THE RICHARD B. FISHER CENTER FOR THE PERFORMING ARTS AT BARD COLLEGE

Trisha BrownDance Company

July 8–11, 2010

The Richard B. Fisher Center for the Performing Arts at Bard College

Chair Jeanne Donovan Fisher

President Leon Botstein

Director Mark Tiarks

Presents

Trisha Brown Dance Company

Twelve Ton Rose (1996, excerpt)

Foray Forêt (1990)

Intermission

You can see us (1995)

L’Amour au théâtre (2009)

Sosnoff TheaterJuly 8, 9, and 10 at 8 pm July 11 at 3 pm

Running time for this performance is approximately one hour and 25 minutes, with one intermission.

The use of recording equipment or the taking of photographs during the performance is strictly prohibited.

This tour engagement of Trisha Brown Dance Company is funded through the AmericanMasterpieces programs of Mid Atlantic Arts Foundation, in partnership with the NationalEndowment for the Arts American Masterpieces: Three Centuries of Artistic Genius, amajor initiative to acquaint Americans with the best of their cultural and artistic legacy.

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Trisha Brown Dance Company

Trisha Brown Artistic Director and Choreographer

DancersDai JianElena DemyanenkoHyun-Jin JungLeah MorrisonMelinda MyersTamara RieweTodd Lawrence StoneNicholas StrafacciaLaurel TentindoSamuel von Wentz

Carolyn Lucas Choreographic Assistant

Diane Madden Rehearsal Director

John Torres Production Manager

Sarissa Michaud Stage Manager

Barbara Dufty Executive Director

Trisha Brown Dance Company gratefully acknowledges the support of the Andrew W.Mellon Foundation, The Booth Ferris Foundation, Carnegie Corporation of New York, TheGladys Krieble Delmas Foundation, The Fan Fox and Leslie R. Samuels Foundation, TheGoldman Sachs Foundation, Harkness Foundation for Dance, The Shubert Foundation, MidAtlantic Arts Foundation/USArtists International, New England Foundation for the ArtsNational Dance Project (with generous support from the Doris Duke CharitableFoundation, the Andrew W. Mellon Foundation, the Ford Foundation, and the MetLifeCommunity Connections Fund of the MetLife Foundation), the National Endowment forthe Arts American Masterpieces: Three Centuries of Artistic Genius, National Endowmentfor the Arts, New York City Department of Cultural Affairs, and the New York State Councilon the Arts, a state agency.

Twelve Ton Rose (excerpt)

Music by Anton WebernFrom Four Pieces for Violin and Piano, Op. 7

I. Sehr langsamIII. Sehr langsamIV. Bewegt

Costumes by Burt Barr

Lighting by Spencer Brown

Performers Nicholas Strafaccia and Samuel von Wentz

The production of this dance was made possible by a commission from the BrooklynAcademy of Music and additional support from the National Endowment for the Arts,the Andrew W. Mellon Foundation, the Charles Engelhard Foundation, L’Arsenal Metz,and the National Dance Residency Program, a program underwritten by the PewCharitable Trusts and administered by the New York Foundation for the Arts.

Music used by arrangement with European American Music Distributors Corporation, soleU.S. and Canadian agent for Universal Edition Vienna, publisher and copyright owner.

Foray Forêt

Music by John Philip Sousa

Performed by the Gypsy Sky Brassband

Costumes by Robert Rauschenberg

Lighting by Spencer Brown with Robert Rauschenberg

Performers Dai Jian, Elena Demyanenko, Melinda Myers, Leah Morrison, Tamara Riewe,Todd Lawrence Stone, Nicholas Strafaccia, Laurel Tentindo, Samuel von Wentz

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You can see us

Music, costumes, and visual direction by Robert Rauschenberg

Lighting by Spencer Brown with Robert Rauschenberg

Performers Dai Jian and Leah Morrison

First performed by Trisha Brown and Bill T. Jones at Montpellier Danse 95 followed by performances at the Brooklyn Academy of Music in 1996 with Ms. Brown and MikhailBaryshnikov.

L’Amour au théâtre

Music by Jean-Philippe RameauHippolyte et Aricie (excerpts)

Recorded by William Christie and Les Arts Florissants for Erato

Visual design by Trisha Brown

Costumes by Elizabeth Cannon

Lighting by Jennifer Tipton

Performers Dai Jian, Elena Demyanenko, Hyun-Jin Jung, Leah Morrison, Tamara Riewe,Todd Lawrence Stone, Nicholas Strafaccia, Laurel Tentindo

L’Amour au théâtre is a co-production of Théâtre National de Chaillot in Paris and DeSingel in Antwerp with additional support provided by the National Endowment for theArts and the New York City Department of Cultural Affairs.

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Artist’s Forward

At the beginning of my career I danced to myown drummer, and not in a small way. Therhythmic structures of my choreographywere derived from the movement itself.Presented in museums and art galleries,rather than on the stage, my work eschewedeverything that might lead audiences to seedancing as entertainment rather than art—including the theater itself.

In 1980, when I first invited a contemporary composer, Robert Ashley, to realize the scorefor my choreography (incidentally, this was only the second dance I made for the prosce-nium stage), I told him, “I haven’t used music in my dances for a very long time.” Hisanswer reassured me: “I haven’t used music in my music for a very long time.” From thiscollaboration a new dialogue between my choreography and contemporary music fol-lowed: in it, there was space between the two, as well as room for continuous exploration.

In 1985, Lina Wertmuller invited me to contribute the choreography for her upcoming pro-duction of Bizet’s Carmen in Naples, Italy. I did so, and performed in the opera with mem-bers of my company. My appetite to direct opera now whetted, I considered how I mightprepare. To choreograph for Bach’s Musical Offering, I taught myself his baroque polyphoniccompositional methods; the resulting dance, M.O. (1995), was my first “partnership” with ahistorical composer. There was a sea of notes all over the floor, and hardly any place to putmy feet! In working with historical music and composers, I found myself communicatingwith a rich new world of sound. The new experiences continued three years later when Idirected Monteverdi’s Orfeo, and worked with librettos, conductors, and singers.

My operas are the culmination of my long apprenticeship in dance, choreography, music,and language. They are consistent with the approach I have taken throughout my career:I reinvent the hierarchy of choreography to music yet again. In all of my operas—includ-ing the fifth and sixth, both by Rameau, which are premiering this summer—the singersare taught my complex choreography. They deliver opera’s narratives and emotionsthrough the body, taking into account the physicality and richness of the vocal collabo-ration of music and librettos. Each art has its clarity in this synthesis.

Trisha BrownMay 2010

New York, New York

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Notes on the Program

Trisha Brown: All Systems—Go!by Susan Rosenberg

Trisha Brown’s artistic command of choreography, opera, and drawing is abundantly displayed in the works her company is presenting for this opening weekend ofSummerScape 2010, an event that also marks the company’s celebration of its 40thanniversary. Dating from 1990 to the present day, this selection of Brown’s dances show-cases the breadth and range of her musical ideas, her choreography’s musicality, and hersingular artistry.

Coupling long stretches of dancing performed in silence with that performed to “foundsound,” Foray Forêt, created in 1990, summarizes two approaches to music. The “foundsound” in the piece can be traced to a particular moment in 1985 when Brown, standingon the balcony of her Barcelona hotel during a company tour, heard a marching bandperforming in the distance. Experiencing a wave of nostalgia for her childhood inAberdeen, Washington, Brown realized that the experience of hearing distant, travelingband music is a familiar part of everyday life (and memory), and therefore that thissound phenomenon held resonance beyond her individual experience.

Her idea to enlist a local marching band to perform live—and out of sight—to one of herdances gestated for five years, a process of imaginative deliberation typical of Brown’swork. Robert Rauschenberg, designer of Foray Forêt’s costumes and lighting, famouslyquipped to Brown, “I think that’s the best bad idea you’ve ever had!” With this remark,Rauschenberg emboldened her wager that the band’s music, and her orchestration of itsperformance, would register mysterious effects on her choreography.

