duke performances 2012/13 brochure

2012/2013 SEASON • MUSIC, THEATER, DANCE & MORE.

IN DURHAM, AT DUKE, A CITY REVEALED.

25% PICK-FOUR DISCOUNTBUY TICKETS FOR FOUR SHOWS AT ONE TIME& GET 25% OFF YOUR TOTAL PURCHASE.

DUKE PERFORMANCES

In recent years, Duke Performances frequently has headed off campus and into the city of Durham. During the 2009/10 season, we made our first presentation at the Hayti Heritage Center. In 2010/11, we initiated a programming collaboration with the Carolina Theatre and then expanded our downtown reach in the following season to the Casbah and Motorco Music Hall. This year we debut a pair of concerts at the Durham landmark First Presbyterian Church. While Duke is our base of operations, Durham is our home, and the ties we cultivate in this community are among those of which we are most proud.

We remain principally based on Duke’s campus. From the venerable Page Auditorium to the versatile Reynolds Industries Theater, from the acoustically precise Nelson Music Room to the gothic Duke Chapel, our campus venues are well-equipped to meet the needs of audiences and performers whether they favor classical music, choral music, jazz, dance, theater, or (surprise) comedy. With adventurous on-campus presentations such as the China National Symphony Orchestra, Tenebrae Choir, John Hollenbeck, Diavolo Dance Theater, Meow Meow, and Reggie Watts, our 2012/13 season makes regular and effective use of campus venues.

Branching out into town offers still more options, permitting us to present one of our season’s most prominent threads — gospel music — in the dignified Hayti Heritage Center, and another thread — live jazz — at accommodating and casual spaces such as Casbah and Motorco. We can host acoustic music in the resonant sanctuary of First Presbyterian and innovative collaborations in the meticulously restored Carolina Theatre. We can even showcase Mike Daisey over a five-day run in the newly renovated PSI Theater, an intimate space for this master storyteller.

Our engagement with local venues also speaks of our desire to support Durham’s robust arts-and-culture scene. By collaborating with emerging and untraditional venues, we aim for a broad view of the community — and for maximum fun and adventure. Living in any city, it is easy to settle into familiar routes and routines; this carefully curated season is an invitation to explore the remarkable city in which we live, from the heart of campus to the thriving downtown, guided by diverse presentations that each represent a step on a path that begins in tradition and heads towards discovery. In Durham, at Duke, a City Revealed.

Aaron Greenwald Director, Duke Performances

A CITY REVEALED

CLAREMONTTRIO

A piano trio of “uncommon ferocity” (NY Times) returns to the Nelson Music Room to illuminate a Duke scholar’s astonishing discovery about the Mendelssohn family canon.

Last season at Duke Performances, the Claremont Trio made an impression with its radiant rendition of Felix Mendelssohn’s Piano Trio No. 1. This season, twin sisters Emily and Julia Bruskin are joined by new member Andrea Lam, a pianist of “melting lyricism . . . and spirited eloquence” (The Australian). They offer another Felix Mendelssohn trio alongside two works by his sister, Fanny Hensel — one a familiar favorite and one a unique world premiere.

FRIDAY, SEPTEMBER 7, 2012 • 8 PMNELSON MUSIC ROOM$22 • $10 DUKE STUDENTS • GENERAL ADMISSION SEATING

PROGRAM: FANNY MENDELSSOHN HENSEL:Piano Trio in D Minor, Op. 11 FANNY MENDELSSOHN HENSEL:Easter Sonata for Piano (world premiere) FELIX MENDELSSOHN:Piano Trio No. 2 in C Minor, Op. 66

Fanny Hensel’s gorgeous Easter Sonata, long attributed to her brother, was properly restored and attributed after Duke PhD candidate Angela Mace obtained an elusive original manuscript in 2010. Now the sonata anchors a daylong symposium on Mace’s scholarly detective work as well as this special concert event. As an exceptional all-female piano trio, the Claremont is ideally poised to bring this fascinating history to light.

A splendid shouter forged in the country-and -urban crucible of Durham County, Charlotte-based pastor John P. Kee ushered gospel music into the mainstream during the 1990s, earning lifetime honors from both the Gospel Music Hall of Fame and the Stellar Gospel Music Awards. At the top of his game, Pastor Kee comes home to shake the stained glass windows and church pews of the Hayti Heritage Center, leading his astounding New Life Community Choir.

A prodigious songwriter, singer, and pianist, Kee brings a streetwise background in funk and soul to his seasoned blend of traditional and contemporary gospel. The music bursts with strutting basses, rippling keyboards, celebratory horns, and, of course, glorious vocals. As Kee grapples with hard-won life lessons, his spine-rattling singing vies with more than a dozen

other sanctified voices. Witness as “the Prince of Gospel” and his choir electrify Durham’s most hallowed space.

JOHN P. KEE& THE NEW LIFE COMMUNITY CHOIR

FRIDAY, SEPTEMBER 14, 2012 • 8 PMSATURDAY, SEPTEMBER 15, 2012 • 8 PM

HAYTI HERITAGE CENTER$34 • $10 DUKE STUDENTS

GENERAL ADMISSION SEATING

“If the stars align,” the Village Voice says of jazz renegades The Bad Plus, “they will mow you down.” The alignment was fortuitous indeed at the 2011 Duke Performances premiere of On Sacred Ground, where pianist Ethan Iverson, bassist Reid Anderson, and drummer Dave King tore apart and remade Stravinsky’s Rite of Spring in Reynolds Theater.

Now, as a part of Duke Performances' special program of jazz shows presented in downtown nightclubs, you can get up close and personal with these stupendous musicians at Motorco Music Hall. Count on red-hot originals, high-wire improvisation, and daring covers from a lawless trio that is “better than anyone at mixing the sensibilities of post-60s jazz and indie rock” (NY Times).

THE

BAD PLUS

FRIDAY, SEPTEMBER 21, 2012 • DOORS AT 8 PM; CONCERT AT 9 PMSATURDAY, SEPTEMBER 22, 2012 • DOORS AT 8 PM; CONCERT AT 9 PM

MOTORCO MUSIC HALL$24 • $10 DUKE STUDENTS

GENERAL ADMISSION; SEATING PROVIDED

Fanfare Ciocarlia, the world’s hottest Gypsy brass band, vamps on traditional Romanian dance tunes with “raucous good humor” (NY Times). A wedding combo from an isolated Romanian town turned world-touring phenomenon, the 12-piece ensemble barrels headlong through local traditions spiked with contemporary influences. With searing

SATURDAY, SEPTEMBER 22, 2012 • 8 PMREYNOLDS INDUSTRIES THEATER

$30 GENERAL • $10 DUKE STUDENTSGENERAL ADMISSION SEATING

SUNDAY, SEPTEMBER 23, 2012 • 6 PMSARAH P. DUKE GARDENS

$18 • $10 DUKE STUDENTSGENERAL ADMISSION; EXTREMELY LIMITED SEATING PROVIDED

SCHUMANNTRIO

FANFARE CIOCARLIA

brass, throbbing percussion, and incantatory group vocals in Romani, Fanfare Ciocarlia cannot be contained in a concert hall. For fans of Gogol Bordello — or anyone who might enjoy dancing under the moonlight at Duke Gardens — this is a sure shot rarely seen on U.S. stages.

As the final pupil of Segovia and one of the few classical guitarists who can crack the Billboard charts, Eliot Fisk is truly “the king of the American classical guitar” (The New Yorker). Adored for his far-ranging transcriptions, audacious compositions, and exhilarating finger style, he turns the guitar into “an instrument of seemingly limitless possibilities” (Chicago Sun Tribune). In this solo performance, he deploys his famously fleet and colorful touch upon popular Latin-American songs, intricate transcriptions of Bach and Paganini, and Luciano Berio’s Sequenza XI, a landmark technical showpiece written expressly for Fisk.

FRIDAY, SEPTEMBER 28, 2012 • 8 PMREYNOLDS INDUSTRIES THEATER

$30 • $10 DUKE STUDENTSGENERAL ADMISSION SEATING

ELIOT FISK

The Guarneri Quartet’s founding violist, Michael Tree, formed the Schumann Trio with two of his favorite younger musicians, clarinetist Anthony McGill and pianist Anna Polonsky. With “ravishing tone and keenly refined phrasing” (Washington Post), they illuminate the unique character — warm, deep, intimate in range yet spacious in timbre — of the clarinet-viola-piano repertoire. This concert tempers the young Beethoven’s panache with the autumnal wisdom of Bruch and Brahms.

GUITAR

PROGRAM: Group of Popular Latin-American Pieces (arr. Alirio Diaz) SCARLATTI: Sonatas K. 443, K. 431, K. 432, K. 15,K. 177, K. 178 BACH: Suite No. 3 in C Major, BWV 1009 BERIO: Sequenza XI for Guitar GRANADOS: La Maja de Goya HALFFTER: Habanera ALBÉNIZ: Sevilla PAGANINI: 4 Capricci

PROGRAM: BEETHOVEN: Sonata for Horn and Pianoin F Major, Op. 17 (arr. for viola by Schumann Trio) BRUCH: Romantic Pieces for Clarinet, Viola,and Piano, Op. 83, No. 5 & No. 7BRAHMS: Sonata for Clarinet and Pianoin F Minor, Op. 120, No. 1BRAHMS: Clarinet Trio, Op. 114 (arr. for violaby Schumann Trio)

ANONYMOUS4

PANDIT BIRJU MAHARAJ&

COMPANY

THURSDAY, OCTOBER 4, 2012 • 8 PMREYNOLDS INDUSTRIES THEATER

$38 • $32 • $10 DUKE STUDENTSRESERVED SEATING

Since 1986, the four singers of the all-female vocal quartet Anonymous 4 have honed their unchallenged mastery of medieval sacred music. Yet they are also bold advocates for Colonial American folk songs and contemporary music, singing world premieres by the likes of Peter Maxwell Davies and John Tavener. In every case, they retain the “polish, dynamic suppleness, and warmth of tone” (NY Times) that have always been their hallmarks. These superb singers indulge ancient and modern muses alike in two complementary Duke Performances concerts.

