderato (molto rubato)—Allegro assai
Inon Barnatan, piano
~ INTERMISSION ~
ROBERT SCHUMANN
Symphony No. 2 in C major, Opus 61
(1810–1856) Sostenuto assai—Allegro ma non troppo
Scherzo: Allegro vivace
Adagio espressivo
Allegro molto vivace
Please hold applause until the end of each complete work on program.
As a courtesy to the performers and fellow audience members, please be sure to silence all mobile
devices. The use of recording equipment and the taking of photographs are strictly prohibited.
This performance is made possible, in part, through the generosity of the Smart Family Foundation/
David S. Stone, Esq., Stone & Magnanini, and the Judy and Josh Weston Fund for Artistic Excellence.
The San Francisco Symphony’s 2016 East Coast Tour is made possible through the generosity of City National Bank with
additional funding from Mr. & Mrs. Steven Denning and Priscilla & Keith Geeslin.
Inon Barnatan’s performances with the San Francisco Symphony are underwritten by Trine Sorensen & Michael Jacobson.
San Francisco Symphony tours are supported by the Frannie and Mort Fleishhacker Endowed Touring Fund,
the Brayton Wilbur, Jr. Endowed Fund for Touring, the Halfmann-Yee Fund for Touring, and the Fay and
Ada Tom Family Fund for Touring.
This program is made possible in part by funds from the
New Jersey State Council on the Arts/Department of State,
a Partner Agency of the National Endowment for the Arts
and by funds from the National Endowment for the Arts.
April 2016
njpac.org I
Notes on the Program
Orchestral Variations
AARON COPLAND
Born November 14, 1900, in Brooklyn, New York
Died December 2, 1990, in Peekskill, New York
Inscape
AARON COPLAND
First performance: March 5, 1958, by the
Louisville Orchestra with Robert Whitney
conducting.
First performance: Inscape was commissioned
by the New York Philharmonic in celebration
of its 125th anniversary. Leonard Bernstein
conducted the world premiere in Ann Arbor,
Michigan, on September 13, 1967.
Instrumentation: 2 flutes (both doubling
piccolo), oboe and English horn, 2 clarinets
(2nd doubling bass clarinet), 2 bassoons,
4 horns, 2 trumpets, 3 trombones, tuba,
timpani, snare drum, tenor drum, bass
drum, bongos, Conga drum, cymbals, tomtom, wood block, glockenspiel, xylophone,
tubular bells, antique cymbals, cow bell, harp,
and strings.
Instrumentation: 2 flutes and piccolo, 2
oboes and English horn, 2 clarinets and bass
clarinet, 2 bassoons, 4 horns, 3 trumpets,
3 trombones, tuba, harp, piano, celesta,
timpani, glockenspiel, vibraphone, xylophone,
snare drum, tenor drum, claves, tambourine
(no jingles), triangle, suspended cymbals
(large, medium, and small), crash cymbals,
and strings.
Between 1948 and 1960, in an amazing and
idealistic project, the Louisville Orchestra
commissioned about 120 orchestral works.
When his Louisville commission came
along, Copland had in mind the orchestral
possibilities of his Piano Variations of 1930.
The young Copland had become troubled
by his penchant for the grandiose, and he
eventually came to think of his Variations as
representing “another version of the grandiose,
except that it had changed to a very dry and
bare grandiosity.” When he orchestrated the
Variations in 1957, he did a remarkable job of
getting them bare and grand at the same time.
“Inscape” is the lovely coinage of the
nineteenth-century English poet and priest
Gerard Manley Hopkins. In a brief preface
to the score, Copland writes that Hopkins
invented the word “to suggest ‘a quasi-mystical
illumination, a sudden perception of that
deeper pattern, order, and unity which gives
meaning to external forms.’ This description, it
seems to me, applies more truly to the creation
of music than to any of the other arts.”
Copland described the Variations as consisting
of “a theme of dramatic character followed
by twenty variations and a coda.” It takes less
than fifteen minutes to traverse these twentytwo sections; progress from one powerfully
etched episode to the next is swift. You hear
first a four-note cell which is the source for
the entire work and which is almost always
present. Through Variation 10, the music
becomes more complex, and Variation 10 itself
puts a firm punctuation mark to the end of
Chapter 1. Variation 11, contrapuntal with a
hushed bass, is the slow movement, so to speak;
Variations 12 through 18 are an extended
scherzo. Variation 19 begins as though it were
to be another slow episode, but speed and
energy increase rapidly. The spare-textured
coda is magnificent.
—Michael Steinberg
Michael Steinberg was San Francisco Symphony
program annotator and contributing writer
from 1979 until 2009.
II New Jersey Performing Arts Center
In the 1950s, some composers, including a
few for whom no one would have thought
it likely, discovered the possibilities of serial
composition. Serialism is a compositional
technique, not a style. The composer relates
his choice of pitches to a particular ordering of
the twelve notes, the ordering being specifically
chosen for the work in question. In the twenties
and thirties, however, that technique was
so powerfully and so specifically associated
with the work of Arnold Schoenberg that
Copland was not alone in finding that it had
not occurred to him “to try to separate the
method from the aesthetic.” The aesthetic
made him uncomfortable. The technique
or the method, on the other hand, Copland
found interesting.
Inscape begins with an eleven-note chord,
fortissimo, for the almost full orchestra. (There
is perhaps a double tease in the eleven notes—
one part is addressed to Copland’s old teacher
Nadia Boulanger, who vociferously disliked
twelve-tone music; the other part is aimed at
some of his American colleagues who took
their twelve-tone orthodoxy terribly seriously.)
The chord, reiterated several times, leads to a
more linear music for a few wind instruments,
and if there is one over-arching feature to
Inscape, it is the alternation of massive
blocks of sound, sometimes quite harsh in
April 2016
their harmony, with quieter sonorities and
more peaceable gestures. The music gathers
speed as it goes and becomes more complex
rhythmically and in texture; it then gradually
reverts to its original andantino tempo and
simplicity. The final chord is another made
of eleven notes, but more transparently and
luminously scored.
Concerto for Piano and Orchestra
AARON COPLAND
First performance: Boston, January 28, 1927.
Serge Koussevitzky conducted the Boston
Symphony Orchestra, with Copland as soloist
Instrumentation: 2 flutes and piccolo, 2 oboes
and English horn, 2 clarinets plus E-flat
clarinet and bass clarinet, alto saxophone
(doubling soprano saxophone), 2 bassoons
and contrabassoon, 4 horns, 3 trumpets, 3
trombones, tuba, timpani, bass drum, cymbals,
tam-tam, snare drum, Chinese drum, triangle,
wood block, celesta, xylophone, and strings.
Like many composers in the 1920s, Aaron
Copland was interested in jazz and in exploring
whether that intoxicating language might be a
fruitful influence on concert music. The Piano
Concerto was the last of the not very many
pieces in which Copland pursued this idea:
“I felt I had done all I could with the idiom,
considering its limited scope. True it was an easy
way to be American in musical terms, but all
American music could not possibly be confined
to two dominant moods: the ‘blues’ and the
snappy number.”
The Piano Concerto is in two brief movements,
performed without break. The first is slow and
lyric, the second fast and rhythmic, and their
proportions are such that one can easily hear
the whole work as a kind of Introduction and
Allegro. Here is the composer’s own deadpan
account of what happens: “A short orchestral
introduction announces the principal thematic
material. The piano enters quietly and
improvises around this for a short space, then
the principal theme is sung by a flute and a
clarinet in unison over an accompaniment of
muted strings. This main idea recurs twice
during the course of the movement—once in
the piano with imitations by the woodwind
and French horns, and later in triple canon in
the strings, mounting to a sonorous climax.
“A few transitional measures lead directly
to the second part which, roughly speaking,
is in sonata form without recapitulation.
April 2016
The first theme, announced immediately by
the solo piano, is considerably extended and
developed before the second idea is introduced
by a soprano saxophone. The development,
based entirely on these two themes, contains a
short piano cadenza presenting difficulties of a
rhythmic nature. Before the end, a part of the
first movement is recalled. This is followed by
a brief coda.”
Symphony No. 2 in C major, Opus 61
ROBERT SCHUMANN
Born June 8, 1810, in Zwickau,
Saxony (Germany)
Died July 29, 1856, in an insane asylum at
Endenich, near Bonn, Germany
First performance: November 5, 1846, in
Leipzig, with Felix Mendelssohn conducting
the Leipzig Gewandhaus Orchestra Instrumentation: 2 flutes, 2 oboes, 2 clarinets,
2 bassoons, 2 horns, 2 trumpets, 3 trombones,
timpani, and strings.
By the time he wrote his C Major Symphony
No. 2, Robert Schumann had a lot of
experience under his belt as an orchestral
composer. Nonetheless, his creative life was
imperiled. He had begun to show signs of
serious mental and physical illness, and by
August 1844 he hit rock bottom. Schumann’s
phobias and mood-swings began to rule
his existence.
Through much of 1845 he remained
unproductive, but suddenly, in the second
week of December, Schumann’s creative juices
started to flow, and in the space of about three
weeks he composed the symphony, at least in
its essentials. He approached the orchestration
as a separate step of the composition process
and turned to the task early in the new year.
Schumann worried that audiences would
notice traces of what he called the “black
period” in which he wrote this symphony, but
this is not an autobiographical study in illness
or depression. There is, overall, a feeling of
hard-won affirmation and triumph.
While some have found shortcomings in
Schumann’s abilities as an orchestrator, the
fact is that Schumann’s original orchestrations,
though not predictably “classic,” are far from
inept and unimaginative. Take the opening
of the Second Symphony, in which the entire
brass section intones a slow and solemn
fanfare pianissimo, as if heard from a distance,
their melody solidly planted on the C that is
njpac.org III
this work’s tonic note and the dominant (G)
above and below it. But Schumann does not
present this motif alone; the brass fanfare is
heard simultaneously in counterpoint with a
sinuous line pitched low in the strings, a line as
harmonically ambiguous as the brass fanfare
is decisive. The energy is increased gradually,
beginning with a bump up to a slightly
quicker tempo, at which point the oboe and
its fellow woodwinds announce a new motif,
and then a full-fledged Allegro ma non troppo,
its jumpy principal theme derived from the
woodwind motif.