A sonic apparition that arrives while Foray Forêt’s choreography is underway in silence;the tunes by John Philip Sousa; and other familiar band medleys—all cause auditory andvisual interference. The music’s volume, changing in relation to the band’s proximity tothe stage, makes for a perceptible continuum between silence and music, also revealingsound as conditioned by space and laden with memory. Foray Forêt’s title likewise per-forms a cross-fertilization of time and place, paying homage both to the rainforests ofBrown’s birthplace in the Pacific Northwest, and to the forests of France, where thedance premiered (at Lyon’s Dance Biennial) 20 years ago.

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Foray Forêt’s musical concept joins forces with its choreographic vocabulary, whichBrown describes as “subconscious movement.” Evading reference points in everydaybody language (and in dance technique), these intimate gestures, unique in her oeuvre,emerged from her decision to allow instinctual movements, at times strange and dis-comfiting, to arise in her without conscious motivation. A deliberately soft movementphrase complements these anti-conventional gestures in Foray Forêt—the first work inBrown’s “Back to Zero” cycle.

Foray Forêt’s new physical vocabulary dovetails with Brown’s decision to work in silence,creating, in her words, “a new dialogue with time.” This dialogue, created by the bandtunes wafting by, is also personified in a dancer who acts as the “timekeeper” of thechoreography’s soft phrase. The unwaveringly concentrated performance of the stan-dard phrase continues as other dancers move in and out of unison with its forms, their“delicate aberrations” cued by whistles executed offstage by company members. In addi-tion to sending sounds to the stage from outside it, Brown makes “trouble at the bor-ders” of Foray Forêt by exploring the stage’s boundaries and wings, one of herchoreographic signatures. This stage is one she imagines as a pool of water into whichdancers enter and exit; she puts performers in the wings to assist or arrest the perform-ers’ passage on and off the stage. At the work’s close, this ambiguous theatrical territoryis animated by dancers, barely visible in the wings, who perform the phrase, extendingtheir hands towards the stage’s different space, time, and atmosphere, where a soloistdances Brown’s original role.

You can see us, set to an original score by Robert Rauschenberg, represents Brown’s characteristic approach to music in work she choreographed for the stage from 1980 to1995. During this period she consistently commissioned musical scores from avant-garde composers, including her contemporaries Laurie Anderson, Robert Ashley, AlvinCurran, and Peter Zummo. Originating in If you couldn’t see me (1994)—the first soloBrown had choreographed for herself in 15 years—the duet version elaborates on achoreographic concept that Rauschenberg, designer of this works’ costumes and light-ing, delivered to Brown. The image of her dancing with her back to the audienceappeared to him while he was improvising on his electric Yamaha piano; a recording ofthis improvisation is now this work’s musical score.

From Rauschenberg’s simple task instruction, Brown choreographed a solo in which theback is the architect and motor of movement splayed laterally to the body’s limbs andgiven maximum exposure: curved, flexed, and extended. Together with the body’s sweep

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through space, the commanding presence, strident energy, rhythmic crumpling, andrelentless mobility of the spinal axis substitute for the conventional expressivity realizedon the body’s “better half”: its front.

In 1995, Brown transposed the solo choreography for If you couldn’t see me into a duetcalled You can see us, which she first performed with Bill T. Jones, in Montpellier, France.The following year, in celebration of her company’s 25th-anniversary season, Brown andMikhail Baryshnikov performed You can see us at the Brooklyn Academy of Music (BAM).This version, presented at Bard this weekend, permits the audience to experience the fullchoreography, as divided between the frontal performance of the male dancer, and thatof the woman, who, as in the solo, faces upstage. This duet redistributes to the fieldshared by the two performers dancing independently, face to face, the palpable kineticcharge, which, in the solo, is emitted into the dark spatial surround.

Brown first presented Twelve Ton Rose (1996) on the same 25th-anniversary BAM pro-gram for which she and Baryshnikov performed You can see us. The second work in her“Music” cycle, Twelve Ton Rose continues an investigation of music by historical com-posers, which, in deliberate preparation to direct operas, Brown inaugurated with M.O.(1995), set to Johann Sebastian Bach’s Musical Offering. To choreograph for Twelve TonRose, which is set to the first, third, and fourth movements of Anton Webern’s Four Piecesfor Violin and Piano, Op. 7 (1910, revised 1914), Brown studied Webern’s serial musicalcompositions and notations, and his 12-tone technique, referenced with the dance’s pun-ning title. While at work, Brown received a commission to direct Monteverdi’s operaOrfeo, which premiered in Brussels two years later.

Webern’s Op. 7 reveals one of the composer’s signature contributions to the SecondViennese School: his investigation of extreme musical brevity. In this, Webern’s score (lessthen five minutes long when all four of its movements are performed) provides Brownwith a substantial partner in her own longstanding concern with choreographic brevity.Several of Brown’s early choreographies were characterized by extreme brevity; typically,Brown generates “yards and yards” of movement phrases in order to arrive at minutes ofchoreography. The musical challenge Webern’s score offered was right up Brown’s alley:she has never been interested in setting her dances “on” or “to” musical notes. Op. 7 driftsbetween sustained tones, near-silence, and condensed layering, as well as dissonance.Responsive to it, Brown’s choreographic theme—movement’s dissolution and reconsti-tution—is enhanced by the presentation of Twelve Ton Rose’s male duet in a square oflight projected on the stage floor.

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Brown’s choreography locates itself in relation to the evolving, receding, and layeredsounds of Webern’s music, visualized in moments when the performers’ dynamic travelthrough the lit space of the floor’s geometry is punctuated by sudden pauses, whereindividual dancers occupy half-light and half-darkness. At these edges, where lightenables motion’s visibility, and darkness makes motion disappear, Brown features still-ness. Occasionally, and briefly, dancers step into the silent darkness enveloping thestage-within-a-stage.

The movement vocabulary of Twelve Ton Rose, driven by the male dancers’ powerfullower bodies, features the hips’ hinging and swiveling actions. Legs’ centrifugal force alsopropels the performers’ bodies through space and off the ground, amplifying the music’sunpredictable rhythms of silence. With its microscopic musical details, Webern’s scorefinds its physical equivalent in finely articulated moments of the choreography’s timing.The duet can look like a solo that is blurred—seen “double”—or, alternatively, like a sin-gle entity that is split apart, only to resume its self-identity. Dancers’ gentle slips in andout of unison sporadically suggest they are plotting the physical impossibility of occu-pying the same moment in space and time. Arrivals and departures hold out the unre-quited potential for physical contact in tension-filled choreography, filled with near-misscollisions suggestive of the terse, pressured complexity of Webern’s score.

Plaisir—pleasure—is the first word sung in L’Amour au théâtre, created in 2009. Thissuite of dances is choreographed to musical excerpts from Jean-Phillipe Rameau’s operaHippolyte et Aracie (1733), which Brown is directing this summer together with Rameau’sPygmalion (1748). The program, titled Trisha Brown Meets Rameau, a collaboration withconductor William Christie and Les Arts Florissants, premiered in Amsterdam, Athens,and Aix-en-Provence only a few weeks ago. Rameau conceived the musical divertisse-ments that comprise L’Amour au théâtre to feature courtly and social dances of his time: the minuet, the gavotte, the rigaudon, and the tambourin. These dances are setbetween the arias of his tragic opera, with a libretto by Simone-Joseph Pellegrin (basedon classical myth, and on Racine’s Phèdre.)

Seemingly worlds away from Trisha Brown’s contemporary choreography, these pre-classic dance forms were the basis for Brown’s early study of dance composition at MillsCollege and at the American Dance Festival with Louis Horst. Horst, one of the mostinfluential pedagogues of modern dance composition in postwar America, believed pre-classic dance forms were the foundation for learning musical structure, and thus for

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learning choreography—an idea Brown herself transformed, after she became familiarwith John Cage’s ideas.