A legend of Indian classical dance brings his “utterly charming presence” (NY Times) and talented disciples to Reynolds Theater, offering an exquisite primer on an ancient and virtuosic art form.

Kathak, meaning “story,” evolved out of temple rituals and courtly dances. Accompanied by traditional instruments such as bansuri flute and tabla, it brings the pathos and comedy of history to life through buoyant footwork and evocative pantomime. Pandit Birju Maharaj, the heir of an august Kathak dynasty, is ranked by dance experts alongside the likes of Baryshnikov, Graham, and Cunningham. At Duke Performances, this lithe 75-year-old dancer and “creative genius” — says Ravi Shankar — continues to unfold his story.

“FOUR RAREFIED

VOICES — PURE,

SIMPLE, AND

STUNNING”

—DENVER POST

ANONYMOUS 4LOVE FAIL BY DAVID LANG

MOUNTAIN GOATS + ANONYMOUS 4TRANSCENDENTAL YOUTH

BY JOHN DARNIELLE

FRIDAY, OCTOBER 5, 2012 • 8 PMFIRST PRESBYTERIAN CHURCH

OF DURHAM$28 • $10 DUKE STUDENTS


SATURDAY, OCTOBER 6, 2012 • 8 PMREYNOLDS INDUSTRIES THEATER


In this enchanting evening-length concert event, the peerless medieval singers of Anonymous 4 perform a commission from Pulitzer Prize-winning composer David Lang, the natural heir of Steve Reich.

Lang, the cofounder of the deeply influential Bang on a Can collective, is widely celebrated for his rock-influenced post-minimalism and eloquent vocal writing. His new piece, love fail, is a narrative song cycle about doomed lovers Tristan and Isolde. The lyrics — drawn from sources both classical and contemporary — are breathed full of unearthly force by Anonymous 4, whose “impressive vocal blend, purity of tone, and distinctive individual voices” (NY Times) make this medieval story feel utterly present. In the tall, reverberant sanctuary of First Presbyterian, a world-class ensemble and commensurately great composer push polyphonic singing in intrepid new directions.

A self-made singer and guitarist who elevates troubled lives to flinty poetic heights, John Darnielle of the Mountain Goats is the most compelling raconteur in indie music. His admiration for the early-music singers of Anonymous 4 led to the collaborative song cycle Transcendental Youth, which premiered to acclaim at the 2012 Ecstatic Music Festival in New York.

In Transcendental Youth, haunting songs about the down-and-out in Washington State reveal a hidden affinity between two musical worlds. “The effect of Darnielle’s powerful lyrics and plaintive voice,” says NPR, “set against the luminous colors of Anonymous 4, [is] just magical.” This stirring showpiece, arranged by Owen Pallett, crowns a program of medieval songs by Anonymous 4, a solo Mountain Goats set, and a handful of collaborations on timeless standards.

David Lang John Darnielle

RAFAL BLECHACZPIANO

FRIDAY, OCTOBER 12, 2012 • 8 PMREYNOLDS INDUSTRIES THEATER


FRIDAY, OCTOBER 12, 2012DOORS AT 8 PM; CONCERT AT 9 PM

SATURDAY, OCTOBER 13, 2012DOORS AT 8 PM; CONCERT AT 9 PM

CASBAH DURHAM$24 • $10 DUKE STUDENTS


At age 26, Poland’s Rafal Blechacz already offers “deep, contemplative interpretations with underlying solid technique that no other young musician can emulate” (NY Times). After unprecedentedly sweeping every First Prize at the 2005 Chopin International Piano Competition — the first Polish pianist to win in 30 years — he brings his preternatural talent to Reynolds Theater, capping an evening of Bach, Beethoven, and Chopin with Polish master Szymanowski’s Piano Sonata No. 1. Blechacz’s recording of this colossal sonata cemented his emergence as “one of the pianistic giants of our time” (The Times [UK]).

PROGRAM: BACH: Partita in A Minor, BWV 827 BEETHOVEN: Piano Sonata No. 7 in D Major, Op. 10, No. 3 CHOPIN: Ballade No. 1 in G Minor, Op. 23 CHOPIN: Polonaise in C-sharp Minor, Op. 26, No. 1 CHOPIN: Polonaise in E-flat Minor, Op. 26, No. 2 SZYMANOWSKI: Piano Sonata No. 1 in C Minor, Op. 8

Ambrose AkinmusireQUINTET

At age 30, trumpet firebrand Ambrose Akinmusire — the inheritor of Miles Davis and Wynton Marsalis — is the leader of the new school of jazz players, thanks to winning the Thelonious Monk International Jazz Competition and releasing the breakout Blue Note debut When the Heart Emerges. “His sound is exacting,” says The New York Times, “with a cutting attack offset by a smoky tone.” Now Akinmusire brings his top-notch quintet, “the most sought-after players of their generation” (NPR), into the close quarters of the Casbah for two sizzling nights.

Funk, jazz, hip-hop, soul: across eight critically acclaimed albums, Meshell Ndegeocello tested and excelled at them all. Her evolution continues on her new, ninth record, the Joe Henry-produced Weather, which opens an enticingly intimate vantage into the mind of a mature lyricist who often is inclined toward artful dodging. This career survey at Reynolds Theater, connecting Ndegeocello’s kinetic earlier work with her pensive new direction, features supple full-band backing for a fresh look at a musician who built a devoted following by skirting the spotlight.

Following her career showcase of original music at Reynolds Theater, the neo-soul legend Meshell Ndegeocello offers a cozier, funkier night of cover songs — “ventriloquism,” as she describes it — in Motorco Music Hall, an accommodating and casual venue to discover what inspires a singer who has inspired so many herself. With her intently focused singing and lyrical, propulsive bass-playing, Ndegeocello puts her indelible stamp on songs by the likes of Prince, Nina Simone, and Gil Scott-Heron. After expanding minds at Reynolds, Ndegeocello loosens hips at Motorco.

WEATHERFRIDAY, OCTOBER 19, 2012 • 8 PM

REYNOLDS INDUSTRIES THEATER$32 • $26 • $10 DUKE STUDENTS

RESERVED SEATING

VENTRILOQUISM: A NIGHT OF COVERSSATURDAY, OCTOBER 20, 2012

DOORS AT 8 PM; CONCERT AT 9 PMMOTORCO MUSIC HALL

$24 • $10 DUKE STUDENTSGENERAL ADMISSION;

EXTREMELY LIMITED SEATING PROVIDED

MESHELL NDEGEOCELLOThe singer, songwriter, and bassist Meshell Ndegeocello is one of the most beloved and elusive musicians of our times. A pioneer of the sophisticated welter of urban pop styles called neo-soul, she remains unmistakable for the dazzle of her bass playing and the “dark, stoic clarity” (NY Times) of her singing.

Ndegeocello’s self-direction has kept her profile relatively low throughout twenty years of critical acclaim and illustrious collaborations. Two complementary concerts at Duke Performances reveal a full musical portrait of this authentically chameleonic musician.

SATURDAY, OCTOBER 20, 2012 • 8 PMREYNOLDS INDUSTRIES THEATER


EMERSON STRING QUARTET

The Emerson’s fearless individualism and muscular finesse make it the definitive American string quartet. A highlight of Duke Performances stages since 1983, the Emerson returns for its final local date with longtime cellist David Finckel, who is retiring from the Quartet after more than 30 years. This fond farewell sets Mozart’s Hoffmeister alongside a modern work written for the Emerson by Britain’s Thomas Adés. Later, the distinctly American freedom of expression in Copland’s vibrant Two Pieces for String Quartet is offset by the distinctly Russian discretion of Shostakovich’s dark, daring late opus, String Quartet No. 12.

PROGRAM: MOZART: String Quartet in D Major, K. 499, HoffmeisterTHOMAS ADÉS: The Four QuartetsCOPLAND: From Two Pieces for String QuartetSHOSTAKOVICH: String Quartet No. 12 in D-flat Major, Op. 133

“They rivet the attention with the rapt beauty of their playing” —THE TIMES (UK)

FRIDAY, OCTOBER 26, 2012 • 8 PMREYNOLDS INDUSTRIES THEATER


reggie watts

“Deliciously strange” (LA Times), “spectacularly original” (New York Magazine), “a comedic stream of conscious operatic beat-boxing marvel” (Eugene Mirman): Brooklyn’s Reggie Watts leaves audiences in convulsions of awed laughter with his whip-smart comedy. A sly provocateur in the mold of Andy Kaufman, Watts “moves seamlessly from

skits to songs to off-kilter stand-up” (NY Times), using electronic looping consoles to layer his riffs with vocal percussion symphonies. Now the only comedian praised by Brian Eno for “natural musicality” as well as “sidesplitting wit” brings his solo show to Duke Performances.

“Reggie Watts is a comedian like platypuses are mammals: weirdly and awesomely” —ROLLING STONE

ARCHAEOLOGY OF AN ARTISTRESIDENCY EVENT: LECTURE AND DEMONSTRATION WITH MEREDITH MONK

THURSDAY, OCTOBER 25, 2012 • 7 PM • NASHER MUSEUM OF ART FREE & OPEN TO THE PUBLIC • GENERAL ADMISSION SEATING

EDUCATION OF THE GIRLCHILD REVISITEDFRIDAY, NOVEMBER 2, 2012 • 8 PM | SATURDAY, NOVEMBER 3, 2012 • 8 PM

REYNOLDS INDUSTRIES THEATER$32 • $26 • $10 DUKE STUDENTS • RESERVED SEATING

“Well before just about every choreographer on the planet declared their allegiance to multidisciplinary work,” proclaims The New York Times, “Meredith Monk was creating pieces that defied characterization in their use of song, speech, movement, film, and images.” More than anyone else, Monk has sharpened our perceptions of the voice as pure instrument, the body as mythic force. Half a century deep into her pioneering extension

A highlight of Meredith Monk’s two-week residency at Duke Performances — which includes performances, master classes, lectures, film screenings, and more — is Archaeology of an Artist at the Nasher Museum. This lively talk with integrated performances and video clips digestibly distills Monk’s 50-year journey as a composer,

Crowning her Duke Performances residency, Meredith Monk revives one of her earliest, most influential, and most captivating solo performances at Reynolds Theater. In Education of the Girlchild, Monk fashions theatrical movement, costumes, and breathtaking singing into a poignant portrayal of an elderly woman living her life in reverse. Forty years after its debut, the work takes on powerful new dimensions.