The Scherzo that follows is a showcase for the
strings, and most especially for the first violins,
who play a moto perpetuo (or very nearly one).
The bustling Scherzo lets up for the movement’s
two contrasting trios. Triplets reign over the
first trio—staccato and sparkling from the
woodwinds, more lyrical in the response
from the strings. Towards the end Schumann
seems to be embarking on one of his signature
daydreams, but the sizzling Scherzo returns in
full force. The second trio stands as a tribute
from the composer to his revered predecessor
Johann Sebastian Bach. Dense counterpoint
comes to the fore here, and in the midst of this
trio the first violins utter the notes B/A/C/H
(which is the German musical spelling of what
we know as B-flat/A/C/B-natural), spread
over six measures. The Scherzo music returns,
and towards its end the brasses sing out their
fanfare from the symphony’s beginning.
The Adagio espressivo is full of intimacy
and yearning as plunging intervals convey
melancholy. Schumann doles out this music
almost parsimoniously, keeping a tight control
on the volume. Midway through the movement
he essays a fugue, its theme unrolling slowly
and mostly staccato; but this proves to be
a feint, and rather than allow the fugue to
develop at much length he dovetails it into the
principal melody and moves to the end.
Schumann is extreme at the outset of his
fourth movement—solid and unquestionably
triumphant. An ensuing minor-key interlude
ensues (in C minor), in which we hear melodic
echoes of earlier movements. After a grand
pause, the solo oboe interjects a new theme,
this one a first cousin to the final song of
Beethoven’s song cycle An die ferne Geliebte
(To the Distant Beloved). As the movement
proceeds down the home stretch, that oboe
melody takes on valedictory overtones that
seem to have something of Beethoven’s Ninth
in their family tree. Such allusions clarify how
literally Schumann viewed his mandate to
achieve a new symphonic standard that was
made possible—and constructed out of—the
models set forth by Beethoven.
—James M. Keller
James M. Keller is the San Francisco
Symphony’s Program Annotator. Program
notes © 2016 San Francisco Symphony
Meet the Artists
MICHAEL TILSON THOMAS, Music Director
& conductor
Michael Tilson Thomas first conducted the
San Francisco Symphony in 1974 and has been
Music Director since 1995. A Los Angeles
native, he studied with John Crown and Ingolf
Dahl at the University of Southern California,
becoming Music Director of the Young
Musicians Foundation Debut Orchestra at
nineteen and working with Stravinsky, Boulez,
Stockhausen, and Copland at the famed
Monday Evening Concerts. He was pianist and
conductor for Piatigorsky and Heifetz master
classes and, as a student of Friedelind Wagner,
an assistant conductor at Bayreuth. In 1969,
Mr. Tilson Thomas won the Koussevitzky
Prize and was appointed Assistant Conductor
of the Boston Symphony. Ten days later he
came to international recognition, replacing
Music Director William Steinberg in midIV New Jersey Performing Arts Center
April 2016
Meet the Artists
concert at Lincoln Center. He went on to
become the BSO’s Associate Conductor, then
Principal Guest Conductor. He has also served
as Director of the Ojai Festival, Music Director
of the Buffalo Philharmonic, a Principal Guest
Conductor of the Los Angeles Philharmonic,
and Principal Conductor of the Great Woods
Festival. He became Principal Conductor of
the London Symphony Orchestra in 1988 and
now serves as Principal Guest Conductor. For
a decade he served as co-Artistic Director of
Japan’s Pacific Music Festival, which he and
Leonard Bernstein inaugurated in 1990, and
he continues as Artistic Director of the New
World Symphony, which he founded in 1988.
Michael Tilson Thomas’s recordings have
won numerous international awards, and his
recorded repertory reflects interests arising
from work as conductor, composer, and
pianist. His television credits include the New
York Philharmonic Young People’s Concerts,
and in 2004 he and the SFS launched Keeping
Score on PBS-TV. His compositions include
From the Diary of Anne Frank, Shówa/
Shoáh (commemorating the 50th anniversary
of the Hiroshima bombing), Poems of Emily
Dickinson, Urban Legend, Island Music, and
Notturno. He is a Chevalier des Arts et des
Lettres of France, was selected as Gramophone
2005 Artist of the Year, was named one of
America’s Best Leaders by U.S. News & World
Report, has been elected to the American
Academy of Arts and Sciences, and in 2010
was awarded the National Medal of Arts by
President Barack Obama.
INON BARNATAN, piano
Born in Tel Aviv in 1979, Inon Barnatan started
playing the piano at the age of three and he
made his orchestral debut at eleven. In 1997
he moved to London to study at the Royal
Academy of Music with Maria Curcio and
with Christopher Elton. He has also studied
with Victor Derevianko and Leon Fleisher.
In 2006 Mr. Barnatan moved to New York
City, where he currently resides in a converted
warehouse in Harlem. He received an Avery
Fisher Career Grant in 2009 and in 2015 he
was awarded the Martin E. Segal Award by
Lincoln Center.
Mr. Barnatan currently serves as the first
Artist-in-Association of the New York
Philharmonic. This three-season appointment
sees him appear as soloist in subscription
concerts and in chamber performances. In
2015-16, he embarks on his second season
April 2016
with the Philharmonic, playing works by
Mozart, Beethoven, and Saint-Saëns, in
addition to joining members of the orchestra
for Messiaen’s Quartet for the End of Time at
the Metropolitan Museum of Art.
Other highlights of Mr. Barnatan’s 201516 season include his Walt Disney Hall
debut with the Los Angeles Philharmonic,
and performances in Paris, Brussels,
Bonn, Copenhagen, Istanbul, Saint Louis,
and Toronto, as well as at Amsterdam’s
Concertgebouw, London’s Wigmore Hall, and
Tokyo’s Suntory Hall. Mr. Barnatan recently
teamed up with frequent recital partner, cellist
Alisa Weilerstein, on a new Decca Classics
recording of Chopin and Rachmaninoff
sonatas. Mr. Barnatan was a member of the
Chamber Music Society of Lincoln Center’s
CMS Two program from 2006 to 2009,
where he curated a festival of Schubert’s late
solo piano, vocal, and chamber music works
in 2009.
Mr. Barnatan’s most recent solo album,
celebrating Schubert’s late works, was released
by Avie in 2013. His 2012 album, Darknesse
Visible, was named BBC Music Magazine’s
Instrumentalist CD of the Month and was
selected as one of The New York Times’ Best
Classical Music Recordings of 2012. His debut
solo recording, of works by Schubert, was
released by Bridge Records in 2006. He has
also recorded Beethoven and Schubert with
violinist Liza Ferschtman.
njpac.org V
About the Orchestra
SAN FRANCISCO SYMPHONY
The San Francisco Symphony gave its first
concerts in 1911 and has grown in acclaim
under a succession of distinguished music
directors: Henry Hadley, Alfred Hertz, Basil
Cameron, Issay Dobrowen, Pierre Monteux,
Enrique Jordá, Josef Krips, Seiji Ozawa, Edo
de Waart, Herbert Blomstedt, and Michael
Tilson Thomas, who assumed his post in
1995. The SFS has won such recording
awards as France’s Grand Prix du Disque,
Britain’s Gramophone Award and the United
States’s Grammy. Each year the Symphony
offers Adventures in Music, the longest running
education program among this country’s
orchestras, which brings music to every child
in grades one through five in San Francisco’s
public schools. In 2006, the SFS launched
the multimedia Keeping Score on PBS-TV
and the web. For more information, go to
www.sfsymphony.org.
Roster
SAN FRANCISCO SYMPHONY
Michael Tilson Thomas, Music Director and Conductor
Herbert Blomstedt, Conductor Laureate
Donato Cabrera, Resident Conductor
Ragnar Bohlin, Chorus Director
Vance George, Chorus Director Emeritus
FIRST VIOLIN
Alexander Barantschik
Concertmaster
Naoum Blinder Chair
Nadya Tichman
Associate Concertmaster
Foundation Chair
Mark Volkert
Assistant Concertmaster
75th Anniversary Chair
Jeremy Constant
Assistant Concertmaster
Mariko Smiley
Paula & John Gambs
Second Century Chair
Melissa Kleinbart
Katharine Hanrahan Chair
Yun Chu
Sharon Grebanier*
Naomi Kazama Hull
In Sun Jang
Yukiko Kurakata
Catherine A. Mueller Chair
Suzanne Leon
Leor Maltinski
Diane Nicholeris
Sarn Oliver
Florin Parvulescu
Victor Romasevich
Catherine Van Hoesen*
SECOND VIOLIN
Dan Carlson
Principal
Dinner & Swig Families Chair
VI New Jersey Performing Arts Center
Paul Brancato
Acting Associate Principal
Audrey Avis Aasen-Hull Chair
John Chisholm
Acting Assistant Principal
Dan Nobuhiko Smiley
The Eucalyptus Foundation
Raushan Akhmedyarova
David Chernyavsky
Cathryn Down
Darlene Gray
Amy Hiraga
Kum Mo Kim
Kelly Leon-Pearce
Elina Lev
Isaac Stern Chair
Chunming Mo
Polina Sedukh
Chen Zhao
Sarah Knutson†
Gloria Justen†
Joseph Edelberg†
VIOLA
Jonathan Vinocour
Principal
Yun Jie Liu
Associate Principal
Katie Kadarauch
Assistant Principal
John Schoening*
Joanne E. Harrington & Lorry
I. Lokey Second Century Chair
Gina Cooper
Nancy Ellis
David Gaudry
David Kim
Christina King
Wayne Roden
Nanci Severance
Adam Smyla
Matthew Young
Marcel Gemperli†
CELLO
Michael Grebanier*
Principal
Philip S. Boone Chair
Peter Wyrick
Associate Principal
Peter & Jacqueline
Hoefer Chair
Amos Yang
Assistant Principal
Margaret Tait
Lyman & Carol Casey
Barbara Andres
The Stanley S. Langendorf
Foundation Second
Century Chair
Barbara Bogatin
Jill Rachuy Brindel
Gary & Kathleen Heidenreich
Second
Century Chair
Sébastien Gingras*
David Goldblatt
Christine & Pierre Lamond
Carolyn McIntosh*
Anne Pinsker
ShuYi Pai†
Richard Andaya†
Nora Pirquet †
April 2016
Roster
BASS
Scott Pingel*
Principal
Jeremy Kurtz-Harris†
Stephen Tramontozzi
Assistant Principal
Richard & Rhoda
Goldman Chair
S. Mark Wright
Lawrence Metcalf Second
Century Chair
Charles Chandler
Lee Ann Crocker
Chris Gilbert
Brian Marcus
William Ritchen
Robert Ryan Ashley†
FLUTE
Tim Day
Principal
Caroline H. Hume Chair
Robin McKee
Associate Principal
Catherine & Russell
Clark Chair
Linda Lukas
Alfred S. & Dede Wilsey Chair
Catherine Payne
Piccolo
OBOE
Eugene Izotov
Principal
Edo de Waart Chair
Christopher Gaudi†
Pamela Smith
Dr. William D. Clinite Chair
Russ deLuna
English Horn
Joseph & Pauline Scafidi Chair
CLARINET
Carey Bell
Principal
William R. & Gretchen B.