Brown’s reencounter with these forms, through Rameau’s music, does not inspire anythingclose to re-creation. Organized to suggest the abstract architecture of Rameau’s opera,L’Amour au théâtre’s choreography portrays the contest between the realm of Diana, whopresides over love—that is, its chaste form—and that of “L’Amour” and his cupids, whosework on behalf of forbidden passion determines the impossible collision course on whichthe gods set the opera’s protagonists. Phèdre, tormented by her incestuous love forHippolyte, her stepson, is devastated by his love for Aracie, the prisoner of Hippolyte’sfather, Theseus, who has destroyed her entire race. Pellegrin’s libretto puts the central focuson the Hippolyte–Aracie romance, saving Hippolyte from death while punishing Phèdrewith guilt, rather than (as in Racine’s version) death by her own hand. The witty dancing inL’Amour au théâtre skirts the darkly emotional arias of Phèdre (the focus of Brown’s treat-ment of Hippolyte et Aracie), instead featuring evocatively mirthful choreography for danc-ing duets, trios, and quartets. Cavorting cupids and horses bearing Diana’s huntresses,determined by their mission to make true love, as well as reason, prevail.

During the 18th century a rich dialogue developed between all of the arts: literature,drama, music, opera, painting, and sculpture. Trisha Brown transmits this spirit into con-temporary forms: her choreography’s gestures are manifest in dancing and in the draw-ing she created as L’Amour au théâtre’s set. Exhibited outside museums or art galleriesfor the first time, her graphic art is shown to be seamlessly inseparable from that of herchoreography’s gestures. Demonstrating the unity of concept and process at the heart ofBrown’s creative vision, L’Amour au théâtre confirms her stature as an artist of the mindand the body.

Susan Rosenberg is an art historian in New York City.

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Who’s Who

Trisha Brown Artistic Director and ChoreographerTrisha Brown was born and raised in Aberdeen, Washington. She graduated from MillsCollege in 1958, studied with Anna Halprin, and taught at Reed College in Portland beforemoving to New York City in 1961. Instantly immersed in what was to become the post-modern phenomenon of Judson Dance Theater, her movement investigations found theextraordinary in the everyday and challenged existing perceptions of what constitutedperformance. In 1970, Brown formed her own company and made the groundbreakingwork Man Walking Down the Side of a Building, one of many site-specific works created in,around, and hovering over the streets and buildings of her SoHo neighborhood. GlacialDecoy, the first of her many collaborations with Robert Rauschenberg, premiered in 1979,followed by Set and Reset in 1983, with original music by Laurie Anderson. Brown has cre-ated nearly 100 dance works since 1961, including several operas. Increasingly recognizedas a visual artist, her drawings have been exhibited in group and solo exhibitions includ-ing Documenta 12 in Kassel, Germany (2007); at the Walker Art Center in Minneapolis in2008, as part of Year of Trisha, a yearlong celebration of her entire body of work; and atSikkema Jenkins Gallery in New York (2009).

Brown was the first woman choreographer to receive the MacArthur FoundationFellowship. Her other honors include Brandeis University’s Creative Arts Medal in Dance,two John Simon Guggenheim Fellowships, a New York State Governor’s Arts Award, andthe National Medal of Art. In 1994 she received the Samuel H. Scripps American DanceFestival Award, and she has been named a Veuve Clicquot Grand Dame. Brown wasnamed a Knight in France’s Order of Arts and Letters in 1988; she was elevated to Officerin 2000, and to Commander in 2004. She served on the National Council on the Artsfrom 1994 to 1997. She has received numerous honorary doctorates, and she is anHonorary Member of the American Academy of Arts and Letters.

Burt Barr Costume DesignerBurt Barr has had video installations at the Reina Sofia Museum, Madrid; PlatformGaranti Contemporary Art Center, Istanbul; Whitney Museum of American Art, New York;Museum Boijmans Van Beuningen, Rotterdam; ZKM|Center for Art and Media, Karlsruhe,Germany; Philadelphia Museum of Art; Yale University Art Gallery; University of South

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Florida Contemporary Art Museum (CAM); Museum of Fine Arts, Houston; and at P.S.1Contemporary Art Center in Queens. He has received six grants from the NationalEndowment for the Arts, and three from New York State Council on the Arts; he has alsobeen awarded grants from the American Film Institute, Andrea Frank Foundation,Massachusetts Council on the Arts and Humanities, John Simon Guggenheim MemorialFoundation, and the Foundation for Contemporary Arts. In 2008, he was honored as avisiting artist at the Skowhegan School of Painting and Sculpture.

Spencer Brown Lighting DesignerSpencer Brown spent 10 years touring with Trisha Brown Dance Company as a lightingdesigner. He has worked with several other dance companies in New York City as well asnumerous Off-Broadway theaters. He has a B.F.A. in production design from theUniversity of Utah and an M.F.A. in lighting from the University of Massachusetts. A res-ident of Salt Lake City, he has also designed lighting for Westminster College, the GrandAmerican Hotel, and the Rice-Eccles Olympic Stadium. 

Elizabeth Cannon Costume DesignerElizabeth Cannon received a B.F.A. degree in illustration from the Rhode Island School ofDesign. She began her career as a children’s-book author and illustrator, working closelywith Pantheon Books and the Gotham Book Mart, where she had three solo shows. Aftera stay in Paris, she became interested in the world of couture, and began designing andfabricating costumes and clothing. She often collaborates with other artists, and herwork has been included in and has been the subject of many gallery shows in New YorkCity. She maintains a design studio where she creates clothing for a private clientele. Shehas worked with Trisha Brown on several other projects, including the operas Winterreiseand Da Gelo a Gelo.

Robert Rauschenberg Visual Artist and DesignerRobert Rauschenberg was born in Port Arthur, Texas, in 1925. He began his formal arteducation at Black Mountain College, following his discharge from the United StatesNavy in 1945. In 1949 he moved to New York. Two years later he received his first soloexhibition at the Betty Parsons Gallery. His first major museum exhibition was at theJewish Museum in New York in 1963. He received the Grand Prize at the Venice Biennalethe following year. At about this time he began designing sets, costumes, and lighting forvarious dance companies, an activity he continued for much of the rest of his life. Hefounded the Rauschenberg Overseas Culture Interchange in 1984 as a tangible expres-sion of his belief in the power of art to bring about social change on an international

level, and of his long-term commitment to human rights. The Guggenheim Museum pre-sented a major retrospective of his work in 1997. He died in 2008.

Jennifer Tipton Lighting DesignerThe well-known lighting designer Jennifer Tipton’s most recent dance work includesBalanchine’s Jewels for the Royal Ballet in London, Jerome Robbins’s Les Noces for NewYork City Ballet, and Paul Taylor’s Beloved Renegade. Her recent work in opera includesGounod’s Roméo et Juliette, directed by Bart Sher, at the Salzburg Festival; La traviata, forScottish Opera; Il trovatore, directed by David McVicar, at the Metropolitan Opera; andthe Wooster Group’s La Didone. Tipton teaches lighting at the Yale School of Drama. Shereceived the Dorothy and Lillian Gish Prize in 2001, the Jerome Robbins Prize in 2003, andthe Mayor’s Award for Arts and Culture in New York City in 2004. In 2008 she was madea United States Artists Gracie Fellow and a MacArthur Fellow.

Carolyn Lucas Choreographic AssistantA member of the company since 1984, Carolyn Lucas was appointed choreographic assistant in 1993. She has worked with Trisha Brown on opera as well as dance projects.She attended the North Carolina School of the Arts and received a B.F.A. from SUNYPurchase in 1984.

Diane Madden Rehearsal DirectorDiane Madden has been with the company for 30 years; she has been rehearsal directorsince 1984. She has received two Princess Grace Awards and a Bessie Award.

Dancers

Dai Jian was born in Hunan Province, China, and graduated from Beijing Dance Academyand Guangdong Professional Academy for the Performing Arts. In 1998 he won secondprize at the Fourth National Dance Competition. He danced and choreographed for Jin XingDance Theater and the Guangzhou Song and Dance Ensemble before becoming a memberof Shen Wei Dance Arts in 2005. He joined Trisha Brown Dance Company in 2008.