MEREDITH MONK& THE HOUSE FOUNDATION

of vocal possibilities, she still trades in pungent essences of beauty and simplicity. Now she brings her distinguished company to Duke Performances for a multifaceted extended residency. Celebrate the pivotal contributions of a minimalist master who justly claims to work “in between the cracks, where the voice starts dancing, where the body starts singing.”

In the second half, Monk and her company undertake the complementary Shards, for live synthesizer and voices, where they rearrange fragments of works from 1969 to 1973 (including Girlchild) into fantastic new shapes. Shards aptly closes an unforgettable encounter with an artist unafraid to break every mold — even her own.

choreographer, filmmaker, performer, and tireless cartographer of the frontiers of the human voice. Set to conclude with an audience Q&A, Archaeology of an Artist is an ideal way to go behind the scenes with a legendary architect of interdisciplinary art as we know it today.

SUNDAY, NOVEMBER 4, 2012 • 5 PMDUKE CHAPEL


RACHMANINOV & THE RUSSIAN CHORAL TRADITION

For “precision of tone and flawless intonation,” says The Times (UK), “Nigel Short’s Tenebrae is pretty much unbeatable.” With keen sensitivity to acoustic space, these distinguished peers of the Tallis Scholars and Stile Antico bring uncanny grace to vintage and contemporary chorales.

Tenebrae bested itself to win the 2012 BBC Music Magazine Award for Choral Music, for which it was doubly nominated. Now these 18 unbeatable voices enrapture Duke Chapel with an evening of liturgical music in the rich, exemplary Russian tradition. The robust program features favorites from Rachmaninov’s All-Night Vigil and contemporary canon entries by Welsh composer Paul Mealor, whose Ubi Caritas et Amor premiered at the Royal Wedding in 2011.

PROGRAM:

RACHMANINOV: “Priidite” from All-Night Vigil RACHMANINOV: A Litany from the Liturgy of St. John Chrysostom, Op. 31 RACHMANINOV: “Cherubic Hymn” RACHMANINOV: “Alleluia” from All-Night Vigil CHESNOKOV: “Cherubic Hymn” KALINNIKOV: I will love Thee, O Lord MEALOR: Now Sleeps the Crimson Petal MEALOR: Salvator Mundi RACHMANINOV: “Bogoroditse Devo” from All-Night Vigil ARVO PÄRT: The Beatitudes MEALOR: Locus Iste MEALOR: Ubi Caritas CHESNOKOV: Svete Tihiy RACHMANINOV: “Nunc Dimittis” from All-Night Vigil TCHAIKOVSKY: When Jesus Christ Was Yet a Child KEDROV: Pater Noster RACHMANINOV: “Vzbrannoy Voyevode” from All-Night Vigil

“More polished choral singing would be hard to find anywhere” —BBC MUSIC MAGAZINE

TENEBRAE CHOIR

THURSDAY, NOVEMBER 8, 2012 • 8 PMCAROLINA THEATRE OF DURHAM

$48 • $36 • $24 • $10 DUKE STUDENTSRESERVED SEATING

BÉLA FLECK+THE MARCUS ROBERTS TRIO

Béla Fleck is an incendiary banjo picker who roves through global idioms and collaborators — Zakir Hussain, Edgar Meyer, Toumani Diabaté — with effortless aplomb. Pianist Marcus Roberts, dubbed a genius by Wynton Marsalis, highlights stride fundamentals with boundless insight and swing, abetted by drummer Jason Marsalis and bassist Rodney Jordan. Fleck’s debut collaboration with Roberts and his trio delighted critics and fans at the highly regarded Savannah Music Festival. At the Carolina Theatre, this sublime combo continues to test the improvisatory edge between bluegrass and jazz, as only musicians who are deeply invested in those traditions can.

“For more than 30 years . . .Fleck has been pushing the

boundaries of his instrument”—NY TIMES

“Seizing the music’s energy, shocking us out of our seats with every fortissimo” (The Guardian), the Belcea’s passionate interpretations make it one of the most thrilling string quartets of the younger generation. The Quartet’s debut at Duke Performances comes near the end of its yearlong, globe-spanning endeavor to perform and record the complete Beethoven string quartets. These immortal late opuses include the String Quartet No. 13 as well as its original final movement, the monumental

BELCEA QUARTET

PROGRAM:BEETHOVEN: String Quartet No. 13 in B-flat Major, Op. 130BEETHOVEN: Grosse Fuge in B-flat Major, Op. 133BEETHOVEN: String Quartet No. 14 in C-sharp Minor, Op. 131

SATURDAY, NOVEMBER 10, 2012 • 8 PMREYNOLDS INDUSTRIES THEATER


Grosse Fuge. Savor an evening of Beethoven at the height of his powers with a “technically accomplished and uncommonly probing” (NY Times) ensemble.

THE

MIGHTYCLOUDS OF JOY

FRIDAY, NOVEMBER 16, 2012 • 8 PMSATURDAY, NOVEMBER 17, 2012 • 8 PM

HAYTI HERITAGE CENTER$34 • $10 DUKE STUDENTS


Praised by The New York Times for “the individual power of each member,” the irreplaceable gospel quartet Mighty Clouds of Joy is the most lasting, significant, and consistently transporting group of its kind. Led for half a century by gospel icon Joe Ligon, the group has faithfully safeguarded the timeless quartet

form. With beautiful four-part harmonies, engaging call-and-response refrains, and Ligon’s blistering perorations, Mighty Clouds of Joy remains vital to gospel and secular fans alike. Now gospel’s essential quartet exalts the Hayti Heritage Center, a former AME church, with cool composure and cleansing fire.

PROGRAM: SCHUMANN: Intermezzi, Op. 4BACH: English Suite No. 3 in G Minor, BWV 808JANACEK: On an Overgrown Path, Book 2BACH: English Suite No. 6 in D Minor, BWV 811

PIOTR ANDERSZEWSKI, PIANO

“The touch and tone of Piotr Anderszewski’s playing are so seductive,” says The Guardian, “that it is easy to forget how classically correct” he is. At Duke Performances, this technically rigorous yet deeply sensitive musician exercises his talent on two of Bach’s graceful English Suites, Schumann’s flashy Intermezzi, and Janacek’s haunting On an Overgrown Path.

For Bach, Anderszewski is a “perfect conduit” (The Guardian), and he valiantly dispatches the most

fiendishly difficult music of Schumann. “That he can absorb an audience with the intense concentration of his pianism,” says The Chicago Tribune, “shows a powerful interpretive imagination at work” in tandem with his extraordinary ability.

FRIDAY, NOVEMBER 30, 2012 • 8 PMREYNOLDS INDUSTRIES THEATER


"Anderszewski is to the present generation of Bach interpreters what Glenn Gould was to his" —CHICAGO TRIBUNE

PROGRAM:WEBERN: Six BagatellesSCHUMANN: String Quartet No. 3 in A Major, Op. 41 TBD: New early music transcriptionSTEVEN MACKEY: Physical Property (w/ Steven Mackey, electric guitar)

PROGRAM:GEORG FRIEDRICH HAAS: String Quartet No. 3, In iij. Noct.

JACK QUARTET • IN THE DARKJACK QUARTET

FEATURING STEVEN MACKEY, ELECTRIC GUITAR

The JACK Quartet redefines chamber music for the 21st-century. Fêted for its “viscerally exciting performances” (NY Times), the Quartet offers a Duke Performances concert of potent contrasts. The uncanny compression of Webern’s Six Bagatelles squares off against Schumann’s expansive String Quartet No. 3. A new early-music transcription vies with the modern Physical Property by Steven Mackey, the singular Princeton composer whose blend of classical and pop music is “lithe, subtle, and more than a little playful” (Newsday). Mackey will join the JACK on electric guitar to perform his cordial, rollicking composition.

“This piece must be performed in complete darkness. No music stand lamps and no emergency lighting. The instrumentalists are positioned in the four corners of the room.”

With this command, Austrian Georg Friedrich Haas plunges into the mysterious darkness of his String Quartet No. 3, eliminating the audience’s visual relationship to the performers and the space in order to stimulate the aural imagination. As the musicians unleash ghostly microtones and chords, Webern-like melodies and a quotation from Renaissance master Carlo Gesualdo shine out like beacons. In Sheafer Lab Theater, the JACK Quartet offers its “mind-blowingly good” (LA Times) rendition of this exceptional contemporary work.

SATURDAY, DECEMBER 1, 2012 • 8 PMREYNOLDS INDUSTRIES THEATER


SUNDAY, DECEMBER 2, 2012 • 5 PMSHEAFER LAB THEATER$22 • $10 DUKE STUDENTS


G. F

. Haa

s

Steven Mackey

FRIDAY, DECEMBER 7, 2012 • 8 PMREYNOLDS INDUSTRIES THEATER


LOST IN THE TREESWITH CHAMBER ORCHESTRA

A Berklee graduate who premiered his first opus with the NC Symphony while also helming the sweeping chamber-pop band Lost in the Trees, Ari Picker fuses bracing modernist strings with generous indie melodies. A musical vision that overflows indie recordings and nightclubs is fully realized at Duke Performances, where Picker bolsters his core folk-rock band with a chamber orchestra — 12 strings, harp, piano, and percussion — in an ample, resonant hall.