Kimball Chair
Luis Baez
Associate Principal &
E-flat Clarinet
David Neuman*
Jerome Simas
Bass Clarinet
Steve Sánchez†
Tony Striplen†
April 2016
BASSOON
Stephen Paulson
Principal
Steven Dibner
Associate Principal
Rob Weir
Steven Braunstein
Contrabassoon
PERCUSSION
Jacob Nissly
Principal
Raymond Froehlich*
Tom Hemphill
James Lee Wyatt III
Victor Avdienko†
Artie Storch†
SAXOPHONE
David Henderson†
KEYBOARD
Robin Sutherland
Jean & Bill Lane Chair
HORN
Robert Ward
Principal
Nicole Cash
Associate Principal
Bruce Roberts
Assistant Principal
Jonathan Ring
Jessica Valeri
Kimberly Wright*
Christopher Cooper†
TRUMPET
Mark Inouye
Principal
William G. Irwin Charity
Foundation Chair
Mark Grisez†
Peter Pastreich Chair
Guy Piddington
Ann L. & Charles B. Johnson
Chair
Jeff Biancalana
TROMBONE
Timothy Higgins
Principal
Robert L. Samter Chair
Timothy Owner†
Paul Welcomer
John Engelkes
Bass Trombone
TUBA
Jeffrey Anderson
Principal
James Irvine Chair
HARP
Douglas Rioth
Principal
Jieyin Wu†
TIMPANI
Michael Israelievitch†
Acting Principal
Marcia & John Goldman Chair
Margo Kieser
Principal Librarian
Nancy & Charles
Geschke Chair
John Campbell
Assistant Librarian
Dan Ferreira
Assistant Librarian
STAFF
Sakurako Fisher
President
Brent Assink
Executive Director
Derek Dean
Chief Operating Officer
(Interim)
Matthew Spivey
Director of Artistic Planning
Stuart Canning
Director of Development
Oliver Theil
Director of Communications
Rebecca Blum
Director of Orchestra Personnel
Joyce Cron Wessling
Manager, Tours and
Media Production
Nicole Zucca
Tours and Media
Production Assistant
Tim Carless
Production Manager
Rob Doherty
Stage Manager
Dennis DeVost
Stage Technician
Roni Jules
Stage Technician
*On Leave
†Acting member of the
The San Francisco Symphony
string section utilizes revolving
seating on a systematic basis.
Players listed in alphabetical
order change seats periodically.
njpac.org VII
the anniversary tour
April 22 – 24
Tickets starting at $50
NEW JERSEY
PERFORMING
ARTS CENTER
World Music Series
sponsored by
American Express
#NJPAC
njpac.org 1.888.GO.NJPAC • Groups of 10 or more 973.297.5804
The Chase Room
Sunday, April 17, 2016 at 4pm & 7pm
NJPAC presents
Michel Camilo
As a courtesy to the performers and fellow audience members, please be
sure to silence all mobile devices. The use of recording equipment and
the taking of photographs are strictly prohibited.
April 2016
njpac.org IX
Meet the Artists
have recorded Mr. Camilo’s “Caribe.” The
Labèques premiered “Rhapsody for Two
Pianos and Orchestra,” a commission by the
Philharmonia Orchestra.
MICHEL CAMILO Michel Camilo is a native
of Santo Domingo, Dominican Republic.
He studied for 13 years at the National
Conservatory, and at the age of 16 became a
member of the National Symphony Orchestra
of the Dominican Republic (NSODR). He
moved to New York in 1979, where he studied
at Mannes College and at The Juilliard School.
A pianist with a brilliant technique and Mr.
Camilo is a composer who flavors his tunes
with Caribbean rhythms and jazz harmonies.
His composition “Why Not!” was recorded by
Paquito D’Rivera, which became the title of his
subsequent album, and Manhattan Transfer
won a Grammy Award (1983) with its vocal
version of the piece. Mr. Camilo titled his own
debut album Why Not! and followed it with
Suntan/Michel Camilo In Trio. He made his
Carnegie Hall debut in 1985 with his trio and
toured Europe that same year.
Back in Santo Domingo, he conducted the
NSODR in a classical program that included
his own Emmy Award-winning “The Goodwill
Games Theme.” He was also musical director
of the Dominican Republic’s Heineken Jazz
Festival, a post he held until 1992. His first
three albums—Michel Camilo, On Fire and
On the Other Hand—reached the top of the
nationwide radio play charts.
Since then his recordings on various labels
have included Rendezvous, One More Once,
Thru My Eyes and Spain-Michel Camilo
& Tomatito. As a composer, pianists Katia
and Marielle Labèque and Dizzy Gillespie
X New Jersey Performing Arts Center
Michel composed the score for the awardwinning European film Amo Tu Cama Rica,
and for Los Peores Años de Nuestra Vida and
Two Much. Mr. Camilo has been a featured
soloist, arranger and composer with the Danish
Radio Big Band, and he toured as part of a
three-piano ensemble with the Labèque sisters.
He has appeared as soloist with the Atlanta
Symphony; Cleveland Orchestra; National
Symphony Orchestra (NSO); Copenhagen
Philharmonic; BBC Symphony Orchestra;
National Symphony Orchestra (Dominican
Republic), the Puerto Rico, Queens; Gran
Canaria Philharmonic, Murcia, Málaga,
RTVE, and Barcelona (Spain) symphonies;
and the Carnegie Hall Big Band. The National
Symphony Orchestra (NSO) selected him as
co-artistic director (with Leonard Slatkin) of
the first Latin-Caribbean Music Festival at
the Kennedy Center, where he also performed
with his Trio and his Big Band and had the
world premiere of his Concerto for Piano &
Orchestra, commissioned by the NSO and
conducted by Leonard Slatkin.
Mr. Camilo has also performed at the Royal
Albert Hall (BBC Proms), Kennedy Center and
Carnegie Hall and has appeared elsewhere in
New York at the Blue Note, Beacon Theater,
Radio City Music Hall and Avery Fisher Hall.
He performed at the White House in an allstar program celebrating the 40th anniversary
of the Newport Jazz Festival, broadcast
nationwide by PBS as part of In Performance
at the White House, and on NPR’s A Jazz
Piano Christmas, hosted by Tony Bennett.
Mr. Camilo regularly tours the Caribbean;
Europe; South, Central and North America;
Israel and Japan. He produced and arranged
the award-winning album Lorquiana-Poemas
for renowned Spanish singer Ana Belén, and
performed a series of solo piano recitals as
part of Copenhagen’s Cultural Capital of
Europe festival.
Besides performing his own works, Mr. Camilo
has performed Gershwin’s Rhapsody In Blue
and Piano Concerto in F, as well as Ravel’s
Piano Concerto in G on several occasions. He
also gives duo concerts with Flamenco guitarist
Tomatito, winning a Latin Grammy Award
(2000) for their album Spain. Mr. Camilo is
April 2016
Meet the Artists
featured among the artists in Calle 54, a film
about Latin jazz by Academy Award winning
director Fernando Trueba. His classical
CD for DECCA features him with the BBC
Symphony Orchestra conducted by Leonard
Slatkin performing his Concerto for Piano
& Orchestra and his Suite for Piano, Strings
& Harp.
In March 2002, TELARC released Triangulo,
his Grammy nominated jazz trio recording.
In August 2003, TELARC released Michel
Camilo – Live at the Blue Note, his first live
album. Among his awards are the Knight of the
Heraldic Order of Christopher Columbus and
the Silver Cross of the Order of Duarte, Sanchez
& Mella from the Dominican Government.
The Duke Ellington School of the Arts created
the Michel Camilo Piano Scholarship, which is
offered to a piano student selected by the music
faculty. Berklee College of Music awarded
Mr. Camilo an Honorary Doctorate in Music.
Bill Charlap
A rare solo recital with
one of the world’s
premier jazz pianists
Sat, Jun 18 at 7:30pm
NEW JERSEY
PERFORMING
ARTS CENTER
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April 2016
3/31/16 3:18 PM
njpac.org XI
Robert Battle
Artistic Director
Masazumi Chaya
Associate
Artistic Director
World Premieres by
Robert Battle
Rennie Harris
& Ronald K. Brown
plus Alvin Ailey favorites
Cry & Revelations
For full program visit njpac.org
Friday, May 6 at 8pm
Saturday, May 7 at 8pm
Sunday, May 8 at 1pm
Tickets starting at $25!
Groups of 10 or more
973.297.5804
NEW JERSEY
PERFORMING
ARTS CENTER
#NJPAC
XII New Jersey Performing Arts Center
insert_fillerads_5.25x8.125.indd 21
April 2016
3/31/16 3:25 PM
Prudential Hall
Thursday, April 21, 2016 at 8pm
NJPAC presents
Mint Condition
and
Floetry
with special guest
Eric Roberson
There will be a brief intermission during this performance.