Elena Demyanenko, a graduate of the Russian Academy of Theatre Arts in Moscow, hasbeen dancing, choreographing, and teaching in New York City since 2001. She was amember of Stephen Petronio Company from 2003–2008. She has also performed withPavel Zustiak, Lindsey Dietz Marchant, and Jimena Paz, and, last year, in Martha Clarke’s

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acclaimed Garden of Earthly Delights. She was the recipient of an EMPAC Dance MoviesCommission in 2007. Demyanenko joined the company last spring.

Hyun-Jin Jung is from Pusan, South Korea, where he earned a degree in choreographyfrom the Korean National University of Arts School of Dance. He performed throughoutEurope before moving to New York in 2003. He danced for the company from 2004 to2009, and now appears as a guest artist.

Leah Morrison joined Trisha Brown Dance Company in 2005. She is from St. Louis,Missouri, where she began dancing with Lee Nolting at the Center of ContemporaryArts.  She graduated from SUNY Purchase.  In 2008 she received a Princess GraceHonorarium; the same year, she received a Bessie Award for her performance of Brown’sIf you couldn’t see me.

Melinda Myers grew up in Stevens Point, Wisconsin. She began training at Turning PointDance Academy, her mother’s dance studio, at a very young age. She graduated fromNew York University in 2005 with a B.F.A. in dance. She was a member of the companyfrom 2006–2009; currently she is investigating creative endeavors involving theaterand music as well as dance.

Tamara Riewe began her dance training in Seattle at the University of Washington andcompleted her B.F.A. in modern dance at the University of Utah. She has worked with DanielCharon and Keith Johnson, as a member of Bill Young/Colleen Thomas and Dancers, andwith Doug Varone at the Metropolitan Opera. She joined the company in 2006.

Todd Lawrence Stone joined the company in 1998. He has also danced with IreneHultman Dance Company, Wil Swanson, Pearl Lang Dance Theater, Bill T. Jones/ArnieZane Dance Company, and Neta Pulvermacher’s Neta Dance Company. He graduatedfrom SUNY Purchase in 1995 with a B.F.A. in dance.

Nicholas Strafaccia grew up outside of Minneapolis, Minnesota. He began his trainingand professional career with the Minnesota Dance Theatre under the direction of LiseHoulton. He has a B.F.A. from New York University’s Tisch School of the Arts. Strafacciajoined the company last spring.

Laurel Tentindo began dancing in her native Vermont. She graduated from SarahLawrence College. She has performed with Sara Rudner, Vicky Shick, and Liz LermanDance Exchange. She joined the company in 2007.

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Samuel von Wentz comes from North Dakota. He has studied at Idyllwild Arts Academy under the tutelage of Jean-Marie Martz. He graduated from New YorkUniversity’s Tisch School in 2009. Von Wentz joined the company in 2009; he also danceswith Gerald Casel.

Trisha Brown Company, Inc. www.trishabrowncompany.org

Board of Directors: Robert Rauschenberg 1925–2008 (Chairman), Kirk Radke (President),Jeanne Linnes (Vice President), David Blasband (Secretary), Michael Hecht (Treasurer),Trisha Brown, Jewelle Bickford, Barbara Gladstone, Lawrence P. Hughes, FrederickaHunter, Klaus Kertess, Dorothy Lichtenstein, Anne Livet, Ruth Cummings-Sorenson, andJoan Wicks

Trisha Brown, Artistic DirectorBarbara Dufty, Executive DirectorTricia Pierson, General ManagerRebecca Davis, Education DirectorHelena Teply-Figman, Development CoordinatorCarrie J. Brown, Company ManagerDorothée Alémany, Assistant to the Artistic DirectorCori Olinghouse, ArchivistMarea Chaveco, BookkeeperJennifer Lerner, Press RepresentativeRena Shagan, Rena Shagan Associates, U.S.A. BookingThérèse Barbanel and Colette de Turville, Les Artscéniques, International Representation

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Leadership SupportEmily H. Fisher and

John AlexanderJeanne Donovan FisherMartin and

Toni Sosnoff FoundationMr. and Mrs. James H. Ottaway Jr.Richard B. Fisher

Endowment FundMartin T. and Toni Sosnoff

Golden CircleAnonymousCarolyn Marks BlackwoodStefano Ferrari and Lilo ZinglersenFMH FoundationLinda Hirshman and

David ForkoshThe Marks Family FoundationMillbrook Tribute Garden, Inc.

National Endowment for the Arts AmericanMasterpieces: Dance

New England Foundation for the Arts

Senator Stephen M. SalandThaw Charitable TrustThendara FoundationFelicitas S. ThorneTrue Love Productions

ProducerFiona Angelini and Jamie WelchArthur F. and Alice E. Adams

FoundationChartwells School and University

Dining ServicesBarbara Ettinger and Sven HusebyThe Ettinger Foundation, Inc.Alexander Fisher MFA ’96

Catherine C. Fisher and Gregory A. Murphy

R. Britton and Melina FisherThe Jerome Robbins FoundationKey Bank FoundationMichael Del Giudice and

Jaynne KeyesHarvey and Phyllis LichtensteinThe Maurer Family

Foundation, Inc.Mid Atlantic Arts FoundationMillbrook Vineyards and WineryNational Dance Project of the

New England Foundation for the Arts

National Endowment for the Arts(NEA)

New England Foundation for the Arts

New York State Council on the Arts(NYSCA)

Dimitri B. and Rania PapadimitriouDrs. M. Susan and Irwin RichmanIngrid RockefellerDavid E. Schwab II ’52 and

Ruth Schwartz Schwab ’52

Allan and Ronnie Streichler

PatronHelen and Roger E. AlcalyKathleen and Roland Augustine

Mary I. Backlund and Virginia CorsiSandra and A. John Blair IIIAnne Donovan Bodnar and

James L. BodnarAnne and Harvey BrownMr. and Mrs. Gonzalo de las HerasBarbara and Richard DebsTambra DillonDirt Road Realty, LLCGordon Douglas Elizabeth W. Ely ’65 and

Jonathan K. GreenburgAlan and Judith FishmanSusan Fowler-GallagherPeter C. FrankGE FoundationGideon and Sarah Gartner

Foundation of the FidelityCharitable Gift Fund

Sally and William HambrechtThe Harkness Foundation

for Dance, Inc.Eliot D. and Paula K. HawkinsHSBC Philanthropic ProgramsDr. Harriette KaleyMr. and Mrs. George A. KellnerDr. Barbara KennerRuth Ketay and Rene SchnetzlerJane and Daniel LindauChris Lipscomb and

Monique SegarraLow Road FoundationElizabeth I. McCannJohn McNallyW. Patrick McMullan and

Rachel McPhersonIlliana van MeeterenStuart Breslow and Anne MillerStanley and Jane Moss

Kathleen O’GradyAlexandra OttawayQuality Printing CompanyDrs. M. Susan and Irwin RichmanDon and Natalie RobohmRuth Ketay and Rene SchnetzlerDavid A. SchulzKaren and Robert G. ScottDenise S. Simon and

Paulo Vieira da Cunha Michele SodiAndrew Solomon and John HabichSarah and Howard SolomonDarcy StephensBarbara and Donald ToberMargo and Anthony Viscusi Aida and Albert Wilder

SponsorFrank and Mary Ann ArismanJohn and Sandra BlairSarah Botstein and Bryan DoerriesJames S. Brodsky and

Philip E. McCarthy IICaplan Family FoundationRichard D. CohenTed Ruthizer and Jane DenkensohnThe Eve Propp Family FoundationR. Mardel FehrenbachMary Freeman Carson Glover and

Stephen MillikinCarlos Gonzalez and

Katherine StewartDr. Eva GrieppBryanne and Thomas HamillMel and Phyllis HeikoHelene L. and Mark N. KaplanDemetrios and

Susan Karayannides

We honor the late Richard B. Fisher for his generosity and leadership in building and supporting this superb center that bears his name by offering outstanding arts experiences. We recognize and thank the following individuals, corporations, and foundations that share Dick’s and our belief in presenting and creating art for theenrichment of society. Help us sustain the Fisher Center and ensure that the performing arts are a part of our lives. We encourage and need you to join our growing list of donors. (The list reflects donations received in the last 12 months.)