Lost in the Trees’ latest record, A Church That Fits Our Needs, addresses the suicide of Picker’s mother with a “stirring blend of modest rusticity and urbane ambition” (NY Times). His vulnerable tenor and towering arrangements elevate this sensitive material to devastating heights. For the first time, hear the music as it sounds in Picker’s head.

“ARI PICKER HAS NICK DRAKE SPEAKING TO HIM IN ONE EAR ANDHANDEL WHISPERING IN THE OTHER” —HUFFINGTON POST

SATURDAY, DECEMBER 8, 2012 • 8 PMREYNOLDS INDUSTRIES THEATER


A drummer and bandleader known for his extravagant talent and chimerical compositions, John Hollenbeck inhabits his own world of “gleaming modernity” (NY Times) between jazz and New Music. With his 20-piece Large Ensemble, which topped DownBeat’s 2011 Critics Poll, Hollenbeck dreams of the jazz

big-band as a biosphere seething with vivid tonal and timbral colors. Winds, horns, bass, piano, drums, and vocalists — the “transcendent” Theo Bleckmann (Village Voice) and the “astute and sensitive” Kate McGarry (NY Times) — plunge into the wilds of Hollenbeck’s humid lyricism at Reynolds Theater.

JOHN HOLLENBECK LARGE ENSEMBLEFEATURING

THEO BLECKMANN & KATE MCGARRY

OLIVER MTUKUDZI&

THE BLACK SPIRITS

FRIDAY, JANUARY 18, 2013 • 8 PMREYNOLDS INDUSTRIES THEATER


Bonnie Raitt once compared him to a cross between soul legend Otis Redding and reggae icon Toots Hibbert. Devotees refer to his huge catalog of R&B-inflected Zimbabwean music, simply and irreducibly, as “Tuku Music.” However you frame him, Oliver Mtukudzi speaks to audiences the world over — in Shona, Ndebele, and English

— with his deep, inviting voice and agile guitar- playing. A seasoned navigator of the complex Zimbabwean cultural and political scenes, Mtukudzi has become, over a storied four-decade career, “one of the giants of African pop” (Utne Reader). Now he comes calling with his Black Spirits, who spryly flesh out his hypnotic melodies and percussive rhythms.

SATURDAY, JANUARY 19, 2013 • 8 PMREYNOLDS INDUSTRIES THEATER


At age 19, Korean pianist Joyce Yang won a silver medal at the 2005 Van Cliburn International Piano Competition. She then took the United States by storm in a season of engagements with powerhouses such as the New York Philharmonic, earning raves for her “polished, pearly evenness” (LA Times) and “million-volt presence” (Dallas Morning News).

In Yang’s first recital at Duke Performances, the jocular daybreak of Beethoven’s sonata The Hunt fades into the twilight of Chopin’s Nocturnes and Bartók’s dusky suite, Out of Doors. In the second half, Yang explores American piano master Earl Wild’s illustrious transcriptions of songs by Gershwin and Rachmaninov, whose piano music she handles with “expressive shape” (Sydney Morning Herald).

PROGRAM:BEETHOVEN: Piano Sonata No. 18 in E-flat Major, Op. 31, No. 3, The HuntCHOPIN: Nocturne in F Major, Op. 15, No. 1CHOPIN: Nocturne in F Minor, Op. 55, No. 1BARTÓK: Out of Doors, Sz. 81RACHMANINOV/WILD: The Little IslandGERSHWIN/WILD: The Man I LoveRACHMANINOV/WILD: VocaliseRACHMANINOV: Piano Sonata No. 2 in B-flat Minor, Op. 36 (revised 1931 version)

JOYCE YANGPIANO

EMERSON STRING QUARTETSaturday, October 20 • 8 pm

REGGIE WATTSFriday, October 26 • 8 pm

CIOMPI QUARTET NO. 2Sunday, October 28 • 5 pm

NOVEMBER ‘12

MEREDITH MONKEDUCATION OF THEGIRLCHILD REVISITEDFriday & Saturday, November 2 & 3 • 8 pm

TENEBRAE CHOIRSunday, November 4 • 5 pm

BÉLA FLECK &THE MARCUS ROBERTS TRIOThursday, November 8 • 8 pm

BELCEA QUARTETSaturday, November 10 • 8 pm

THE MIGHTY CLOUDS OF JOYFriday & Saturday, November 16 & 17 • 8 pm

PIOTR ANDERSZEWSKI, PIANOFriday, November 30 • 8 pm

DECEMBER ‘12

JACK QUARTETFEAT. STEVEN MACKEYSaturday, December 1 • 8 pm

JACK QUARTETIN THE DARKSunday, December 2 • 5 pm

LOST IN THE TREESWITH CHAMBER ORCHESTRAFriday, December 7 • 8 pm

JOHN HOLLENBECKLARGE ENSEMBLESaturday, December 8 • 8 pm

SEPTEMBER ‘12

CLAREMONT TRIOFriday, September 7 • 8 pm

JOHN P. KEE &THE NEW LIFE COMMUNITY CHOIR Friday & Saturday, September 14 & 15 • 8 pm

THE BAD PLUSFriday & Saturday, September 21 & 22 • 9 pm

SCHUMANN TRIOSaturday, September 22 • 8 pm

FANFARE CIOCARLIASunday, September 23 • 6 pm

ELIOT FISK, GUITARFriday, September 28 • 8 pm

CIOMPI QUARTET NO.1Saturday, September 29 • 8 pm

OCTOBER ‘12

PANDIT BIRJU MAHARAJ & CO.Thursday, October 4 • 8 pm

ANONYMOUS 4LOVE FAILFriday, October 5 • 8 pm

MOUNTAIN GOATS + ANONYMOUS 4TRANSCENDENTAL YOUTHSaturday, October 6 • 8 pm

RAFAL BLECHACZ, PIANOFriday, October 12 • 8 pm

AMBROSE AKINMUSIRE QUINTET Friday & Saturday, October 12 & 13 • 9 pm

MESHELL NDEGEOCELLOWEATHERFriday, October 19 • 8 pm

MESHELL NDEGEOCELLOVENTRILOQUISM: A NIGHT OF COVERSSaturday, October 20 • 9 pm

FALL

JANUARY ‘13

OLIVER MTUKUDZI & THE BLACK SPIRITSFriday, January 18 • 8 pm

JOYCE YANG, PIANOSaturday, January 19 • 8 pm

SAVION GLOVERSOLE SANCTUARYWednesday, January 23 • 8 pm

NEW CENTURY CHAMBER ORCHESTRAFEAT. NADJA SALERNO-SONNENBERGFriday, January 25 • 8 pm

FRED HERSCH TRIOFriday & Saturday, January 25 & 26 • 9 pm

CIOMPI QUARTET NO. 3Sunday, January 27 • 5 pm

MIKE DAISEYA NEW PIECEWednesday - Saturday,January 30 - February 2 • 8:15 pmSunday, February 3 • 3:15 pm

FEBRUARY ‘13

AMJAD ALI KHANFriday, February 1 • 8 pm

ST. LAWRENCE STRING QUARTETFEAT. STEPHEN PRUTSMANSaturday, February 2 • 8 pm

CHINA NATIONAL ORCHESTRAFEAT. CHUANYUN LIThursday, February 7 • 8 pm

DIAVOLO DANCE THEATERFEARFUL SYMMETRIES & TRAJECTOIREFriday & Saturday, February 8 & 9 • 8 pm

MEOW MEOWBEYOND GLAMOURTuesday - Thursday,February 12 - February 14 • 8:15 pm

ANGELA HEWITT, PIANOSunday, February 17 • 5 pm

BUCKWHEAT ZYDECO & C.J. CHENIERThursday, February 21 • 8 pm

GLENN KOTCHEILIMAQ BY JOHN LUTHER ADAMSMEGAFAUN + ON FILLMOREFriday, February 22 • 8 pm

FAURÉ QUARTETTSaturday, February 23 • 8 pm

NEW MUSIC RALEIGHDANCES & ALL SOULSSunday, February 24 • 3 pm

MARCH ‘13

TARBABYFriday & Saturday, March 1 & 2 • 9 pm

LEILA JOSEFOWICZ, VIOLINFriday, March 8 • 8 pm

AFRO-CUBAN ALL-STARSSaturday, March 23 • 8 pm

ANA MOURAFriday, March 29 • 8 pm

RICHARD SMALLWOOD & VISIONSaturday, March 30 • 8 pm

APRIL ‘13

SIMONE DINNERSTEIN& TIFT MERRITTNIGHTThursday, April 4 • 7 & 9 pm

TAKÁCS QUARTET • BARTÓK CYCLEFriday & Saturday, April 5 & 6 • 8 pm

BRAD MEHLDAU + CHRIS THILEThursday, April 11 • 8 pm

GRETCHEN PARLATO QUARTETFriday & Saturday, April 12 & 13 • 9 pm

CIOMPI QUARTET NO. 4Saturday, April 20 • 8 pm

KENNY BARRON & DAVE HOLLANDFriday, April 26 • 8 pm

ALEXANDER STRING QUARTETSaturday, April 27 • 8 pm

SPRING

FRED HERSCHTRIO

Almost singlehandedly, Savion Glover revived the art of tap-dancing with his unorthodox Broadway smash Bring in ‛da Noise, Bring in ‛da Funk. Before that defining success, he was the star pupil of Sammy Davis, Jr. and Gregory Hines, who called Glover “possibly the best tap dancer that ever lived.” These legends and others preside in spirit over SoLe Sanctuary, Glover’s powerfully elegiac new duet with Marshall Davis, Jr. “Barebones and pure, full of . . . rhythmic innovation” (NY Times), SoLe Sanctuary is tightly focused on a bravura whirlwind of original and quoted steps. With fury, grace, and awesome athleticism, Glover embodies 150 years of tap in his lithe body. This rich, tumultuous history weighs heavily on his shoulders but not his feet. At Page Auditorium, tap receives an allusive love letter from its signal genius and most serious advocate.