HORIZON FOUNDATION CONCERT SERIES
As a courtesy to the performers and fellow audience members, please be
sure to silence all mobile devices. The use of recording equipment and
the taking of photographs are strictly prohibited.
April 2016
njpac.org XIII
Meet the Artists
MINT CONDITION
Modern, infectious soul grooves fringed
with Latin and jazz, buoyed by fiery dashes
of rock and funk; when musicians create,
as well as sustain that level of quality for
nearly two decades, they are more than an
average group or band…they become, in fact,
Mint Condition.
After five successful studio albums, over a
dozen hit singles, multiple world tours and
collaborations with some of the biggest stars in
the genre (Alicia Keys, Jill Scott, Janet Jackson,
Charlie Wilson of the Gap Band and Maurice
White of Earth, Wind &Fire, to name a few),
Mint Condition is a rarity in today’s R&B, their
generation’s lone example of ‘old school’ bands
that now serve as templates for many of their
peers. And it’s their classic, yet contemporary
approach, combined with Stokley’s agile
and emotive tenor, which fuels their sixth
studio CD and the second release from their
independent label (Cagedbird Entertainment),
eLife. The recurring theme: filtering the
challenges of family and relationships through
the murky cosmos of the internet. According
to bass guitarist, Rick Kinchen, those are issues
that nearly everyone’s encountered before.
“People text-message, use [social media] and
e-mail, so it’s about having relationships in
the context of our world today. Everybody’s
said ‘in a minute’ to their kid, stayed on the
computer and watched it turn into three and
four hours later.”
XIV New Jersey Performing Arts Center
In fact, the perpetual balancing act is what
inspired eLife’s opening track, “Baby Boy
Baby Girl” (featuring Anthony Hamilton).
Although the celebratory song hits home for
the musician, Rick says that its message is a
universal one. “You’ll go through all kinds of
relationships, but your kids are the only ones
who will be there in the end. I didn’t want the
song to be only about me though, so I included
other situations that I’ve watched my friends
go through as well.”
Other songs expressing such struggles include
the wistfully edgy “Wish I Could Love
You,” the angst-filled “Somethin’,” featuring
Little Brother’s Phonte, and the CD’s most
intriguing cut, “Why Do We Try,” showcased
by a haunting backdrop of sparse beats and
eerie scratches by none other than A Tribe
Called Quest’s “sound provider,” Ali Shaheed
Muhammad. Its sound is quite a departure for
the band and illustrates their willingness to
stretch their artistic boundaries.
“It’s very straightforward, with a futuristic
Euro sound,” says lead vocalist Stokley
Williams. “You will or won’t embrace the
song, depending on your mindset.”
And it’s that sort of ingenuity keeping MC alive
and thriving in the music biz. Every member of
the band, including keyboardists Lawrence El
and Keri Lewis, rhythm & lead guitarist O’Dell
and keyboardist/saxophonist Jeffrey, came of
age in the Twin Cities (St. Paul & Minneapolis)
and were inspired by Prince’s electrifying
hybrid of funk, soul and pop (now known as
“The Minneapolis Sound”). The young men
April 2016
Meet the Artists
knew of one another peripherally, but the
collaborations didn’t fall into place until they
united under Central High School’s performing
arts program; O’Dell and Stokley, who had
a steel drum class together, absorbed the
musicians after practicing sessions in Stokley’s
home basement. “There was a performing arts
class that we were all in,” says Lawrence of
that fertile period. “A lot of singers around
town would hire musicians and we ended up
playing in gigs together as the backing band. It
happened so often that eventually, we decided
to just do it all ourselves.”
After the band’s line-up was finalized, it was
a gig they played at the now-famous First
Avenue Club in 1989 that caught the attention
of The Time’s former members turned superproducers, Jimmy Jam and Terry Lewis, who
had just launched their own label, Perspective
Records (a subsidiary of A&M). To this day,
the band credits the duo for encouraging, as
well as respecting, their creative input and
autonomy in the studio.
“We were lucky because we had Jimmy and
Terry behind us in our careers,” says O’Dell.
“They came from a band and understood what
we were trying to do. If we had signed up with
another label, we wouldn’t have lasted long
enough to even make a hit.”The band’s first
single, “Are You Free,” generated some buzz,
but it wasn’t until Washington D.C.’s WHURFM (Howard University’s famed college radio
station) broke the follow-up ballad, 1991’s
“Breakin’ My Heart (Pretty Brown Eyes)”
that the band experienced their first runaway
smash. “Breakin’” peaked at number three
on Billboard’s R&B chart and number six in
Pop’s top ten, remaining on the charts for 34
weeks. After that, two other stellar albums—
From the Mint Factory and Definition of a
Band—and a chain of hit singles followed,
including “Forever In Your Eyes,” “U Send
Me Swingin’,” “Someone to Love,” “So Fine,”
“You Don’t Have to Hurt No More” and
“What Kind of Man Would I Be.”
from the band in 2001 to produce and tour
with his future wife, Toni Braxton. According
to his band mates, the split was an amicable
one. “We talk on the phone at least once a
month and we run into him every now and
then. We’re even talking about him joining us
on stage for a few dates this summer,” says
O’Dell. And in the years that followed, the
band, now departed from Elektra, decided
to follow Prince’s iconic example and start
their own label. Its first release under the
Cagedbird Records imprint (distributed by
Image Entertainment) was 2005’s Livin’ the
Luxury Brown, which debuted at number
one on Billboard’s Independent Albums chart
and gave the band yet another R&B hit,
“I’m Ready.”
The CD eLife, like the band itself, is irresistibly
eclectic; it positions Mint Condition as a fiveman oasis in R&B’s parched landscape and
reinforces their relevance amongst the old
and the new school. “We can straddle the
fence in both worlds,” Stokley says. “You
can’t get the full experience on CD, nor can
you get it all by just watching us perform
live. Stay tuned to what we’re doing, because
our goal is to entertain and inspire. It’s about
forward movement.”
FLOETRY
Floetry, the English Neo Soul duo comprising
of Natalie Stewart (“the Floacist”) and Marsha
Ambrosius (“the Songstress”), first began to
capture attention in the UK during the late ’90s.
Formed in 1999, having met through their love
of basketball some ten years earlier, the Brit
school alumni’s Ambrosius and Stewart began
writing songs and playing shows in and around
London on various performance poetry stages.
A bold move to the states in 2000 allowed
the ladies to accomplish what many UK
artists fail to do; find success overseas, as
America wholeheartedly embraced them. After
Even when the Perspective label folded and
the band moved to Elektra, their fourth CD,
Life’s Aquarium, spawned the Billboard R&B
top five hit, “If You Love Me.” The band also
ensured its longevity by building a reputation
for energetic and engaging live performances.
And if the sudden implosion of record labels
wasn’t enough of a change, another one
loomed on the horizon; Keri Lewis departed
April 2016
njpac.org XV
Meet the Artists
moving from Atlanta to Philly and signing a
management deal with Julius Erving III, and
becoming regulars at the infamous Black Lilly
jam sessions, Floetry’s “poetic delivery with
musical intent” captured the eye of DJ Jazzy
Jeff and the ladies soon began recording with
the Philly native.
Signing a deal with Dreamworks by the end
of 2000 Floetry recorded two studio albums:
Floetic (2002) and Flo’Ology (2005), and one
live album Floacism (2003). Floetic sold over
788,000 copies in the United States alone. The
album spawned the singles “Floetic” and the
top ten songs “Say Yes” and “Getting Late.”
Following their success both in the charts and
on the underground scene, Floetry released
their live album Floacism, featuring the
single “Wanna B Where U R (This Is A Love
Song).” Flo’Ology followed with the release of
“SupaStar” featuring Common.
Firmly established as sought after talents in the
game Floetry were recognized for their talents
by receiving nominations for an impressive
seven Grammy Awards, they also picked up 3
Soul Train Lady of Soul Awards and went on
to pen classics for Earth Wind & Fire, Michael
Jackson (Marsha only), Jill Scott, Macy Gray,
Glenn Lewis (Marsha only) and Bilal, to name
but a few.
In December 2014 the ladies surprised the
industry as Floetry reunited with Stewart
joining Ambrosius on stage during her solo
concert at The Clapham Grand in London
for an impromptu performance of their first
single “Floetic.” A few weeks later Ambrosius
joined Stewart on stage at her December 2014
evening with the Floacist show at Alchemy
Croydon.In February 2015, Stewart confirmed
that the duo would be touring in 2015 and on
May 16, 2015, Floetry reunited to perform
their first show in almost nine years at the
Pepsi Funk Festival in College Park, Georgia.
After a critically acclaimed 43 shows Reunion
Tour across the United States culminating
with a homecoming show in Brixton, South
London where their journey first began. The
Floetry train is full steam ahead, as Natalie
and Marsha continue to please audiences
worldwide with their renowned live show and
with new recorded material in the works.
ERIC ROBERSON
“I am embracing growth while at the same
time not forgetting who I am” – Eric Roberson
XVI New Jersey Performing Arts Center
GRAMMY Award nominee, singer, songwriter
and producer Eric Roberson continues to
break boundaries as an independent artist
in an industry dominated by major labels,
manufactured sounds and mainstream radio.
Described as the original pioneer of the
independent movement in R&B/soul music,
Eric has achieved major milestones in his
career, from being a successful songwriter
and producer for notable artists like Jill Scott,
Musiq Soulchild, Dwele, Vivian Green and
countless others. This Rahway, NJ native
and Howard University alum became the first
independent artist to be nominated for a BET
Award in 2007 and was the recipient of the
“Underground Artist of the Year” BETJ Virtual
Award with Rahsaan Patterson in 2008. In
addition, Eric was nominated in both 2010
and 2011 for a GRAMMY Award in the “Best
Urban/Alternative Performance” category and
continues to blaze trails unheard of from an
independent artist. In 2011, his studio album,
Mister Nice Guy, debuted in the top 5 on the
iTunes R&B/Soul Charts.
Eric’s 10th album, The Box, was released in
August of 2014. The inspiration for this album
is his determination to embrace growth, while
at the same time not forgetting the person he is.