Donors to the Fisher Center

Friends of the Fisher Center

16

Kassell Family Foundation of theJewish Communal Fund

Martin KlineBryce KlontzJohn KnottLaura KuhnGeraldine and

Lawrence LaybourneCynthia Hirsch Levy ’65

Stephen MazohBarbara L. and Arthur MichaelsAndrea and Kenneth L. MironSamuel and Ellen PhelanChris Pomeroy and Frank FrattaroliMelanie and Philippe RadleyWilliam Ross and John LongmanCatherine M. and

Jonathan B. Smith

SupporterLucy and Murray AdamsMartina Arfwidson and

David WeissHarriet Bloch and Evan SakellariosCharles BlythPhyllis BrazielKay Brover and Arthur BennettGary Capetta and Nick JonesEileen and Michael CohenAnne CottonDr. Robert CrowellEmily M. Darrow and

Brendon P. McCraneGeorge and Marsha DavisLeslie and Doug DienelK. F. Etzold and Carline Dure-EtzoldPatricia FalkMartha J. FleischmannFrances A. and Rao GaddipatiHelena and Christopher GibbsGilberte Vansintejan Glaser and

William A. GlaserNan and David GreenwoodAlexander Grey and David CabreraRosemary and Graham HansonJanet and William HartSue HartshornLars Hedstrom and Barry JuddHedstrom and Judd, Inc.Darren HenaultDr. Joan Hoffman and

Syd SilvermanRachel and Dr. Shalom Kalnicki Susan and Roger KennedyHarold KleinSeymour and Harriet KoenigRose and Josh KoplovitzDanielle Korwin and

Anthony DiGuiseppeJames KraftElissa Kramer and Jay H. NewmanRamone LascanoHelena LeeFred and Jean LeventhalMimi LevittSusan Lorence

Charles S. MaierMark McDonaldBibhu MohapatraSybil NadelAlfred M. Buff and Lenore Nemeth Elizabeth J. and Sevgin OktayMargrit and Albrecht PichlerMark PodlaseckLen Floren and Susan RegisArlene RichardsNicole RingenbergWilliam SiegfriedElisabeth F. TurnauerMish TworkowskiSeymour WeingartenBarbara Jean WeyantArthur WeyheEarnest WurzbachDesi and Ben Zalman

FriendAnonymousJohn J. Austrian ’91 and

Laura M. AustrianSybil BaldwinAlvin BeckerHoward and Mary BellRichard L. BensonDr. Marge and Edward BlaineTimothy BonticouWalter BrightonJeanne and Homer ByingtonMaryAnn and Thomas CaseDaniel Chu and Lenore SchiffMr. and Mrs. John CioffiIrwin and Susan CohenEvelyn and James ConstantinoJean T. CookAbby H. and John B. DuxGordon DouglasDavid Ebony and Bruce MundtRuth EngDr. Marta P. FlaumMary and Harvey FreemanEdward FriedmanJoseph W. and Joyce GelbMarvin GilbertNigel GillahEsther GlickMr. and Mrs. Floyd GlinertJudy R. and Arthur GoldRosalind GolembeStanley L. GordonFayal Greene and David J. SharpeSheryl GriffithElise and Carl HartmanSue HartshornJames HaydenDorothy and Leo HellermanDelmar D. HendricksNeil IsabelleRyland JordanJohn KalishEleanor C. KaneNathan M. Kaplan Linda L. Kaumeyer

Martha Klein and David HurvitzJames KraftRobert J. KurillaMichael and Ruth LammJeffrey LangGerald F. LewisSara F. Luther and John J. NeumaierJohn P. MackenzieHermes Mallea and Carey MaloneyFlorence MayneHerbert MayoMarcus de Albuquerque Mello ’04

Dr. Naomi MendelsohnEdie Michelson and

Sumner MilenderJanet C. MillsMilly Sugarman Interiors, Ltd. Arvia MorrisJoanne and Richard MrstikMartha NickelsDouglas Okerson and

William WilliamsRobert M. OsborneDavid Pozorski and Anna RomanskiLeopold Quarles van UffordSerena RattazziYael Ravin and Howard SacharGeorge and Gail Hunt ReekeHarry ReingoldBarbara B. ReisPeter and Linda RubensteinHeinz and Klara SauerBarbara and Dick SchreiberEdward and Marion ScottJames E. ScottSusan SeidelFrank SelfWilliam ShumElisabeth A. SimonJoel SteinDr. Sanford B. SternliebLuRaye TateJaneth L. ThoronTiffany & Co.Linda Steinitz VehlowDr. Siri von ReisJoan E. WebermanDr. and Mrs. Stanley WeinstockBarbara K. and Roger H. WesbyWendy and Michael WestermanNaomi J. Miller and

Thomas M. WilliamsWilliams Lumber and

Home CentersAlbert L. YarashusRobert and Lynda YoumansMike and Kathy ZdebRena Zurofsky

Current as of June 14, 2010

17

BenefactorHelen and Roger E. AlcalyThe Ann and Gordon Getty

Foundation Leonie F. BatkinMichelle ClaymanJoan K. DavidsonMr. and Mrs. Gonzalo de las HerasJohn A. Dierdorff Elizabeth W. Ely ’65 and

Jonathan K. Greenburg FMH Foundation Eliot D. and Paula K. HawkinsLinda Hirshman and David Forkosh Homeland Foundation, Inc. HSBC Philanthropic ProgramsAnne E. Impellizzeri The J. M. Kaplan Fund, Inc.Susan and Roger KennedyBarbara KennerAmy and Thomas O. MaggsMarstrand FoundationJoanna M. Migdal The Mrs. Mortimer Levitt

Endowment Fund for thePerforming Arts

National Endowment for the Arts(NEA)

New York State Council on the Arts(NYSCA)

Dimitri B. and Rania PapadimitriouPeter Kenner Family Fund of the

Jewish Communal Fund Ralph E. Ogden Foundation, Inc Drs. M. Susan and Irwin RichmanSantander Central Hispano David E. Schwab II ’52 and

Ruth Schwartz Schwab ’52

H. Peter Stern and Helen Drutt English

Margo and Anthony Viscusi

Dr. Siri von ReisThe Wise Family Charitable

Foundation Elaine and James WolfensohnBetsey and E. Lisk Wyckoff Jr.

PatronABC Foundation Constance Abrams and Ann VerberEdwin L. Artzt and

Marieluise HesselMr. and Mrs. Ronald AtkinsKathleen and Roland Augustine Gale and Sheldon Baim Elizabeth Phillips Bellin and

Marco M. S. Bellin Dr. Miriam Roskin Berger ’56

Helen ’48 and Robert Bernstein Helen and Robert Bernstein

Philanthropic Fund of theJewish Communal Fund

Anne Donovan Bodnar and James L. Bodnar

Sarah Botstein and Bryan DoerriesLydia Chapin Constance and David C. Clapp J. T. Compton Jane Cottrell and Richard KortrightArnold J. ’44 and Seena DavisBarbara and Richard DebsMichael Del Giudice and

Jaynne KeyesRt. Rev. Herbert A. and

Mary Donovan Amy and David DubinRobert C. Edmonds ’68

Helena and Christopher Gibbs Kim Z. GoldenCarlos Gonzalez and

Katherine Stewart David and Nancy HathawayBarbara K. Hogan

Frederic K. and Elena Howard Rachel and Dr. Shalom KalnickiHelene and Mark N. Kaplan Belinda and Stephen KayeMr. and Mrs. Thomas W. Keesee IIIMr. and Mrs. George A. Kellner Klavierhaus, Inc.Seymour and Harriet KoenigAlison and John LankenauEdna and Gary LachmundGlenda Fowler Law and Alfred LawBarbara and S Jay Levy Cynthia Hirsch Levy ’65

Patti and Murry LiebowitzMartin and Toni Sosnoff

FoundationStephen Mazoh and Martin KlineW. Patrick McMullan and

Rachel McPhersonMetropolitan Life Foundation

Matching Gift ProgramAndrea and Kenneth L. MironKen MortensonMartin L. Murray and