WEDNESDAY, JANUARY 23, 2013 • 8 PMPAGE AUDITORIUM


SAVION GLOVERSoLe Sanctuary

“A committed and distinctive performer,” (NY Times), Nadja Salerno-Sonnenberg has been a top classical violin soloist since winning the Naumburg International Violin Competition in 1981. Upon becoming the Music Director of the Bay Area’s New Century Chamber Orchestra in 2008, she lent its signature rough-hewn musicality “a new sense of vitality and determination, as well as an audacious swagger” (Gramophone Magazine).

Salerno-Sonnenberg performs with and conducts the New Century Chamber Orchestra at Duke Performances, soloing in a William Bolcom violin concerto after an opening Mendelssohn sinfonia. On the second half of the program, Bachianas Brasileiras from Brazil’s Heitor Villa-Lobos leads into the late Metamorphosen of Strauss, a novel and highly personalized work of restless transformations.

Pianist Fred Hersch was the first artist in 75 years deemed worthy to play extended solo engagements at New York’s legendary jazz club the Village Vanguard. His inestimable depth as a musician is compounded in rapport with his crackerjack trio, featuring suspenseful drummer Eric McPherson and commanding bassist John Hébert. Together, they leave no stone in jazz unturned.

FRIDAY, JANUARY 25, 2013 • DOORS AT 8 PM; CONCERT AT 9 PMSATURDAY, JANUARY 26, 2013 • DOORS AT 8 PM; CONCERT AT 9 PM



FRIDAY, JANUARY 25, 2013 • 8 PMPAGE AUDITORIUM


FEATURING NADJA SALERNO-SONNENBERG, VIOLIN

PROGRAM: MENDELSSOHN: String Symphony No. 10 in B Minor WILLIAM BOLCOM: Romanza (w/ Nadja Salerno-Sonnenberg, violin) VILLA-LOBOS: Bachianas Brasileiras No. 5 STRAUSS: Metamorphosen, Study for 23 Solo Strings

Now they visit the Casbah, an intimate downtown nightclub, for two nights of cultivated, fiery questing over rangy musical terrain.

Sophisticated and lyrical, Hersch emblemizes the “wellspring of timeless beauty, ancient traditions, and always the true spirit of modern jazz” (Billboard Magazine).

NEW CENTURY CHAMBER ORCHESTRA

Nadja Salerno-Sonnenberg

WEDNESDAY, JANUARY 30, 2013 • 8:15 PMTHURSDAY, JANUARY 31, 2013 • 8:15 PM

FRIDAY, FEBRUARY 1, 2013 • 8:15 PMSATURDAY, FEBRUARY 2, 2013 • 8:15 PMSUNDAY, FEBRUARY 3, 2013 • 3:15 PM

PSI THEATRE AT THE DURHAM ARTS COUNCIL$32 • $10 DUKE STUDENTS


MIKE DAISEYA NEW WORK

(TITLE & SUBJECT TBA IN SEPTEMBER)

Master storyteller Mike Daisey, whose “tragic comedy and patriotic outrage . . . identify him as a direct descendant of Mark Twain” (The Stranger), offers his latest raw, intelligent monologue for five days in PSI Theatre.

Daisey has spent 15 years honing a deceptively spontaneous style of solo performance, which brings subtle theatrical underpinnings to apparently freewheeling talk. With quiet rage and fierce humor, he covers an endless array of topics: Post-Traumatic Stress Disorder, urban transit, the Department

of Homeland Security, and most recently, Apple: 2012’s controversial The Agony and the Ecstasy of Steve Jobs was named “the best new play of the year” by The Washington Post.

Daisey deftly weaves personal stories and investigative journalism into larger narratives, consistently leaving his audiences surprised,

informed, entertained, and moved. Explore the enmeshed byways of the private and the public with “one of the finest solo performers of his generation” (NY Times).

Born into a family with ancestral claims to the invention of the instrument, Amjad Ali Khan is the master of the sarod, a deep-voiced cousin to the sitar with a bottomless sound. “Using nails rather than fingertips,” says The Washington Post, “is just one of the complications of Khan’s approach to the notoriously challenging Indo-Persian instrument.” Yet he effortlessly coaxes out beautiful melodies, which have enchanted international audiences since the 1960s.

Now North India’s most popular musician brings his sons — rising sarodists Amaan Ali Khan and Ayaan Ali Khan —for an evening of magnificent ragas, Indian folk tunes, and gracious improvisation, proving yet again that “great Indian music can be as exciting as classic blues and rock” (The Guardian).

Stanford’s St. Lawrence String Quartet, favored by leading composers such as John Adams and Osvaldo Golijov, forges lasting connections with audiences by virtue of its innate musicality and heartfelt presentation. St. Lawrence returns to Duke Performances with the superb pianist Stephen Prutsman, who embraces classical, pop, and jazz idioms. To commemorate the approaching anniversary of the composer’s birth, the concert begins with Britten’s String Quartet No. 2, a sonata-form homage to Henry Purcell. It continues with a profound new piece by the Pulitzer Prize winner Ellen Taaffe Zwilich and ends with the fireworks finale of César Franck’s sensuous Piano Quintet in F Minor.

FRIDAY, FEBRUARY 1, 2013 • 8 PMPAGE AUDITORIUM


SATURDAY, FEBRUARY 2, 2013 • 8 PMREYNOLDS INDUSTRIES THEATER


AMJAD ALI KHAN, SARODWITH

AMAAN ALI KHAN& AYAAN ALI KHAN

ST. LAWRENCESTRING QUARTET

FEATURINGSTEPHEN PRUTSMAN, PIANO

PROGRAM:BRITTEN: String Quartet No. 2 in C Major, Op. 36ELLEN TAAFFE ZWILICH: New WorkFRANCK: Piano Quintet in F Minor (w/ Stephen Prutsman, piano)

“THE FINEST LIVING EXPONENT OF THE SAROD”—THE GUARDIAN

Step

hen

Prut

sman

CHINA NATIONAL SYMPHONY ORCHESTRAFEATURING CHUANYUN LI, VIOLIN

THURSDAY, FEBRUARY 7, 2013 • 8 PMPAGE AUDITORIUM


At a time when large-scale classical music is unprecedentedly popular in China, Duke Performances proudly presents the China National Symphony Orchestra, an ascendant 80-piece ensemble internationally hailed as “a mature group with a vital sound” (The Times [UK]).

Chinese classical cornerstones make up the first half: the world-famous Butterfly Lovers’ Violin Concerto is for Western-style orchestra with Chinese violin techniques, courtesy of brilliant young soloist Chuanyun Li. Xia Guan’s Earth Requiem is a solemn yet uplifting elegy for an earthquake-ravaged Sichuan Province.

PROGRAM:XIA GUAN: First Movement of Earth RequiemZIANHAO HE/GANG CHEN:Butterfly Lovers' Violin Concerto (w/ Chuanyun Li, violin) BEETHOVEN: Symphony No. 7 in A Major, Op. 92

The second half turns west to Beethoven, whose cherished Symphony No. 7 in A Major is a

“floodtide of inspired invention,” says esteemed critic Anthony Hopkins. For classical music lovers, here is an opportunity to go beyond Europe with a diligent, skyrocketing ensemble.

DIAVOLO DANCE THEATERFEARFUL SYMMETRIES & TRAJECTOIRE

FRIDAY, FEBRUARY 8, 2013 • 8 PMSATURDAY, FEBRUARY 9, 2013 • 8 PM

REYNOLDS INDUSTRIES THEATER$38 • $32 • $10 DUKE STUDENTS

RESERVED SEATING

“To say Diavolo is exciting is redundant,” raves the LA Times of this gravity-defying dance company heading to Duke Performances for two different yet equally spectacular shows on consecutive nights. “They make precisely coordinated feats look improvisational, even reckless.” Founded in Los Angeles by Jacques Heim in 1992, Diavolo made international waves by mounting

athletic, finely calibrated romps on enormous kinetic sets. In Fearful Symmetries, commissioned by the LA Philharmonic with music by John Adams, dancers swarm through — and perilously swan-dive off — a giant modular cube, all while manipulating it into fantastic new shapes. In Trajectoire, they risk life and limb atop a rocking galleon, vaulting and tumbling as if tossed by rough seas.

MEOW MEOWBEYOND GLAMOUR

TUESDAY, FEBRUARY 12, 2013 • 8:15 PMWEDNESDAY, FEBRUARY 13, 2013 • 8:15 PMTHURSDAY, FEBRUARY 14, 2013 • 8:15 PM

SHEAFER LAB THEATER$22 • $10 DUKE STUDENTS


The fine old art of cabaret is a unique mélange of acting, singing, storytelling, and comedy. Its lineage spans classic nightclub Le Chat Noir and the modern La Clique, classic icon Marlene Dietrich and the modern Meow Meow. The latter mounts her diverting, lushly musical, slightly wicked show in the close confines of Sheafer Lab Theater.

A “cabaret diva of the highest order” (NY Post) who is “nothing less than revelatory” (The Australian), Meow Meow leads the vanguard of cabaret provocateurs into the 21st century, creating a character that evokes a blowsy, volatile Edith Piaf.

In Beyond Glamour, with Emmy-winning pianist Lance Horne, Meow Meow sings French chansons, Kurt Weill songs, and Astor Piazzolla tangos in a hysterical pidgin of languages, maintaining the flawless illusion of going deliciously off the rails. In this incomparable performer, a time-honored format finds its most dramatic contemporary expression.

SUNDAY, FEBRUARY 17, 2013 • 5 PMREYNOLDS INDUSTRIES THEATER


Born in Canada, now based in London, Angela Hewitt is “the preeminent Bach pianist of our time” (The Guardian). As a best-selling recording artist for Hyperion, she set a new benchmark for the complete Bach keyboard works. Now Hewitt brings her expertise to Duke Performances, with two of Bach’s wonderful French Suites and the showpiece Toccata in D Major, entwined with

PROGRAM:BACH: French Suite No. 6 in E Major BACH: Toccata in D Major, BWV 912 DEBUSSY: Pour le Piano BACH: French Suite No. 5 in G Major DEBUSSY: Suite Bergamasque DEBUSSY: L’Isle Joyeuse

ANGELA HEWITTPIANO

Debussy’s dreamy sonorities for solo keyboard. Performing with consummate decisiveness, Hewitt never fails to “imbue every musical moment with an unrelenting sense of theater” (NY Times).