When asked what is Eric’s favorite song on
the new album he says, “All of the songs on
The Box are my favorite, but if I had to choose
three, ‘Lust for Love’ because it really sets the
tone of the album. It is the nucleus, the core.”
He continues, “ ‘The Cycle,’ because it covers
a subject that is relatable to many but rarely
talked about… [it] is very much a true part
of my dating history. Not to mention, one of
my favorite rappers, Pharoahe Monch, did
the song with me. That alone was a dream
come true.” When selecting his third favorite
song, Eric says, “I love ‘Do The Same For Me’
because it was the last song we recorded on
the album and the session is still very fresh
on my mind and heart. For one, my father is
singing on the song with me. He was singing
and looking at my mom with tears in his eyes.
She was crying while she watched him in the
vocal booth. That experience was one of the
main high points of recording this album.”
The Box differs from past albums because
there’s more live instrumentation than on any
of Eric’s previous albums. With the industry
becoming more and more simplified, there was
no better time than the present to become more
musical and take it back to the old school.
April 2016
Did You Know?
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three hours on three days each week through at least
one full year are:
•
•
•
•
•
4 times more likely to be recognized for
academic achievement
3 times more likely to be elected to class
office within their schools
4 times more likely to participate in a math
and science fair
3 times more likely to win an award for
school attendance
4 times more likely to win an award for
writing an essay or poem
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April - June 2016
njpac.org 11
NJPAC Shining Stars
The New Jersey Performing Arts Center reserves special accolades for its Shining Stars, the generous visionaries,
luminaries and great dreamers who made everything possible. This list includes contributors whose cumulative giving
to NJPAC totals $1 million and above. As of March 15, 2016
Dreamers
$10,000,000 & above
State of New Jersey
Women’s Association of NJPAC
The Prudential Foundation
The Raymond G. Chambers Family
Victoria Foundation
Betty W. Johnson
Estate of Eric F. Ross
The Star Ledger/Samuel I. Newhouse
Foundation
The Joan and Allen Bildner Family Fund
Katherine M. and Albert W. Merck
Merck Company Foundation
Judy and Josh Weston
ADP
Alcatel-Lucent
American Express Company
AT&T
Randi and Marc E. Berson
Casino Reinvestment Development
Authority
Chubb Foundation
Joanne D. Corzine Foundation
Jon S. Corzine Foundation
Doris Duke Charitable Foundation
Ford Foundation
Geraldine R. Dodge Foundation
Veronica M. Goldberg
The Griffinger Family
Harrah’s Foundation
The Horizon Foundation for New Jersey
Hess Foundation, Inc.
Jaqua Foundation
Johnson & Johnson Family of Companies
JPMorgan Chase
Kresge Foundation
The Blanche and Irving Laurie Foundation
Arlene Lieberman/ The Leonard
Lieberman Family Foundation
A. Michael and Ruth C. Lipper/Lipper
Family Charitable Foundation
McCrane Foundation, Inc., care of
Margrit McCrane
The Andrew W. Mellon Foundation
New Jersey Cultural Trust
Panasonic Corporation of North America
Dr. and Mrs. Victor Parsonnet
Pfizer Inc.
City of Newark
Essex County
New Jersey State Council on the Arts
Luminaries
$5,000,000 & above
Toby and Leon Cooperman
CIT
Bank of America
Visionaries
$1,000,000 & above
PSEG Foundation
Michael F. Price
PwC
Robert Wood Johnson, Jr. Charitable Trust
Pat and Art Ryan
The Sagner Family Foundation
The Smart Family Foundation/David S.
Stone, Esq., Stone and Magnanini
Morris and Charlotte Tanenbaum
Turner Construction Company
Turrell Fund
Diana and Roy Vagelos
Verizon
Wells Fargo
Mary Ellen and Robert C. Waggoner
Wallace Foundation
NJPAC Leadership
Board of Directors
Chair
John R. Strangfeld
Thomas M. O’Flynn
Victor Parsonnet, M.D.
Larisa F. Perry
Philip R. Sellinger, Esq.
President and CEO
Jeffrey S. Sherman, Esq.
John Schreiber
Susan N. Sobbott
Treasurer
The Hon. Clifford M. Sobel
Marc E. Berson
David S. Stone, Esq.
Michael A. Tanenbaum, Esq.
Assistant Treasurer
Steven M. Goldman, Esq. Joseph M. Taylor
Stephen M. Vajtay, Jr., Esq.
Secretary
Robert C. Waggoner
Michael R. Griffinger, Esq. Nina M. Wells, Esq.
Josh S. Weston
Assistant Secretary
Linda A. Willett, Esq.
Donald A. Robinson, Esq.
John S. Willian
*Founding Chair
Directors Emeriti
Raymond G. Chambers
Dennis Bone
*Chair Emeritus
Barbara Bell Coleman
Arthur F. Ryan
Albert R. Gamper
Morris Tanenbaum
Lawrence E.
Diana T. Vagelos
Bathgate II, Esq.
Brian T. Bedol
Ex Officio
James L. Bildner, Esq.
The Hon. Ras J. Baraka
Daniel M. Bloomfield, M.D. The Hon. Christopher J.
Ann Dully Borowiec
Christie
Linda Bowden
The Hon. Mildred C.
Jacob Buurma, Esq.
Crump
J. Fletcher Creamer, Jr.
The Hon. Joseph N.
Pat A. Di Filippo
DiVincenzo, Jr.
Robert H. Doherty
The Hon. Kimberly M.
Brendan P. Dougher
Guadagno
Thasunda Brown Duckett Elizabeth A. Mattson
Patrick C. Dunican, Jr., Esq. Mary Beth O’Connor
Anne Evans Estabrook
Ford M. Scudder
Leecia R. Eve, Esq.
Gregg N. Gerken
WA Board of Trustees
Christine C. Gilfillan
Mary Beth O’Connor
Savion Glover
President
Tenagne Girma-Jeffries
Steven E. Gross, Esq.
Archie Gottesman
William V. Hickey
Co-Executive
Judith Jamison
Vice Presidents
The Hon. Thomas H. Kean Suzanne M. Spero
Ralph A. LaRossa
Vice President,
A. Michael Lipper, CFA
Fund Development
Thomas J. Marino, CPA
Terri MacLeod
William J. Marino
Vice President, Promotion
Marc H. Morial
Mary Kay Strangfeld
Harold L. Morrison, Jr.
Vice President, Advocacy
12 New
NewJersey
JerseyPerforming
PerformingArts
ArtsCenter
Center
As of March 15, 2016
Robin Cruz McClearn
Treasurer
Ferlanda Fox Nixon, Esq.
Assistant Treasurer
Beverly Baker, Esq.
Secretary
Audrey Bartner
Tai Beauchamp
M. Michele Blackwood,
M.D., F.A.C.S.
Marcia Wilson Brown, Esq.
Mary Ellen Burke
Jillian Castrucci, Esq.
Patricia A. Chambers*
Sally Chubb* **
Barbara Bell Coleman**
Erica Ferry
Chanda Gibson
Christine C. Gilfillan
Immediate Past President
Veronica M. Goldberg*
Bunny Johnson
Heather B. Kapsimalis
Sheila F. Klehm**
Ellen W. Lambert, Esq.
Linda M. Layne
Ruth C. Lipper**
Dena F. Lowenbach
Pamela T. Miller, Esq.
Gabriella E. Morris, Esq.*
Trish Morris-Yamba
Christine Pearson
Patricia E. Ryan* **
Mikki Taylor
Diana T. Vagelos* **
Nina Mitchell Wells, Esq.
Karen C. Young
*Founding Member
**Trustee Emerita
Robert Curvin, Ph.D.
Samuel A. Delgado
Steven J. Diner, Ph.D.
Andrew Dumas, Esq.
Dawood Farahi, Ph.D.
Curtland E. Fields
Bruce I. Goldstein, Esq.
Renee Golush
Paula Gottesman
Sandra Greenberg
Kent C. Hiteshew
Patrick E. Hobbs
John A. Hoffman, Esq.
Lawrence S. Horn, Esq.
Reverend M. William
Howard, Jr.
Reverend Reginald
Jackson
Howard Jacobs
Byerte W. Johnson, Ph.D.
Robert L. Johnson, M.D.
Marilyn “Penny” Joseph
Donald M. Karp, Esq.
Douglas L. Kennedy
Gene R. Korf, Esq.
Rabbi Clifford M. Kulwin
Ellen W. Lambert, Esq.
Paul Lichtman
Kevin Luing
Joseph Manfredi
Antonio S. Matinho
Bari J. Mattes
John E. McCormac, CPA
Catherine M. McFarland
Joyce R. Michaelson
Edwin S. Olsen
Barry H. Ostrowsky, Esq.
Richard S. Pechter
Daria M. Placitella
Jay R. Post, Jr., CFP
Council of Trustees
Steven J. Pozycki
Val Azzoli
Marian Rocker
Michael F. Bartow
David J. Satz, Esq.
Rona Brummer
Barbara J. Scott
John M. Castrucci, CPA
Marla S. Smith
Elizabeth G. Christopherson Suzanne M. Spero
Susan Cole, Ph.D.
Joseph P. Starkey
Robert S. Constable
Sylvia Steiner
Irene Cooper-Basch
Arthur R. Stern
Anthony R. Coscia, Esq.
Andrew Vagelos
Andrea Cummis
Richard J. Vezza
Kim Wachtel
Rita K. Waldor
Constance K. Weaver
Elnardo J. Webster, II
E. Belvin Williams, Ph.D.
Gary M. Wingens, Esq.
Jazz Ambassadors
Trayton M. Davis
Paul V. Profeta
Jeffrey S. Sherman
NJPAC Senior
Management Team
John Schreiber
President and CEO
Peter H. Hansen
Senior Vice President,
Development
Lisa Hayward
Vice President,
Development
Lennon Register
Vice President and CFO
David Rodriguez
Executive Vice
President and
Executive Producer
Alison Scott-Williams
Vice-President,
Arts Education
Chad Spies
Vice President,
Operations and
Real Estate
Gail P. Stone
Managing Director,
Women’s Association
of NJPAC
Katie Sword
Vice President,
Marketing
Warren Tranquada
Executive Vice
President and COO
Donna Walker-Kuhne
Vice President,
Community Engagement
Theater Square
Development Company, LLC
John Schreiber
President
April - June 2016
NJPAC Contributors
Business Partners
NJPAC is deeply grateful to the following corporations, foundations and government agencies for their
generous annual support of artistic and arts education programs, and maintenance of the Arts Center. For more
information, please contact Peter H. Hansen, Senior Vice President of Development, at (973) 297-5817.