Lucy Miller Murray Alexandra OttawayEve ProppDr. Gabrielle H. Reem and

Dr. Herbert J. Kayden Drs. Morton and Shirley Rosenberg Blanche and Bruce Rubin Ines Elskop and Christopher Scholz Mr. and Mrs. Howard Solomon Martin T. and Toni Sosnoff Dr. S.B. Sternlieb Stewart’s ShopsAllan and Ronnie StreichlerElizabeth Farran Tozer and

W. James Tozer Jr. Tozer Family Fund of

the New York Community Trust

Friends of the Bard Music Festival

Events in this year’s Bard MusicFestival are underwritten in partby special gifts from

Bettina Baruch Foundation Jeanne Donovan FisherMimi LevittJames H. Ottaway Jr.Felicitas S. ThorneFestival Underwriters

James H. Ottaway Jr.Opening Concert

Mimi LevittOpening Night DinnerGuest ArtistsFilms

Homeland FoundationBard Music Festival Preview

at Wethersfield

Roger E. and Helen AlcalyFestival Program

Margo and Anthony ViscusiPreconcert Talks

Joanna M. MigdalPanel Discussions

Furthermore: A Program of the J. M. Kaplan FundFestival Book

Paula and Eliot HawkinsChristina Mohr and

Matthew GuerreiroBetween the Concerts Supper

National Endowment for the ArtsNew York State Council on the Arts

Leadership SupportMimi LevittThe Mortimer Levitt FoundationMr. and Mrs. James H. Ottaway Jr.

Golden CircleBettina Baruch FoundationJeanne Donovan FisherJane W. Nuhn Charitable TrustDenise S. Simon and

Paulo Vieira da CunhaThe Andrew W. Mellon FoundationFelicitas S. ThorneMillie and Robert WiseThe Wise Family Charitable Trust

Donors to the Bard Music Festival

18

Aida and Albert WilderIrene ZedlacherWilliam C. Zifchak and

Margaret Evans

SponsorAnonymousMargaret and Alec BancroftEverett and Karen CookPhillip S. Cooke Blythe Danner ’65

Dasein FoundationWillem F. De Vogel and

Marion Davidson Cornelia Z. and Timothy Eland Shepard and Jane Ellenberg Ellenberg Asset

Management Corp. Field-Bay FoundationLaura FlaxDeborah and Thomas Flexner Donald C. FresneFrancis Finlay and Olivia J. FussellSamuel L. Gordon Jr. and

Marylou TapallaMr. and Mrs. Jay M. GwynneMarjorie HartMartin Holub and Karen KidderLucas Hoogduin and

Adriana OnstwedderElizabeth D. and Robert HottensenPamela HowardJohn R. and Joyce Hupper I.B.M. Matching Grants Program Susan JonasEdith Hamilton KeanFernanda Kellogg and

Kirk HenckelsClara F. and David J. LondonerJames and Purcell Palmer Mr. and Mrs. Frederick P. PaytonEllen and Eric PetersenJohn and Claire ReidAlfred J. and Deirdre RossDr. Paul H. Schwartz and

Lisa Barne-Schwartz James and Sara SheldonAndrew Solomon and John HabichDavid and Sarah StackRichard C. Strain and Eva Van RijnTimothy and Cornelia Eland

Fund of the Fidelity Charitable Gift Fund

Barbara and Donald ToberArete and William Warren Jack and Jill WertheimRosalind Whitehead Serena H. WhitridgeJulia and Nigel WiddowsonPeter and Maria Wirth

SupporterMunir and Susan Abu-HaidarBarbara J. AgrenJames Akerberg

Leora and Peter ArmstrongJohn K. Ayling Irene and Jack BanningDidi and David Barrett Karen H. Bechtel Dr. Susan Krysiewicz and

Thomas Bell Carole and Gary Beller Mr. and Mrs. Andy BellinBeth and Jerry BierbaumMr. and Mrs. David Bova Mr. and Mrs. William B. BrannanBeth and Jerry BierbaumKay Brover and Arthur Bennett Dan F. and Nancy BrownKate Buckley and Tony Pell Peter Caldwell and Jane Waters Miriam and Philip CarrollFrederick and Jan CohenSeth Dubin and Barbara FieldRuth EngIngrid and Gerald FieldsEmily Rutgers Fuller Donald Gellert and Elaine Koss Mims and Burton Gold Janine M. Gordon Nan and David GreenwoodMortimer and Penelope C. HallSally S. HamiltonJuliet HeyerSusan Hoehn and Allan BahrsWilliam HolmanJay JollyKaren Bechtel Foundation of the

Advisor Charitable Gift FundRobert E. KausCharles and Katharine KingDr. and Mrs. Vincent KohLowell H. and Sandra A. LambDebra I. and Jonathan LanmanE. Deane and Judith S. LeonardWalter LippincottLynn Favrot Nolan Family FundJeanette MacDonald and

Charles MorganPhilip and Tracey MactaggartCharles S. MaierClaire and Chris MannElizabeth B. MavroleonSamuel C. MillerMr. and Mrs. Alfred MudgeBernadette Murray and

Randy FertelJay H. Newman and Elissa KramerMr. and Mrs. William T. NolanMarta E. NottebohmElizabeth J. and Sergin OktayDr. Bernhard Fabricius and

Sylvia OwenDavid B. and Jane L. ParshallSusan Heath and Rodney PatersonJohn and Claire ReidRosalie Rossi, Ph.DJohn Royall

Dagni and Martin SenzelNadine Bertin StearnsMim and Leonard SteinCarole TindallJohn Tuke and Leslie FarhangiDr. Elisabeth F. TurnauerMonica WamboldTaki and Donald WiseJohn and Mary Young

FriendAnonymousRev. Albert R. AhlstromLorraine D. AlexanderZelda Aronstein and

Norman EisnerArtscope, Inc.John K. AylingAntonia SalvatoPhebe and George BantaJames M. BartonMr. and Mrs. Francis D. BartonSaida BaxtRegina and David BeckmanRichard L. BensonDr. Marge and Edward BlaineEric and Irene BrocksDavid and Jeannette T. BrownMr. and Mrs. John C. D. BrunoAlfred M. Buff and Lenore NemethMillicent O. McKinley CoxLinda and Richard DainesDana and Brian DunnPeter EdelmanPeter Elebash and Jane RobinsonJim and Laurie Niles ErwinPatricia FalkHarold FarbermanArthur L. FenaroliDavid and Tracy FinnLuisa E. FlynnPatricia and John ForelleSamantha FreeStephen and Jane GarmeyAnne C. GillisMr. and Mrs. Harrison J. GoldinDr. Joel and Ellen GoldinStanley L. GordonThurston GreeneBen-Ali and Mimi HagginDavid A. HarrisSy HeldermanCarol HenkenNancy H. HenzeGary HermanDr. and Mrs. Gerald ImberPatricia H. KeeseeDiana Niles KingThea KlirosSharon Daniel KroegerBeth LedyM Group, LLCJohn P. MacKenzieHermes Mallea and Carey Maloney

19

AnonymousThe Andrew W. Mellon FoundationArthur F. and Alice E. Adams

FoundationHelen and Roger E. Alcaly Fiona Angelini and Jamie WelchThe Ann & Gordon Getty

FoundationMs. Leonie F. BatkinBettina Baruch FoundationCarolyn Marks Blackwood Chartwells School and University

Dining ServicesMichelle ClaymanJoan K. DavidsonMr. and Mrs. Gonzalo de las HerasMichael Del Giudice and

Jaynne KeyesJohn A. DierdorffRobert C. Edmonds ’68

Elizabeth W. Ely ’65 and Jonathan K. Greenburg

Barbara Ettinger and Sven HusebyThe Ettinger Foundation, Inc.Stefano Ferrari and Lilo ZinglersenAlexander D. Fisher MFA ’96