BUCKWHEAT ZYDECO + C.J. CHENIERWITH THE RED HOT LOUISIANA BAND

THURSDAY, FEBRUARY 21, 2013 • 8 PMPAGE AUDITORIUM


The singer and accordionist Buckwheat Zydeco got his start backing Clifton Chenier, the “King of Zydeco.” Now he visits Duke Performances with Clifton’s enormously gifted son, C.J. Chenier. The zydeco of southwest Louisiana is quick and soulful, adding contemporary blues and R&B to the accordion-and-washboard essentials of Creole and

Cajun music. Buckwheat Zydeco leads “one of the best bands in America,” says The New York Times, “a down-home and high-powered celebration.” Likewise, C.J. Chenier “attacks the accordion with the tension and drive of James Brown” (Boston Globe). In individual sets and thrilling collaborations, the twin giants of zydeco merge for this rare co-headlining extravaganza.

“THE KIND OF CRACKLING MUSIC THAT'S BEEN MISSING SINCE THE HEYDAY OF STAX RECORDS”—WALL STREET JOURNAL

GLENN KOTCHEPART 1: ILIMAQ BY JOHN LUTHER ADAMS

PART 2: MEGAFAUN + ON FILLMORE

FRIDAY, FEBRUARY 22, 2013 • 8 PMREYNOLDS INDUSTRIES THEATER


Wilco drummer and art-music percussionist Glenn Kotche, phenomenal Alaskan composer John Luther Adams, and Durham-based Americana inventors Megafaun collide in this program of intelligent, visceral music. Kotche is a drummer and composer of “unfailing taste, technique, and discipline” (Chicago Tribune). Adams, “one of the most original musical thinkers of the new century” (The New

Yorker), famously uses drums and electronic processes to consecrate the natural world. Ilimaq, commissioned in part by Duke Performances, was born of their deep mutual admiration. For 50 minutes, Kotche drums his way through a vast, spectral landscape of live electronics and Alaskan field recordings. Megafaun opens and closes the show, first in an acoustic set and then in a collaboration with On Fillmore, the duo of bassist Darin Gray and Kotche.

John Luther AdamsMegafaun

FAURÉ QUARTETT

DANCES BY LOUIS ANDRIESSEN& ALL SOULS BY JOHN SUPKO

FEATURING ASHLEIGH SEMKIW, SOPRANO& TIMOTHY MYERS, CONDUCTOR

SUNDAY, FEBRUARY 24, 2013 • 3 PMHAYTI HERITAGE CENTER


North Carolina has lacked a high-quality outfit exclusively dedicated to showcasing new classical music — a gap that the collective of musicians and presenters called New Music Raleigh has been rapidly closing since 2009. Now this vital new organization produces an exciting concert for soprano and nine-piece chamber orchestra with Duke Performances. The leading Dutch composer Louis Andriessen, “one of the most influential figures in contemporary classical music since the mid-1970s” (NY Times), scored Dances for soprano, strings, harp, piano, and percussion. The rising Duke composer John Supko, a classically grounded postmodern theorist, offers his perspective on the same instruments in All Souls, a world premiere. With Canadian soprano Ashleigh Semkiw — a bracing new voice of tremendous dynamic subtlety — and NC Opera conductor Timothy Myers, New Music Raleigh spotlights ambitious contemporary music in the acoustically hospitable sanctuary of Hayti.

PROGRAM:LOUIS ANDRIESSEN: DancesJOHN SUPKO: All Souls(world premiere)

J. Supko L. AndriessenA. Semkiw

NEW MUSICRALEIGH

FAURÉ QUARTETT

WITH ORRIN EVANS, NASHEET WAITS & ERIC REVISFEATURING OLIVER LAKE

SATURDAY, FEBRUARY 23, 2013 • 8 PMREYNOLDS INDUSTRIES THEATER


FRIDAY, MARCH 1, 2013 • DOORS AT 8 PM; CONCERT AT 9 PMSATURDAY, MARCH 2, 2013 • DOORS AT 8 PM; CONCERT AT 9 PM



Christened in honor of the French composer Gabriel Fauré, Germany’s Fauré Quartett carries on its namesake’s conviction that chamber music is “the most authentic expression of a personality.” This Duke Performances debut features a young Beethoven’s extravagant Piano Quartet in E-flat Major, a modern Volker David Kirchner composition tailored to the Fauré’s strengths, and a lyrical

“A fine and provocative post-bop unit,” says The New York Times, “Tarbaby does what it wants.” The jazz combo earns its prerogative with an impeccable pedigree. Pianist Orrin Evans is a “poised artist with . . . ideas at his command” (NY Times). Drummer Nasheet Waits, son of jazz legend Freddie Waits, is a key member of Jason Moran’s Bandwagon. Bassist Eric Revis, a longtime Branford Marsalis collaborator, “stretches the jazz fabric without ripping it apart” (Jazz Times). Saxophonist Oliver Lake is an elder statesman of the jazz avant-garde.

PROGRAM:BEETHOVEN: Piano Quartet in E-flat Major, Op. 16VOLKER DAVID KIRCHNER: Piano Quartet (dedicated to the Fauré Quartett)STRAUSS: Piano Quartet in C Minor, Op. 13

incursion into chamber music by a 20-year-old Strauss. If full-time piano quartets are uncommon, then discovering one as inspired and “emotionally explosive” (Daily Telegraph) as the Fauré is a special delight.

Tarbaby absorbs everything from Thelonious Monk and Charles Mingus to John Coltrane and Ornette Coleman, sending it all back in torrents of molten musicianship. For two nights at the Casbah, get scorched by a group that “interacts beautifully” and “makes every second count” (Jazz Times).

TARBABY

PROGRAM:BRAHMS: Sonatensatz (Scherzo from the F-A-E-Sonata) SCHUMANN: Violin Sonata No. 1 in A Minor, Op. 105 FALLA: Suite Populaire Espagnole (arr. Paul Kochanski) KURTAG: Three Pieces ADAMS: Road Movies

LEILA JOSEFOWICZVIOLIN

WITH JOHN NOVACEK, PIANO

FRIDAY, MARCH 8, 2013 • 8 PMREYNOLDS INDUSTRIES THEATER


A favored accomplice of major composers such as John Adams, Oliver Knussen, Thomas Adès, and Esa-Pekka Salonen, the incandescent violinist Leila Josefowicz is a “fiery presence” with a “muscular but poised” style (NY Times). A MacArthur Fellow in 2008 at age 30, Josefowicz has only grown sharper in the five years since receiving the award.

In this uncommon Duke Performances spotlight on solo violin, Josefowicz pairs Brahms’ enduring F-A-E Sonata with Schumann’s psychologically complex Violin Sonata No. 1. Then, Spanish composer Manuel de Falla’s delightful songs and Kurtag’s austerely textured Three Pieces lead into the thrumming conclusion of Josefowicz’s calling card, the John Adams favorite, Road Movies.

AFRO-CUBAN ALL-STARS

ANA MOURA

SATURDAY, MARCH 23, 2013 • 8 PMPAGE AUDITORIUM


FRIDAY, MARCH 29, 2013 • 8 PMCAROLINA THEATRE OF DURHAM


Cuban dance music’s greatest champion is Sierra Maestra founder Juan de Marcos González, the “Quincy Jones of Cuba.” The singer and tres-player’s big band, the Afro-Cuban All-Stars, “represents the cream of Cuba’s instrumentalists” (All Music Guide). Its 1997 album, A Toda Cuba Le Gusta, was

Fado music resembles American blues in its soulful candor, wringing shades of bittersweet longing from the voice and the 12-string Portuguese guitar. Formerly deemed déclassé, like bachata and tango before it, fado is now a worldwide sensation, thanks in no small part to the young luminary Ana Moura.

the first to be recorded during the legendary Buena Vista Social Club sessions, while 2005’s Grammy-nominated Step Forward was “a bold new statement for the future” (All Music Guide). With invigorating singing, horns, piano, guitars, drums, and a variety of traditional Cuban instruments, four generations of musicians whip everything from bolero to salsa into a learned but boundless dance, local in its substance and universal in its appeal.

Moura grew up singing in the fado houses of Lisbon before stepping up, armed with a flexible reverence for tradition, to the world stage. With her gorgeously smoky voice and commanding personal magnetism, she “[makes] each song a series of small dramatic surges” (NY Times), sparkling with “glimmers of hope, hints of sensuality, passages of melancholy, glints of determination.” With an acoustic bassist and six-string guitarist augmenting the traditional guitarra Portuguesa, Moura’s music will sound ultimately rich in the Carolina Theatre, an unusually compact venue for a star of her magnitude.

TIFT MERRITT + SIMONE DINNERSTEINNIGHT RECORD RELEASE

THURSDAY, APRIL 4, 2013 • TWO SHOWS: 7 PM & 9 PMFIRST PRESBYTERIAN CHURCH OF DURHAM


In 2011, Brooklyn-based classical pianist Simone Dinnerstein and North Carolina’s patron saint of Americana, Tift Merritt, premiered Night at Reynolds Theater. Now they return to Durham to re-envision their groundbreaking song cycle of classics and commissions, celebrating Night’s record release on Sony Classical with two back-to-back shows.

Merritt, a “reliable and heartbreaking” (River Front Times) vocalist and guitarist, and Dinnerstein, a Bach specialist of “arresting freshness and

subtlety” (Time), chart an unsuspected territory between J.S. Bach and Cat Stevens, Henry Purcell and Allen Toussaint, old Europe and new America. This intimate staging at First Presbyterian features new collaborative covers and solo performances, revealing further luminous shades in this star-filled Night.