Benefactor Level
$1,000,000 & above
Women’s Association of NJPAC
New Jersey State Council
on the Arts
Leadership Circle
$200,000 & above
Carnegie Corporation of New York Merck Company Foundation
The Prudential Foundation
The Horizon Foundation for
New Jersey
PSEG Foundation
Victoria Foundation
Co-Chair Circle
$100,000 & above
ADP
American Express
Bank of America
Bank of America Charitable
Foundation
Mazda Motor of America
BD
Capital One, N.A.
Chase
Disney Corporate Citizenship
The Blanche & Irving
Laurie Foundation
The Philip and Janice Levin
Foundation
PwC
The Star-Ledger
Atlantic, Tomorrow’s Office
Bloomberg
Celebrity Cruises
Chubb Corporation
The Coca-Cola Foundation
Coca-Cola Refreshments
Gibbons P.C.
Greenberg Traurig, LLP
CohnReznick LLP
Investors Foundation, Inc.
Johnson & Johnson Family
of Companies
Lowenstein Sandler PC
Barnabas Health
The Berger Organization
Berkeley College
C.R. Bard Foundation
Elberon Development Co.
Flemington Car & Truck Country
F. M. Kirby Foundation
The Hyde and Watson Foundation
Investors Bank
ISS Facility Services
J. Fletcher Creamer & Son, Inc.
Jacobs Levy Equity Management
Landmark Fire Protection
M&T Bank
McKinsey & Company
The Nicholas Martini Foundation
Novartis Pharmaceuticals
Corporation
Advance Realty Group
Audible Inc.
Brach Eichler LLC
C&K Properties
Chiesa Shahinian & Giantomasi PC
Connell Foley, LLP
Deloitte LLP
DeWitt Stern Group
Doherty Enterprises
EisnerAmper LLP
E.J. Grassman Trust
EpsteinBeckerGreen
Fifth Third Bank
Gallagher Bollinger
Gateway Group One
Gellert Global Group
Genova Burns
Ann & Gordon Getty Foundation
Goldman Sachs & Co.
Inserra Shop-Rite Supermarkets
Jones Lang LaSalle Americas, Inc.
KPMG
The Lichtman Foundation
Linden Cogeneration Plant
L+M Development Partners, Inc.
Lite DePalma Greenberg, LLC
Mountain Development Corp.
New Jersey Business &
Industry Association
NJCU
Nordstrom
The George A. Ohl, Jr.
Charitable Trust
Peapack-Gladstone Bank
Peerless Beverage Company
TD Bank
U.S. Trust
Wells Fargo
Director’s Circle
$50,000 & above
Steinway and Sons
Surdna Foundation
TD Charitable Foundation
Turrell Fund
United Airlines
Verizon
President’s Circle
$25,000 & above
McCarter & English, LLP
The Johnny Mercer Foundation
NJM Insurance Group
Panasonic Corporation of
North America
Sills Cummis & Gross P.C.
Composer’s Circle
$10,000 & above
Paul, Weiss, Rifkind, Wharton &
Garrison LLP
Profeta & Associates
PNC Bank, N.A.
The PNC Foundation
Sandalwood Securities
SP+
Turner Construction Company
Wyndham Worldwide
Encore Circle
April - June 2016
$5,000 & above
Podvey, Meanor, Catenacci,
Hildner, Cocoziello & Chattman
PointProspect Consulting, LLC
Provident Bank Foundation
Prudential Center and
New Jersey Devils
Michael Rachlin & Company LLC
RBH Group
Sedgwick LLP
Sherman Wells Sylvester &
Stamelman LLP
ShopRite of Newark
SILVERMAN
Summit Medical Group
Towers Watson Co.
WeiserMazars LLP
Windels Marx Lane &
Mittendorf, LLP
njpac.org 13
The Vanguard Society
New Jersey Performing Arts Center is deeply grateful to the following individuals and families for their generous
annual support which makes it possible for NJPAC to maintain its world-class venue, fill it with star-studded, diverse
performances, and carry out its arts education programs that transform New Jersey’s children. For more information,
please contact Lisa Hayward, Vice President of Development, at (973) 297-5822.
Leadership Circle
$200,000 & above
Stewart and Judy Colton
The Chambers Family and
The MCJ Amelior Foundation
Co-Chair Circle
$100,000 & above
Joan and Allen Bildner
Family Fund
Betty Wold Johnson
Edison Properties Newark
Foundation
Arlene Lieberman/The Leonard
Lieberman Family Foundation
William J. and Paula Marino
McCrane Foundation, Inc.,
care of Margrit McCrane
Steve and Elaine Pozycki
Pat and Art Ryan
The Walter V. and Judith L. Shipley
Family Foundation
Director’s Circle
$50,000 & above
The Smart Family Foundation/
David S. Stone, Esq., Stone
and Magnanini
John and Mary Kay Strangfeld
Michael and Jill Tanenbaum
John and Suzanne Willian/
Goldman Sachs Gives
President’s Circle
$25,000 & above
Anonymous
Ann and Stan Borowiec
Jennifer A. Chalsty
Steven M. Goldman, Esq.
William V. Hickey
Steve and Bonnie Holmes
Donald Katz and Leslie Larson
Dana and Peter Langerman
A. Michael and Ruth C. Lipper/
Lipper Family Charitable
Foundation
Harold and Donna Morrison
Thomas O’Flynn and Cheryl Barr
Marian and David Rocker
Audrey Bartner
Judy and Brian Bedol
Judith Bernhaut
Mindy A. Cohen and
David J. Bershad
Randi and Marc E. Berson
Rose and John† Cali
Carol and Roger Chartouni
Jodi and Wayne Cooperman
Edward† and Sharon Cruz
Trayton M. and Maris R. Davis
Linda and Pat Di Filippo
Richard and Thasunda Duckett
Patrick C. Dunican, Jr., Esq.
Phyllis and Steven E. Gross
The Huisking Foundation Meg and Howard Jacobs
Kaminsky Family Foundation
The Honorable and
Mrs. Thomas H. Kean
Lee and Murray Kushner and Family
Michelle Y. Lee
Ann M. Limberg
Amy and William Lipsey
The Harold I. and Faye B. Liss
Foundation
Duncan and Alison Niederauer
Dr. and Mrs. Victor Parsonnet
Richard S. and Kayla L. Pechter
Mr. Arnold and Dr. Sandra Peinado
Anonymous
Jean and Bruce Acken
Barbara and Val Azzoli
Lawrence E. Bathgate, II
Barbara and Edward Becker
The Russell Berrie Foundation Stephen and Mary Birch Foundation
Daniel M. Bloomfield, M.D. Denise and Dennis Bone
Ms. Linda M. Bowden
James C. Brady
Norman L. Cantor
Mr.† and Mrs. Percy Chubb, III
Sylvia J. Cohn
Robert H. Doherty
Brendan P. Dougher
Susan and Thomas Dunn
Dexter and Carol Earle Foundation
Leecia Roberta Eve
Sandra and Ray Fino
Robert and Brenda Fischbein
Philanthropic Fund of the
Jewish Community Foundation
Gregg N. Gerken
Lucia DiNapoli Gibbons
Lawrence P. Goldman and
Laurie B. Chock
Peter O. Hanson
Hobby’s Restaurant/
The Brummer Family
Jockey Hollow Foundation
Don and Margie Karp
Rabbi and Mrs. Clifford M. Kulwin
Ralph and MartyAnn LaRossa
Judith M. Lieberman
Carmen and Benito Lopez
Dena F. and Ralph Lowenbach
Barry and Leslie Mandelbaum
Tom and Joanne Marino
Judy and Heath McLendon
Mr. and Mrs. Andrew Merson
The Sagner Family Foundation
Sandy Hill Foundation
Jeffrey and Karen Sherman
David S. Steiner and Sylvia Steiner
Charitable Trust
Mary Ellen and Robert C. Waggoner
Composer’s Circle
$10,000 & above
James and Nancy Pierson
Mr. and Mrs. Leslie C. Quick, III
Susan and Evan Ratner
Karen and Gary D. Rose
The Rubenstein Foundation
Philip R. Sellinger
Susan N. Sobbott
Cliff and Barbara Sobel
Lizzie and Jonathan Tisch
Warren and Alexine Tranquada
Diana and Roy Vagelos
Ted and Nina Wells
Linda A. Willett, Esq.
Jan and Barry Zubrow
Encore Circle
$5,000 & above
Joyce R. Michaelson and
John R. LaVigne†
Marc H. Morial
Mary Beth O’Connor,
Lucky VIII Films
Edwin S. and Catherine Olsen
Deanne Wilson and
Laurence B. Orloff
Jean and Kent Papsun
Ms. Christine S. Pearson
Mr. and Mrs. Richard Pzena
Mr. and Mrs. Robert S. Radest
Susan Satz
John Schreiber
Joan Standish
Robert and Sharon Taylor
Steve and Gabi Vajtay
Thomas C. Wallace
Barbara White and Lennon Register
Helene and Gary Wingens
Mr. and Mrs. Edward D. Zinbarg
† Deceased
April - June 2016
Muse (myooz) n.
A source of inspiration; esp. a guiding genius
Join NJPAC’s Muse Society
NJPAC has established The Muse Society to ensure it can continue to offer life-affirming educational
programs and inspirational performances. The Muse Society recognizes those visionary friends who
include the Arts Center in their financial planning through bequests, charitable gift annuities, insurance
and other deferred gifts. For more information or to notify NJPAC of your intent to include it in your
estate planning, contact Laura Fino, Senior Director of Individual Giving, at (973) 297-5122.