Catherine C. Fisher and Gregory A. Murphy

Emily H. Fisher and John AlexanderJeanne Donovan FisherR. Britton and Melina FisherFMH FoundationEliot D. and Paula K. HawkinsLinda Hirshman and David ForkoshHomeland Foundation, Inc.HSBC Philanthropic ProgramsAnne E. Impellizzeri

Jane’s Ice CreamJane W. Nuhn Charitable TrustThe Jerome Robbins FoundationThe J. M. Kaplan Fund, Inc.Susan and Roger KennedyDr. Barbara KennerKey Bank FoundationHarvey and Phyllis LichtensteinLucy Pang Yoa Chang FoundationMimi Levitt Amy and Thomas O. MaggsMagic Hat Brewing CompanyThe Marks Family FoundationMarstrand FoundationMartin and Toni Sosnoff

FoundationThe Maurer Family Foundation, Inc.Mid Atlantic Arts FoundationJoanna M. MigdalThe Millbrook Tribute GardenMillbrook Vineyards & WineryAndrea and Kenneth MironThe Mortimer Levitt

Foundation Inc.The Mrs. Mortimer Levitt

Endowment Fund for thePerforming Arts

National Dance Project of the NewEngland Foundation for the Arts

National Endowment for the Arts American Masterpieces:Dance

National Endowment for the Arts(NEA)

New England Foundation for theArts (NEFA)

New York State Council on the Arts(NYSCA)

Ralph E. Ogden Foundation, Inc.Mr. and Mrs. James H. Ottaway Jr.Dimitri B. and Rania PapadimitriouDr. Gabrielle H. Reem and Dr.

Herbert J. KaydenRichard B. Fisher Endowment FundDrs. M. Susan and Irwin RichmanIngrid RockefellerSenator Stephen M. SalandSantander Central HispanoDavid E. Schwab II ’52 and

Ruth Schwartz Schwab ’52

Denise S. Simon and Paulo Vieira da Cunha

Martin T. and Toni SosnoffH. Peter Stern and

Helen Drutt EnglishRonnie and Allan StreichlerThorne and Tucker TaylorThaw Charitable TrustThendara FoundationFelicitas S. ThorneTrue Love ProductionsMargo and Anthony ViscusiDr. Siri von ReisRosalind C. WhiteheadMillie and Robert WiseThe Wise Family Charitable

FoundationElaine and James WolfensohnElizabeth and E. Lisk Wyckoff Jr.

Annette S. and Paul N. MarcusHarvey MarekThe McGraw-Hill Companies

Matching Gift ProgramMarcus Mello ’04

Philip MessingDeborah D. MontgomeryKelly Morgan Debbie Ann and

Christopher MorleySusan and Robert MurphyHugh and Marilyn NissensonHarold J. and Helen C. NoahGary S. PatrikPeter and Sally V. PettusDr. Alice R. Pisciotto

David Pozorski and Anna RomanskiMiles PriceSheila SandersDr. Thomas B. SandersKlara SauerMary ScottFrederick W. Schwerin Jr.Harriet and Bernard SadowMolly SchaeferDanny P. Shanahan and

Janet E. Stetson ’81

J. Kevin SmithPolly and LeRoy SwindellJessica and Peter TcherepnineGladys R. ThomasJaneth L. Thoron

Cynthia M. Tripp ’01

Laurie TuzoIlliana van MeeterenAndrea A. WaltonJacqueline E. WarrenVictoria and Conrad WicherMr. and Mrs. John WinklerRobert and Lynda Youmans

Current as of June 14, 2010

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

20

Board and Administration for The Richard B. Fisher Center for the Performing Arts at Bard College

Advisory BoardJeanne Donovan Fisher, ChairLeon Botstein+

Stefano FerrariHarvey LichtensteinJames H. Ottaway Jr.Dimitri B. Papadimitriou+

David E. Schwab II ’52

Martin T. SosnoffToni SosnoffFelicitas S. Thorne

+ ex officio

AdministrationMark TiarksDirectorSusana MeyerAssociate DirectorDebra PemsteinVice President for Development andAlumni/ae AffairsMark PrimoffDirector of CommunicationsMary SmithDirector of PublicationsGinger ShoreConsultant to PublicationsKimberly Keeley-HenschelBudget DirectorPaul LaBarberaSound and Video SupervisorStephen DeanStage Operations ManagerMark CrittendenFacilities Manager

Jeannie SchneiderBusiness ManagerElena BattBox Office ManagerAustin Miller ’06

Assistant General Manager Ray StegnerBuilding Operations ManagerDoug PitcherBuilding Operations CoordinatorKelly SpencerManaging EditorBonnie Kate AnthonyAssistant Production ManagerClaire WeberAssistant Box Office ManagerJohn PruittFilm Festival Curator

Board and Administration of Bard College

Board of TrusteesDavid E. Schwab II ’52, Chair EmeritusCharles P. Stevenson Jr., ChairEmily H. Fisher, Vice ChairElizabeth Ely ’65, SecretaryStanley A. Reichel '65, Treasurer

Fiona AngeliniRoland J. AugustineLeon Botstein, President of the College+

David C. ClappMarcelle Clements ’69*Asher B. Edelman ’61

Robert S. Epstein ’63

Barbara S. Grossman ’73*Ernest F. Henderson III, Life TrusteeMarieluise HesselJohn C. Honey ’39, Life TrusteeCharles S. Johnson III ’70

Mark N. KaplanGeorge A. KellnerCynthia Hirsch Levy ’65

Murray LiebowitzMarc S. LipschultzPeter H. Maguire ’88

James H. Ottaway Jr.Martin PeretzBruce C. RatnerStewart ResnickRoger N. Scotland ’93*

The Rt. Rev. Mark S. Sisk, Honorary TrusteeMartin T. SosnoffSusan WeberPatricia Ross Weis ’52

AdministrationLeon BotsteinPresidentDimitri B. Papadimitriou Executive Vice PresidentMichèle D. Dominy Vice President and Dean of theCollegeRobert L. Martin Vice President for Academic Affairs;Director, Bard College Conservatory of MusicJames Brudvig Vice President for AdministrationDebra Pemstein Vice President for Development andAlumni/ae Affairs

Mary Backlund Vice President for Student Affairs and Director of AdmissionNorton Batkin Vice President and Dean ofGraduate StudiesErin CannanDean of StudentsPeter GadsbyRegistrarMary SmithDirector of PublicationsGinger ShoreConsultant to PublicationsMark PrimoffDirector of CommunicationsKevin ParkerControllerJeffrey KatzDean of Information ServicesJudith SamoffDean of Programs

+ ex officio* alumni/ae trustee

21

Denise Simon, ChairRoger AlcalyLeon Botstein+

Michelle ClaymanJohn A. DierdorffRobert C. Edmonds ’68

Jeanne Donovan FisherChristopher H. Gibbs+

Jonathan K. GreenburgPaula K. HawkinsLinda HirshmanAnne E. ImpellizzeriBarbara KennerMimi LevittThomas O. MaggsRobert Martin+Joanna M. MigdalLucy Miller MurrayKenneth L. MironChristina A. MohrJames H. Ottaway, Jr.David E. Schwab II ’52

H. Peter SternTucker TaylorFelicitas S. ThorneAnthony ViscusiSiri von ReisE. Lisk Wyckoff

+ ex officio

Artistic DirectorsLeon BotsteinChristopher H. GibbsRobert Martin

Executive DirectorIrene Zedlacher

Associate DirectorRaissa St. Pierre ’87

Scholar in Residence 2010

Christopher Hailey

Program Committee 2010

Byron AdamsLeon BotsteinChristopher H. GibbsChristopher HaileyRobert MartinRichard WilsonIrene Zedlacher

Administrative AssistantChristina Kaminski ’08

DevelopmentDebra PemsteinAndrea GuidoStephen Millikin

PublicationsMary Smith

Consultant to PublicationsGinger Shore

Public RelationsMark PrimoffEleanor Davis21C Media Group

Director of ChorusesJames Bagwell

Vocal Casting ConsultantSusana Meyer

Stage ManagerStephen Dean

Board and Administration of the Bard Music Festival

22

Bard College, in Annandale-on-Hudson, New York, is an independent, nonsectarian, residential, coeducational 

college that offers a four-year B.A. degree in the liberal arts and sciences and a five-year B.S./B.A. degree in economics

and finance. Bard and its affiliated institutions also grant the following degrees: A.A. at Bard High School Early

College, a New York City public school with two campuses; A.A. and B.A. at Bard College at Simon’s Rock: The Early

College, in Great Barrington, Massachusetts; M.S. in environmental policy and in climate science and policy and M.A.

in curatorial studies at the Annandale campus; M.F.A. and M.A.T. on multiple campuses; and M.A., M.Phil., and Ph.D. in

the decorative arts, design history, and material culture at the Bard Graduate Center: Decorative Arts, Design

History, and Material Culture in Manhattan. The Bard College Conservatory of Music grants a five-year dual degree, a

B.Music and a B.A. in a field other than music, and M.Music degrees in vocal arts and conducting. Internationally,

Bard offers dual B.A. degrees at Smolny College of Saint Petersburg State University, Russia, and Al-Quds University in

East Jerusalem. For more information about Bard College, visit www.bard.edu.