PROGRAM:FRIDAY PROGRAM:BARTÓK: String Quartet No. 1BARTÓK: String Quartet No. 3BARTÓK: String Quartet No. 5

SATURDAY PROGRAM:BARTÓK: String Quartet No. 2BARTÓK: String Quartet No. 4BARTÓK: String Quartet No. 6

RICHARD SMALLWOOD& VISION

TAKÁCS QUARTET • BARTÓK CYCLE

SATURDAY, MARCH 30, 2013 • 8 PMCAROLINA THEATRE OF DURHAM


FRIDAY, APRIL 5, 2013 • 8 PMSATURDAY, APRIL 6, 2013 • 8 PMREYNOLDS INDUSTRIES THEATER


Composer and pianist Richard Smallwood is gospel’s singular visionary. A Gospel Music Hall of Famer whose songs are as likely to be recorded by Aretha Franklin as Yolanda Adams, Smallwood makes the choir sound like a symphony, layering endlessly subtle shadings and textures into a music of magisterial exaltation.

A world-class ensemble of Hungarian origin, the Takács Quartet performs the complete string quartets of Hungary’s greatest composer in this two-night concert event.

Now based at the University of Colorado, the Quartet wears the music of Béla Bartók like “an old but beautifully tailored coat” (Sydney Morning Herald). Their “sharply etched phrasing” and “witty vehemence” (NY Times) highlight the

Smallwood founded the first gospel group, the Celestials, at Howard University, where he studied voice, piano, and ethnomusicology. He became one of gospel music’s leading recording artists in the 1980s, with the Billboard Chart-smashing The Richard Smallwood Singers and the Grammy-nominated Textures and added new standards such as “Center of My Joy” to the canon. Now Smallwood brings the 21 majestic voices of Vision to the luxurious but comfortable Carolina Theatre, in the heart of Durham, for an evening of conceptually dazzling, musically riveting praise.

spirited humor and sprightly folk traditions in these 20th-century masterpieces. Explore the entire triumphant cycle with erudite musicians whose “buoyant rhythms, seamless ensemble, and sheer immediacy,” says The Times (UK), “put them in a class of their own.”

GRETCHEN PARLATOQUARTET

FRIDAY, APRIL 12, 2013 • DOORS AT 8 PM; CONCERT AT 9 PMSATURDAY, APRIL 13, 2013 • DOORS AT 8 PM; CONCERT AT 9 PM

MOTORCO MUSIC HALL$24 • $10 DUKE STUDENTS


With her crystalline voice and “deep, almost magical connection to the music” — says Herbie Hancock — the young jazz singer Gretchen Parlato is the cream of the crop. “Naturally restrained and controlled, more Ella Fitzgerald than Sarah Vaughn” (NY Times), this Thelonious Monk International Jazz Competition

winner puts her inimitable imprint, tinged with Brazilian music and R&B, onto the classic jazz songbook. At Motorco, an accessible venue where Parlato will shine, piano, bass, and drums provide sultry support for “the most original jazz singer in a generation” (Boston Globe).

BRAD MEHLDAU

+CHRIS THILE

THURSDAY, APRIL 11, 2013 • 8 PMCAROLINA THEATRE OF DURHAM


Mandolinist Chris Thile (Nickel Creek, Punch Brothers) and pianist Brad Mehldau, “a graceful powerhouse” (NY Times), are both virtuosos who record for Nonesuch Records. Both boldly mix their respective areas of expertise — bluegrass and jazz — with influences from Radiohead to Bach. Now these kindred spirits combine their dazzling imaginations in an evening of classical transcriptions, pop covers, and original songs for mandolin and piano. The Carolina Theatre will ring out with elaborate melodies, exceptional singing, and knockout improvisations from a dynamic pair that translates open-mindedness into thrilling musical expression.

Kenny Barron, “the most lyrical piano player of our time” (Jazz Weekly), honed his faultless touch with Dizzy Gillespie in the ‛60s and Stan Getz in the ‘80s. Dave Holland, a double bassist who defined fusion with Miles Davis and free jazz with Sam Rivers, “[expresses] his point of view with gracious clarity, drawing out the best from his partners” (NY Times).

Now two of the most gifted, transformative musicians in jazz over the last half-century follow in the footsteps of revered piano and bass duos such as Hank Jones and Charlie Haden. At Reynolds Theater, witness two undisputed masters engage in an elegant and rare exchange of well-tempered ideas.

FRIDAY, APRIL 26, 2013 • 8 PMREYNOLDS INDUSTRIES THEATER


KENNY BARRON+DAVE HOLLAND

ALEXANDER STRINGQUARTET

SATURDAY, APRIL 27, 2013 • 8 PMREYNOLDS INDUSTRIES THEATER


PROGRAM:MOZART: String Quartet No. 23 in F Major, K. 590 SHOSTAKOVICH: String Quartet No. 7 in F-sharp Minor, Op. 108SCHUBERT: String Quartet No. 14 in D Minor, D. 810, Death and the Maiden

The first American ensemble to win the London International String Competition, San Francisco’s Alexander String Quartet is “one of those estimable groups who treat both composers and audiences with uncommon respect” (San Francisco Examiner). This is apparent in a thoughtful and thorough Duke Performances program that begins at the 18th-century origins of the string quartet, leaps forward to a 20th-century Shostakovich masterpiece, and then doubles back to the 19th-century with Schubert. Growing “deep in its element, firm in its stride” (LA Times), the West Coast’s premier string quartet only keeps getting better.

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For more than four decades, Duke’s resident string quartet — the “intelligent and sure” (NY Times) Ciompi — has cultivated a sterling international reputation while enriching Durham through performance and pedagogy. With unflagging musicality and charm, the Ciompi returns for a 2012/13 season filled with essential string quartets,

CIOMPIQUARTET

little-known discoveries, forward-thinking premieres, and esteemed collaborators such as classical guitarist Eliot Fisk and cellist Ashley Bathgate. In the acoustically pristine Nelson Music Room, celebrate a local chamber music institution’s legacy of “probing artistry . . . remarkable poise and control” (Cleveland Plain Dealer).

CIOMPI CONCERT NO. 1 FEATURING ELIOT FISK, GUITARSATURDAY, SEPTEMBER 29, 2012 • 8 PMNELSON MUSIC ROOM$20 • $10 ALL STUDENTSGENERAL ADMISSION SEATING

PROGRAM:HAYDN: String Quartet in C Major, Op. 76, No. 3, Emperor TEDESCO: Quintet for Guitar and String Quartet, Op. 143 (w/ Eliot Fisk, guitar) BEETHOVEN: String Quartet in F Major, Op. 59, No. 1, Razumovsky

CIOMPI CONCERT NO. 2 FEATURING ALLAN WARE, CLARINETSUNDAY, OCTOBER 28, 2012 • 5 PMNELSON MUSIC ROOM$20 • $10 ALL STUDENTSGENERAL ADMISSION SEATING

PROGRAM:FRANK BRIDGE: 3 Novelletten for String QuartetKURTAG: 12 Microludes for String Quartet BRAHMS: Quintet for Clarinet and Strings, Op. 115 (w/ Allan Ware, clarinet)

CIOMPI CONCERT NO. 3 FEATURING JEREMY BEGBIE, PIANOSUNDAY, JANUARY 27, 2013 • 5 PMNELSON MUSIC ROOM$20 • $10 ALL STUDENTSGENERAL ADMISSION SEATING

PROGRAM:SCHUBERT: String Quartet No. 7 in D Major, D. 94 CHRISTOPHER THEOFANIDIS: Quintet for Piano and Strings (w/ Jeremy Begbie, piano) TCHAIKOVSKY: String Quartet No. 2 in F Major, Op. 22

CIOMPI CONCERT NO. 4 FEATURING ASHLEY BATHGATE, CELLO; JAMES TOCCO, PIANOSATURDAY, APRIL 20, 2013 • 8 PMNELSON MUSIC ROOM$20 • $10 ALL STUDENTSGENERAL ADMISSION SEATING

PROGRAM:MOZART: String Quartet No. 21 in D Major, K.575 SCOTT LINDROTH: String Quartet (world premiere; w/ Ashley Bathgate, cello) ENESCU: Piano Quintet in A Minor, Op. 29 (w/ James Tocco, piano)

REYNOLDSINDUSTRIES THEATER

Reynolds Industries Theater is a midsized proscenium house with a dramatic stadium slope and a polished, oaky ambiance.

Bryan University Center125 Science DriveDurham, NC 27708dukeperformances.org

SHEAFERLAB THEATER

Simple yet versatile, the Bryan Center’s Sheafer Lab is a black-box theater ideal for small-scale productions.

Bryan University Center125 Science DriveDurham, NC 27708dukeperformances.org

FIRST PRESBYTERIANCHURCH OF DURHAM

The majestic sanctuary of First Presbyterian, a brick-clad downtown Durham landmark, features vaulted ceilings and a towering altar.

305 East Main StreetDurham, NC 27701firstpres-durham.org

PAGEAUDITORIUM

Page is a grand auditorium that provides excellent vantages from its ample orchestra seating and overhanging balcony.

402 Chapel DriveDurham, NC 27708dukeperformances.org

FLETCHER HALLAT THE

CAROLINA THEATRE

Fletcher is a sizeable, comfortable hall in the historic Carolina Theatre that features parallel balconies and striking Beaux-Arts décor.

309 West Morgan StreetDurham, NC 27701carolinatheatre.org

PSI THEATERAT THE

DURHAM ARTS COUNCIL

Located in the Durham Arts Council building, PSI Theater is a small yet bright and open multi-use performance space.

120 Morris StreetDurham, NC 27701durhamarts.org

NELSONMUSIC ROOM

The Nelson Music Room is an intimate, acoustically pristine recital hall with natural wood bathed in soft lighting.

1304 Campus DriveDurham, NC 27708dukeperformances.org

HAYTIHERITAGE CENTER

Retaining the ambiance from its history as an AME church, the Hayti Heritage Center houses pew seating and beautiful stained-glass windows.