The Muse Society
We are deeply grateful to the following friends who have included the Arts Center in their estate plans
and made known their future gift.
Audrey Bartner
Judith Bernhaut
Andrew T. Berry, Esq. †
Joan and Allen Bildner Family Fund
Candice R. Bolte
Edmond H. and Joan K. Borneman
Raymond G. Chambers
Fred Corrado
Ann Cummis
Mr. and Mrs. James Curtis
Harold R. Denton
Richard E. DiNardo
Charles H. Gillen †
Phyllis and Steven E. Gross
Jackie and Larry Horn
Rose Jacobs †
Gertrude Brooks Josephson †
and William Josephson in
Memory of Rebecca
and Samuel Brooks
Adrian and Erica Karp
Joseph Laraja, Sr. †
Leonard Lieberman †
Ruth C. Lipper
Dena and Ralph Lowenbach
Opera Link/Jerome Hines †
Joseph and Bernice O’Reilly †
Mr and Mrs. Paul B. Ostergaard
Maria Parise †
Donald A. Robinson, Esq.
Estate of Eric F. Ross
Bernice Rotberg †
Arthur F. and Patricia E. Ryan
Ethel Smith †
Dr. Leonard R. Stern †
Paul Stillman Trust
Carolyn M. VanDusen
Artemis Vardakis †
† Deceased
Members
New Jersey Performing Arts Center gives special thanks to the following Members who help meet the Arts
Center’s annual financial needs with gifts of $650 to $4,999. For information on becoming a Member, please
call (973) 297-5809. Connoisseur
$3,000 & above
Mr. and Mrs. Lee Augsburger
Patricia L. Capawana
Eleonore Kessler Cohen and
Max Insel Cohen
Joanne M. Friedman
Herb and Sandy Glickman
Alice Gerson Goldfarb
Renee and David Golush
Louis V. Henston
Mr. and Mrs. Jeffrey W. Kronthal
Mrs. Robert G. Kuchner
Ronald K. Andrews
Joseph and Jacqueline Basralian
George and Jane Bean
Eileen R. Becker
D’Maris and Joseph Dempsey
Michael J. and Mary Ann
Denton
Mr. Richard R. Eger and
Ms. Anne Aronovitch
Alice and Glenn Engel
Herbert and Karin Fastert
Laura Fino and Scott Sullivan
Lauren and Steven Friedman
Michelle Gaines
Doralee and Lawrence Garfinkel
Thomas P. Giblin
Mr. and Mrs. Michael Gilfillan
Karolee and Sanford Glassman
Sue Goldberg
Dr. and Mrs. Frank Gump
Lonnie and Bette Hanauer
Kitty and Dave Hartman
Elaine and Rob LeBuhn
Ellen and Donald Legow
John J. Phillips
Usha Robillard
Dennis and Family
Laurence and Elizabeth
Schiffenhaus
Stephen and Mary Jo Sichak
Richard J. and Arlene Vezza
The Honorable Alvin Weiss
Aleta and Paul Zoidis
Platinum
Peggy Berry
Betsy† and Kurt Borowsky/
Pick Foundation
Liz and Blair Boyer
Marianne and Harold Breene
Dyan Bryson
Barbara and David Bunting
Sally G. Carroll
Mr. and Mrs. Charles M.
Chapin, III
Nancy Clarke
Mr. and Mrs. William F. Conger
Carol and John Cornwell
Carmen Amalia Corrales
April
April -- June
June 2016
2016
$1,250 & above
Christine and Scott Hayward
Jackie and Larry Horn
Stephen N. Ifshin, II
Mary Louise Johnston
John Kappelhof
Karma Foundation/
Sharon Karmazin
Adrian and Erica Karp
Koven Foundation
Irvin and Marjorie Kricheff
Kathleen Lewanski
Dr. and Mrs. Donald Louria
Liz and David Lowenstein
Kevin and Trisha Luing
Lum, Drasco & Positan LLC
Massey Insurance Agency
Cindy L. McCollum and
Josh Mackoff
njpac.org 15
njpac.org
15
Platinum
(cont.)
Jack and Ellen Moskowitz
Mr. Bruce Murphy and
Ms. Mary Jane Lauzon
H. Herbert Myers Memorial
Foundation
Mrs. Norma Sewall Nichols
Jeffrey S. Norman
Dr. Christy Oliver and
Bessie T. Oliver
Bobbi and Barry H. Ostrowsky
Wayne Paglieri and
Jessalyn Chang
Drs. Leo Plouffe and Eve White
Dr. Kalmon D. Post and
Linda Farber-Post
Caroline and Harry Pozycki
Cecile Prince
Jonathan and Bethany
Rabinowitz
Lawrence A. Raia
Dr. Marcia Robbins-Wilf
David Rodriguez
Drs. Shirley and Morton
Rosenberg
Brent N. Rudnick
Barbara Sager
Mr. and Mrs. Newton B.
Schott, Jr.
Rita and Leonard Selesner
Mr. and Mrs. Floyd Shapiro
Joan and Allan Spinner
Elaine J. Staley
Mr. and Mrs. Joseph M. Taylor
Ms. Kate S. Tomlinson and
Mr. Roger Labrie
Mr. and Mrs. R. Charles
Tschampion
George Ulanet Company
Dr. Joy Weinstein and
Dr. Bruce Forman
Sonny and Alan Winters
Mr. and Mrs. Pat Wood
Karen C. Young
Copper
$650 & above
Gaile Miller Amsterdam
Dr. Sherry Barron-Seabrook and
David Seabrook
Dr. and Mrs. Robert J. Braun
James and Sharon Briggs
Dr. Kimberly Brown
Robin and Neal Buchalter
Jean and Michael Chodorcoff
Judith Musicant and
Hugh A. Clark
Willie L. Cooper
Pamela J. Craig and
Robert V. Delaney
Mr. and Mrs. David R. Dacey
Carolyn Davis
Irwin and Janet Dorros
James P. Edwards
Mark A. Elfant
Harlean and Jerry Enis
Debra and Edward Fagan
Mr. and Mrs. Myron Feldman
Sanford and Zella Felzenberg
Lucinda Florio
Dr. Robert Fuhrman and
Dr. Susan Fuhrman
Barbara and Marc Gellman
Rosemarie Gentile
Kenneth and Claudia Gentner
Dr. Louis Gianvito
Clifford and Karen Goldman
Mr. and Mrs. Charles C.
Goodfellow
Thomas L. Green
Stephen M. Greenberg and
Barbara Infeld
Wayne and Catherine Greenfeder
Linda and John Groh
Dr. and Mrs. Jorge G. Guerra
Robert G. Gutenstein
16 New
NewJersey
JerseyPerforming
PerformingArts
ArtsCenter
Center
Hammond Contracting Co., Inc.
Peter H. Hansen
William Harrison
Dr. Darlene Hart
James E. E. Heims
Lorraine and Bob Henry
Mr. and Mrs. Dan Herbert
Joan Hollander
Linda and Charles Jantzen
Richard and Cindy Johnson
Marilyn “Penny” Joseph
James and Carolyn Kinder
Joan and Daniel Kram
Mark and Sheryl Larner
Lois Lautenberg
Jody Levinson
John Mackay
Margaret J. Mahoney
Paulina K. Marks
Henry and Carol Mauermeyer
Robert L. and Rita Modell
Jeffrey A. Moran
Drs. Douglas and
Susan Morrison
Joan Murdock
Joseph and Sheila Nadler
Anzella K. Nelms
Wendy Nunn-Williams
William and Patricia O’Connor
Jill Joey Okamotó
Paragon Restoration Corporation
Margaret H. Parker
Jay R. Post, Jr., CFP
Ms. Maria Puma
Theresa M. Reis
Brian James Remite
Dr. Diane M. Ridley-White
William A. Robinson
Ina and Mark Roffman
Robin Rolfe and
Arnold Saltzman
Nancy Roman
Dr. Howard S. Rudominer and
Mrs. Joan Rudominer
Valerie and Charles Sands
Suzanne and Richard Scheller
Sharon and James Schwarz
Drs. Rosanne S. Scriffignano and
Anthony Scriffignano
Jeffrey and Lisa Silvershein
Edie Simonelli
Mr. and Mrs. William Skerratt
Marilyn and Leon Sokol
Mr. and Mrs. Robert Spalteholz
Rosemary and Robert Steinbaum
Beverly and Ed Stern
Mrs. Janet Telford
Marilyn Termyna
Marva Tidwell
Louise and David J. Travis
Bruce A. Tucker
Anupama and Sandeep Tyagi
Mr. and Mrs. David S. Untracht
Frank and Polly Vecchione
Paul and Sharlene Vichness
Mr. Leigh R. Walters and
Robin Walters
Susan D. Wasserman
Mr. and Mrs. Patrick Whelan
E. Belvin Williams, Ph.D.
Dr. and Mrs. A. Zachary Yamba
Diane C. Young, M.D., P.A.
Kathleen and Vincent Zarzycki
Jodi and Michael Zwain
Claire and Gil Zweig
John Zweig
April - June 2016
Season Funders
New Jersey Performing Arts Center is grateful to the following partners
for their commitment and investment in NJPAC’s mission.
Major support provided by:
Joan and Allen Bildner
Family Fund
The Chambers Family and
The MCJ Amelior Foundation
Stewart and Judy Colton
The Smart Family Foundation/
Toby & Leon Cooperman
David S. Stone, Esq.,
Betty Wold Johnson
Stone and Magnanini
The Merck Company Foundation Victoria Foundation
Judy & Josh Weston
Edison Properties Newark
Foundation
The Philip and Janice Levin
Foundation
William J. & Paula Marino
McCrane Foundation, Inc., care
of Margrit McCrane
PNC Bank, N.A.
Steve & Elaine Pozycki
Pat & Art Ryan
The Walter V. and Judith L.