About Bard College

Published by the Bard Publications Office ©2010 Bard College. All rights reserved.

Cover: Trisha Brown Dance Company, Foray Forêt © Julieta Cervantes. Page 5: photo of Trisha Brown by Jean Pagliuso

ProductionVin RocaTechnical DirectorStephen DeanStage Operations SupervisorKelly WoodSpiegeltent Venue DirectorJohn Boggs ’10

Production Office Assstant

Valerie Ellithorpe ’09

Production AssistantGrace Schultz ’10

Production Assistant

Student Production AssistantsJesse Brown ’10

Taylor Lambert ’11

Marianne Rendon ’12

Alexander Wright ’10

Mette Lou Von Kohl ’10

Emily Cuk ’10

CarpentersMike ZallyAssistant Technical DirectorSean MaloneyMaster CarpenterGlenna Broderick ’09

Connor GibbonsDale GibbonsDaniel GibbonsJake GoldwasserTrevor HendricksonMuir InglissRoger MannCarley MateyDoreen PitcherJoseph PuglisiTodd RenadetteAshley Stegner ’12

ElectricsAndrew HillLighting SupervisorBrandon KoenigMaster Electrician, Sosnoff TheaterJoshua ForemanMaster Electrician, Theater TwoClaire MoodeyMaster Electrician, SpiegeltentSarah Bessel ’11

Morgan BlaichWalter Daniels

Paul FrydrychowskiThomas HollandJeremy LechtermanVictoria LoyeLiudmila Malyshava ’12

Jeremiah McClellandMike Porter ’11

Nora Rubinstone ’11

Sylvianne ShurmanKerk Soursourian ’12

Sound and VideoRichard PearsonAudio 1, Sosnoff TheaterThom PatznerAudio 2, Sosnoff TheaterSharlyne BrophyAudio 1, Theater TwoScott D. HoskinsAudio 2, Theater TwoCharles Mead

CostumesBrie FurchesWardrobe SupervisorBethany ItterlyFirst HandMolly FarleyDraperCorinne HawxhurstDraperMaria JuriDraperLindsay McWilliamsLead WardrobeAlice BroughtonAlexandra NattrassAlyson PariseLea Preston

Hair and MakeupJennifer DonovanHair and Makeup SupervisorChristal SchanesMakeup Artist

PropertiesBrian KafelProperties SupervisorLily FairbanksAssistant Properties SupervisorCurtis AllenMatthew Waldron

SpiegelmaestroNik Quaife

Company ManagerKatrin Hall

Company Management AssistantsJack Byerly ’10

Marina Day ’12

Azfar Khan ’13

Olga Opojevici ’09

Front of HouseAustin Miller ’06

House ManagerChristina Reitemeyer ’07

Senior Assistant House ManagerLesley DeMartin ’11

Senior Assistant House ManagerEmily Gildea ’11

Assistant House ManagerAmy Strumbly ’11

Assistant House ManagerLynne CzajkaAssistant House Manager

Box Office TellersCaitlyn DeRosaEmily Rice ’10

Emily DeMartino ’10

Emily Di PaloNicholas ReilinghJenna Abrams ’10

HousekeepingDennis CohenAnna SimmonsMelissa Stickle

Assistants to the FacilitiesManagerChad ColeWalter Tauvalt

SummerScape Staff

23

Enclosed is my check made payable to Bard College in the amount of $

Please designate my gift toward: ❑ Fisher Center Council ❑ Bard Music Festival Council ❑ Where it is needed most

Please charge my: ❑ VISA ❑ MasterCard ❑ AMEX in the amount of $

Credit card account number Expiration date

Name as it appears on card (please print clearly)

Address

City State Zip code

Telephone (daytime) Fax E-mail

BECOME A FRIEND OF THE FISHER CENTER TODAY!

Since opening in 2003, The Richard B.Fisher Center for the Performing Arts

at Bard College has transformed cultural life in the Hudson Valley with

world-class programming. Our continued success relies heavily on individuals such as you. Become aFriend of the Fisher Center today.

Friends of the Fisher Center membership is designed to give indi-

vidual donors the opportunity to support their favorite programs

through the Fisher Center Council or Bard Music Festival Council. As aFriend of the Fisher Center, you will

enjoy a behind-the-scenes look atFisher Center presentations and

receive invitations to special eventsand services throughout the year.

Friend ($100–249)• Advance notice of programming• Free tour of the Fisher Center• Listing in the program

($5 of donation is not tax deductible)

Supporter ($250–499) All of the above, plus:• Invitation for you and a guest to a season preview event• Invitations to opening night receptions with the artists• Invitation for you and a guest to a select dress rehearsal

($5 of donation is not tax deductible)

Sponsor ($500–999) All of the above, plus:• Copy of the Bard Music Festival book• Invitation for you and a guest to a backstage technical

demonstration ($40 of donation is not tax deductible)

Patron ($1,000–4,999) All of the above, plus:• Opportunity to buy tickets before sales open to

the general public• Exclusive telephone line for Patron Priority handling

of ticket orders• Invitation for you and a guest to a pre-performance

dinner at a Hudson River Valley home($150 of donation is not tax deductible)

Producer/Benefactor ($5,000+) All of the above, plus:• Seat naming opportunity• Invitations to special events scheduled throughout the year• Opportunity to underwrite events

($230 of donation is not tax deductible)

Please return your donation to:

Richard B. Fisher Centerfor the Performing Arts

Bard CollegePO Box 5000

Annandale-on-Hudson,NY 12504

BARDSUMMERSCAPE 2010

Subscriptions, group discounts, and gift certificates available.

SAV

E T

HE

DA

TES

TICKETS AND INFORMATION:fishercenter.bard.eduBox Office 845-758-7900

The 2010 SummerScape season is made possible in part through the generoussupport of the Board of The Richard B. Fisher Center for the Performing Arts atBard College, the Board of the Bard Music Festival, and the Friends of the FisherCenter, as well as grants from the National Endowment for the Arts, the NewYork State Council on the Arts, and the Mid Atlantic Arts Foundation.

theater july 14–24Ödön von Horváth’s Judgment DayA dutiful stationmaster’s moment of passion sends an express train hurtling to its doom, ensnaring his entire village in a web of deception and retribution.

opera july 30 – august 6Franz Schreker’sThe Distant SoundWith lush, sumptuous music, Schreker’s 1912 opera tells the tragicstory of Fritz, a composer who forsakes his beloved for the soundthat is a distant echo of her presence.

operetta august 5–15Oscar Straus’sThe Chocolate SoldierA charming comic take on an unusual boy-meets-girl scenario.

film festival july 15 – august 19

The Best of G. W. PabstA celebration of the great German film director. All nine of the festival’s silent films feature live piano accompaniment.

spiegeltent july 9 – august 22

Cabaret, Family Fare, SpiegelClub, and moreand

the 21st annual bard music festival

Berg and His WorldAugust 13–15 and 20–22