804 Old Fayetteville StreetDurham, NC 27701hayti.org

MOTORCOMUSIC HALL

In the heart of Durham’s thriving Central Park district, this roomy nightclub offers a cavernous concert space and an outdoor bar.

723 Rigsbee AvenueDurham, NC 27701motorcomusic.com

From formal halls and adaptable theaters to intimate nightclubs and church sanctuaries, Duke Performances finds ideal venues for diverse artists and audiences in high-quality venues around Duke and Durham.VENUES:

CASBAHDURHAM

The Casbah, a nightclub in downtown Durham, sports a full bar and a long, narrow layout that focuses the room toward the stage.

1007 West Main Street Durham, NC 27701casbahdurham.com

DUKE CHAPEL

A West Campus landmark, Duke Chapel accommodates large audiences below a 210-foot spire and a 50-bell carillon.

401 Chapel DriveDurham, NC 27708chapel.duke.edu

SARAH P. DUKEGARDENS

Occupying 55 acres on West Campus, Duke Gardens provides a breath of fresh air with spacious lawn seating in a lush outdoor setting.

420 Anderson StreetDurham, NC 27708hr.duke.edu/dukegardens

At Duke Performances, world-class shows are just the beginning. In our residency series, visiting artists offer auxiliary events in downtown bars and campus halls across Durham. Talks and workshops provide fascinating vantages into the processes behind the productions.

Our artists-in-residence for 2012/13 already include Anonymous 4, Mike Daisey, Diavolo Dance Theater, Leila Josefowicz, David Lang, Steven Mackey, Meow Meow, Meredith Monk, Oliver Mtukudzi, and the Takács Quartet, with further artists and events to be added throughout the season. Updated information on dP’s residency series can be found at www.dukeperformances.duke.edu/artist-in-residence.

ARTIST-IN-RESIDENCEAT DUKE PERFORMANCES

THE REST OF THE STORY

$10 — AN AMAZINGSTUDENT TICKET PRICE

In a remarkable arrangement with the University Provost, Duke undergraduate and graduate students can purchase tickets to any Duke Performances event for just $10. Still the best deal in town, this small increase to student ticket prices is necessary to better cover the actual cost of performances.

Limit of two $10 tickets per student for each presentation. Quantities of available $10 student tickets will be limited on a show by show basis. Student ID required at time of purchase.

FOR TICKETS, FULL PROGRAM DETAILS & OTHER IMPORTANT INFORMATIONWWW.DUKEPERFORMANCES.ORG

ONLINELog on to Duke Performances’ website anytime atwww.dukeperformances.org or visit the University Box Office website at www.tickets.duke.edu. Credit card orders only.

25% PICK-FOUR DISCOUNTTake 25% off your total price when you simultaneously purchase tickets to four or more shows from Duke Performances’ 2012/13 season.*

*Note: Because of Ticketmaster’s exclusive agreement with the Carolina Theatre, Duke Performances’ co-presentations of Béla Fleck + the Marcus Roberts Trio, Ana Moura, Richard Smallwood & Vision, and Brad Mehldau + Chris Thile are excluded from Pick-Four. However, the purchase of a Pick-Four package comes with a discount code — redeemable online, by phone, or at the Carolina Theatre box office — worth 25% off tickets to dP concerts at the Carolina Theatre.

RECITAL SERIESEliot Fisk, guitar [$30] • Rafal Blechacz, piano [$30] • Piotr Anderszewski, piano [$30] • Joyce Yang, piano [$30] • Angela Hewitt, piano [$30] • Leila Josefowicz, violin [$30]Regular price: $180. Series discount price: $130.

ESSENTIAL CLASSICSPackage includes best available reserved seats in Page Auditorium and special reserved seating for Tenebrae’s performance in Duke Chapel.Tenebrae [$28] • New Century Chamber Orchestra, feat. Nadja Salerno-Sonnenberg, violin [$42] • China National Symphony Orchestra, feat. Chuanyun Li, violin [$52]Regular price: $122. Series discount price: $80

CHAMBER ARTS SOCIETY OF DURHAMSchumann Trio [$30] • Emerson String Quartet [$30] • Belcea Quartet [$30] • JACK Quartet, feat. Steven Mackey, electric guitar [$30] • St. Lawrence String Quartet, feat. Stephen Prutsman, piano [$30] • Fauré Quartett [$30] • Takács Quartet [$30] • Alexander String Quartet [$30]Regular price: $240. Series discount price: $150.

CIOMPI QUARTET SERIESCiompi Quartet Concert No. 1, feat. Eliot Fisk, guitar [$20] • Ciompi Quartet Concert No. 2, feat. Allan Ware, clarinet [$20] • Ciompi Quartet Concert No. 3, feat. Jeremy Begbie, piano [$20] • Concert No. 4, feat. Ashley Bathgate, cello; James Tocco, piano [$20]Regular price: $80. Series discount price: $60.

BY PHONECall the University Box Office between Monday and Friday, 11 am to 6 pm, 919-684-4444. Credit card orders only.

IN PERSONVisit the University Box Office in the top level of the Bryan Center on Duke University’s West Campus between Monday and Friday, 11 am to 6 pm. Box office will open at performance venues one hour prior to the start of each show.

DUKE PERFORMANCES’ CLASSICAL MUSIC DISCOUNTSIn addition to the Pick-Four, we offer the following discounts on our classical music series:

ORDERING TICKETS

TICKET ON-SALE DATESDuke Performances 2012/13 season ticket packages — including the Pick-Four, Chamber Arts Society, Essential

Classics, Recital Series, and Ciompi Quartet Series — will go on sale TUESDAY, JUNE 26, AT 11 AM.Single tickets to events on the 2012/13 season will go on sale TUESDAY, JULY 17, AT 11 AM.

Duke student tickets will go on sale TUESDAY, AUGUST 21, AT 11 AM.

10% DUKE EMPLOYEE DISCOUNTEvery Show, All Season, Take Advantage

Advance sales only; employee discount is not available at the door on the day of show.

DIRECTIONS & PARKINGFor full driving directions and parking information, please visit www.dukeperformances.org and click on the button marked Venues.

LATE SEATING POLICYPlease allow enough time to park, claim your tickets, and get seated before the start-time of performances. Latecomers will be seated at the discretion of the house manager and Duke Performances staff with respect for the performers and other patrons.

LOST TICKETSIf you lose your tickets and need replacements, please call the University Box Office, 919-684-4444.

PERFORMANCE CHANGES& PERFORMANCE CANCELLATIONPrograms are subject to change without notice for reasons outside the control of Duke Performances. If a performance is cancelled, you will be notified as early as possible and offered either an exchange or a refund. Join our email list or check www.dukeperformances.org for the most up-to-date information regarding performances.

REFUNDSTickets are nonrefundable except in the case of cancelled events.

IF YOU ARE UNABLE TO ATTENDIf you are unable to attend a program for which you hold tickets, you may donate those tickets in person to the University Box Office for a tax credit (no refunds). In order to qualify for the tax credit, the Box Office must receive refund requests at least 24 hours prior to the scheduled performance.

VOLUNTEER FOR dPDuke Performances welcomes volunteer ushers for its events. Volunteers provide a valuable service and are able to see performances free of charge. Ushering requires a time commitment both before and after the performance; precise responsibilities will vary. For information about becoming a volunteer usher, please email the usher coordinator at [email protected].

WEBSITE & EMAIL UPDATESVisit dukeperformances.org for updates on the series. We also encourage you to join our email list, accessible through the website. We use this list in addition to our website to update ticketholders about changes to the series.

ACCESSIndividuals with disabilities who need additional accommodation or who have questions about physical access should contact the Duke University Box Office at 919-684-4444 prior to ordering tickets.

FUNDING THANKS TODuke University Office of the President Duke University Office of the Provost Duke University Office of the Vice-Provost for the Arts,Armentrout Endowment for the Visual and Performing Arts Artist Residency Endowment Fund Artists Series Enhancement Endowment Fund Blackburn Performing Arts FundCharles M. and Shirley F. Weiss Fund for Creativity in the Arts Edith London Endowment Fund Eleanor Naylor Dana Endowment Fund Ella Fountain Pratt Cultural Affairs EndowmentErnest W. Nelson Endowment Fund Frances and E.T. Rollins, Jr. Endowment Fund Friends of Duke Performances Henry David Epstein Endowment Fund J.J. and Ruth M. Blum Endowment Fund Les Brown Endowment FundNancy Hanks Resident Fellows Endowment Fund Patrick M. and Catherine Greer Williams Endowment Fund Robert and Margaret Boyer Endowment Fund

TICKETING DETAILS FOR DUKE PERFORMANCES’ CONCERTSAT CAROLINA THEATRE OF DURHAM

Carolina Theatre of Durham 309 West Morgan Street, Durhamwww.carolinatheatre.org | 919-560-3030

Tickets for Duke Performances’ presentations at the Carolina Theatre may be purchased through the Carolina Theatre website (www.carolinatheatre.org), by calling 919-560-3030, or by visiting the Carolina Theatre box office at 309 West Morgan Street. Tickets for Carolina Theatre performances are sold through Ticketmaster; Ticketmaster service charges will be applied.

DUKE PERFORMANCES’ ARTIST INTERVIEW BLOGTHE THREADwww.the-thread.org

Duke Performances’ interview blog, The Thread, features in-depth and exclusiveinterviews with many of the artists visiting Duke Performances’ this season — check it out.

BÉLA FLECK +THE MARCUS ROBERTS TRIO

Thursday, November 8 • 8 pm

ANA MOURAFriday, March 29 • 8 pm

RICHARD SMALLWOOD & VISIONSaturday, March 30 • 8 pm

BRAD MEHLDAU + CHRIS THILEThursday, April 11 • 8 pm

IMPORTANT INFORMATION

ON -SALE DATESTICKET

DUKE PERFORMANCES

2012/13 Season BrochureBox 90757Durham, NC 27708

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duke performances 2012/13 brochure

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