Shipley Family Foundation
Additional support provided by:
Steinway & Sons
John & Mary Kay Strangfeld
Surdna Foundation
Michael & Jill Tanenbaum
John & Suzanne Willian/
Goldman Sachs Gives
The New Jersey Cultural Trust
E
LOGY
Official Soft Drink
of NJPAC
FFICE T
NO
O D A
Y
T
Official Airline of NJPAC
O
’S
CH
TOMORRO
Official Sponsors:
W
tomorrowsoffice.com
Official Cruise
Line of NJPAC
Official Imaging
Supplier of NJPAC
NJPAC is grateful for the extraordinary commitment of:
The Official Car
of NJPAC
Media Sponsor
NJPAC is proud to celebrate Newark’s 350th Anniversary
For Your Information
As part of our Enhanced Safety
Program, the following items are
prohibited upon entry into Prudential
Hall, the Victoria Theater, and all
public spaces of NJPAC: backpacks,
large pocketbooks, shopping bags,
suitcases, briefcases, weapons, animals
(except service animals).
Late Seating Policy: Latecomers and
persons leaving the theater midshow will be seated/re-seated at the
discretion of the management.
Camera and Recording Equipment
is Prohibited: The use of recording
equipment and the taking of
photographs of any performance
or the possession of any device for
such use without the written
permission of the management is
strictly prohibited.
Parking Facilities: Easy parking is
available in the 1,100-car garage
under Military Park, directly across
from NJPAC. Safe and secure
surface parking is also available.
April - June 2016
Smoking is prohibited throughout all
indoor spaces of NJPAC.
Lost and Found: Any found items
should be returned to NJPAC
Security or Guest Services staff. If
you believe you have lost an item,
call (973) 297-5868. Found clothing
items will be held for 30 days after
which they will be donated to a
local shelter.
Mobile
Device
Courtesy
Reminder:
Please respect performers and fellow
audience members by ensuring that
all cellular phones and mobile devices
are turned off during performances.
Newark Light Rail: NJ Transit’s
Newark Light Rail offers frequent
service in Downtown Newark that
includes a station stop at NJPAC,
offering a convenient alternative to
driving to a performance or event.
This service is an extension of the
Newark City Subway and connects
all rail lines served by Newark
Penn and Broad Street Stations.
Other popular destinations served
by the extension are the Newark
Museum and Broad Street area
businesses. For more information,
visit njtransit.com/nlr.
Disabilities: All Tiers of Prudential
Hall and the Victoria Theater
are wheelchair accessible. Open
captioning is provided at select
performances. Sennheisser Infraport
infra red audio receivers are
available free-of-charge from an
NJPAC Guest Service staff member.
NJPAC welcomes children of all
ages to its family events, but adult
performances are not recommended for
children 5-years-old and younger.
New Jersey Performing Arts Center.
NJPAC, One Center Street, Newark,
NJ, 07102; Telephone: (973) 642-8989,
Box Office: (888) 466-5722; njpac.org
njpac.org 17
April - June 2016
As of January 15, 2016
NJPAC Staff & Administration
OFFICE OF THE PRESIDENT
John Schreiber
President & CEO
Josephine (Jo) Edwards
Executive Assistant to the
President and CEO
Casey Hastrich
Senior Administrative
Assistant
David Rodriguez
Executive Vice President &
Executive Producer
Kira M. Ruth**
Administrative Assistant &
Office Manager
Warren Tranquada*
Executive Vice President & COO
Pamela C. Chisena***
Senior Administrative Manager
ARTS EDUCATION
Alison Scott-Williams
Vice President, Arts Education
Jennifer Tsukayama
Senior Director,
Arts Education
Mark Gross
Director, Jazz Instruction
Rebecca Hinkle
Director, Arts Training
Caitlin Evans Jones**
Director, Partnerships &
Professional Development
Jamie M. Mayer
Director, In-School Programs
Rosa Hyde
Manager, Performances
Eyesha Marable
Manager, Sales & Partnerships
Kristina Watters
Manager, Operations
& Systems
Victoria Revesz
Program Manager,
In-School Programs
Patricia Sweeting
Coordinator, After School &
Summer Programs
Alexis Almeida
Program Coordinator,
Music Programs &
New Initiatives
Kyle Conner
In-School Programs
Ashia Fulmore
Sales, Partnerships and
Professional Development
MeiLing Roberts
Administrative Assistant
to VP & AVP
COMMUNITY ENGAGEMENT
Donna Walker–Kuhne
Vice President,
Community Engagement
Chiara Morrison
Senior Manager, Community
Engagement & Cultivation
Jose R. Acevedo
Manager, Group Sales
April Jeffries
Coordinator, Group Sales
Erma Jones***
Senior Administrative Assistant
Service Recognition
(as of 8/30/15)
* * * * 20+ years
* * * 15+ years
* * 10+ years
* 5+ years
April - June 2016
DEVELOPMENT
Peter Hansen*
Senior Vice President,
Development
Lisa Hayward
Vice President,
Development
Sue-Ellen M. Wright
Assistant Vice President,
Corporate, Foundation &
Government Relations
Ursula Hartwig-Flint***
Director, Donor Services
Doris Thomas
Director, Corporate
Relations and Sponsorship
Randall Solina
Senior Manager,
Development Operations
Kathleen Braslow
Manager, Individual Giving
Evelyn Wen-Ting Chiu
Coordinator, Individual Giving
Jessica Woodbridge*
Manager, Prospect Management
Hillary Cohen
Membership Coordinator
Joshua Levitin
Development Writer
Stacey Goods
Associate, Development
Database
Aisha Irvis
Associate, Corporate &
Foundation
Shara Morrow
Senior Administrative Assistant
FINANCE
Lennon Register
Vice President & CFO
Mary Jaffa***
Finance
Rene Tovera****
Assistant Vice President
& Controller
Betty Robertson*
Senior Accountant,
General Accounting
Manuela Silva****
Senior Accountant, Payroll
Geraldine Richardson **
Staff Accountant,
Accounts Payable
Amite Kapoor
Senior Business
Information Analyst
HUMAN RESOURCES
Marsha R. Bonner
Human Resources
Natasha Eleazer
HR Generalist
Ginny Bowers Coleman**
Director of Volunteer Services
Rosetta Lee **
Receptionist & Purchasing/
HR Administrator
INFORMATION
TECHNOLOGIES
Ernie DiRocco*
Chief Information Officer
Carl Sims***
Director, Network
Infrastructure
Rodney Johnson**
Support Analyst,
IT and Telecom
Brian Remite*
Database Analyst,
Customer Care Systems
MARKETING
Katie Sword
Vice President,
Marketing
Daniel Bauer
Senior Director of Public
and Media Relations
Linda Fowler
Director, Content Marketing
Debra L. Volz***
Director, Advertising &
Graphic Production
Tina Boyer
Manager, Advertising &
Graphic Production
Nathan Leslie
Marketing Manager
Shachi Parikh
Manager, Institutional
Marketing
Charlene A. Roberts
Marketing Manager
Mujahid Robinson
Manager, Digital Media
Doris Ann Pezzolla***
Senior Graphic Designer
Yasmeen Fahmy
Associate, Digital Media
Latoya Dawson
Advertising & Graphic
Production Assistant
Jerome H. Enis****
Consultant, Herbert
George Associates
OPERATIONS
Chad Spies**
Vice President,
Operations & Real Estate
Todd Vanderpool
Site Operations Manager
Elizabeth Mormak*
Senior Administrative
Assistant
Todd Tantillo***
Chief Engineer
J. Dante Esposito***
Lead Engineer
Brian Cady*
Michel Lionez Cuillerier***
Sherman Gamble**
Mariusz Koniuszewski*
Maintenance Engineers
John Hook
Chief of Security
Thomas Dixon***
Safety and Security Manager
Robin Jones*
Senior Director of
House Management
Molly Roberson
Jennifer Yelverton*
House Managers
Kathleen Dickson***
Senior Head Usher
Lamont Akins***
Jerry Battle*
Edward Fleming***
Cynthia Robinson**
Head Ushers
Lauren Vivenzio***
Manager, Operations
Anthony Ball
Operations Support and
Services Coordinator
Hernan Soto***
Senior Supervisor, Operations
Support Staff
Jose Almonte
Trenice Hassell
Corey Lester
Vincent Ransom
Aaron Ratzan
Francisco Soto
Operations Support Staff
George Gardner***
House Painter
PRODUCTION
Chris Moses*
Senior Director, Production
Christopher Staton
Production Manager
Christina Mangold
Assistant Production Manager
Adam Steinbauer
Associate Production Manager
William Worman***
Head Carpenter
Crystal Cowling
Production Office Coordinator
Richard Edwards***
Mario Corrales***
Assistant Head Carpenters
Jacob Allen**
Head Electrician
John Enea
Gummersindo Fajarado***
Assistant Head Electricians
Paul Allshouse*
Head of Audio
Al Betancourt ***
Jon Hiltz***
Assistant Head of Audio
Robert Binetti*
Bryan Danieli**
John Finney*
George Honczarenko*
Stage Crew
Eunice Peterson***
Senior Artist Assistant
Melvin Anderson*
Lowell Craig**
Caresse Elliott
Daniel Ovalle
Allison Wyss***
Artist Assistants
PROGRAMMING
Evan White**
Senior Director, Programming
Andy Donald
Producer, Artistic
Development &
Community Programming
Craig Pearce
Program Manager,
Arts Education
Kitab Rollins**
Manager, Performance &
Broadcast Rentals
Andrea Cummis
William W. Lockwood, Jr.***
Programming Consultants
SPECIAL EVENTS
Austin Cleary**
Theater Square Events
Roslyn Brown**
Event Associate
TICKET SERVICES
Erik Wiehardt**
Director, Ticket Services
Yesenia Jimenez ***
Associate Director,
Priority Customers
Stephanie Miller***
Associate Director,
Ticketing System
Nicole Craig***
Senior Box Office Manager
Robin Polakoff
Ticketing Systems Specialist
Veronica Dunn-Sloan*
Box Office Manager
Daryle Charles*
Robert Paglia**
Fallon Currie (Parrish)
Priority Customer
Representatives
Jana Thompson
Box Office Representative
WOMEN’S ASSOCIATION OF NJPAC
Gail P. Stone*
Managing Director
Amy Mormak*
Manager, Events & Marketing
njpac.org 19
April - June 2016

Calendar of Events April–June 2016

Transcription

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