tag:blogger.com,1999:blog-278898112024-02-02T02:15:33.156-05:00Modlin Center for the ArtsThe Modlin Center for the Arts presents more than 40 world-class performing arts events as part of the ModlinArts Presents Series, five productions presented by the Department of Theatre and Dance and the University Players and Dancers, and another 23 music performances as part of the Department of Music's annual free concert series.Modlin Center for the Artshttp://www.blogger.com/profile/14328975278019065456noreply@blogger.comBlogger13125tag:blogger.com,1999:blog-27889811.post-76024344927826877832016-03-15T13:32:00.000-04:002016-03-15T13:34:56.076-04:00Lawrence Brownlee: Bel canto to Bebop <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhNSPjqMjCFJOsofq-6eD45ElwMuY7u1c-MZgbet6lzNvaLb9gZBg9tC1QN42HpiG3g05kXQQnDJQ9Ixe5Xo0Mr47rcoCcb9ZTdbC4excfKxf8OSs9BIvR8K9SL0dqmVxhTdHCcQ/s1600/Lawrence_Brownlee.pcLarrynx_Photography1.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhNSPjqMjCFJOsofq-6eD45ElwMuY7u1c-MZgbet6lzNvaLb9gZBg9tC1QN42HpiG3g05kXQQnDJQ9Ixe5Xo0Mr47rcoCcb9ZTdbC4excfKxf8OSs9BIvR8K9SL0dqmVxhTdHCcQ/s320/Lawrence_Brownlee.pcLarrynx_Photography1.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lawrence Brownlee | Photo Credit: Derek Blanks</td></tr>
</tbody></table>
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<b><span style="font-family: inherit;">By Linda Fairtile</span></b></div>
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<span style="font-family: inherit;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 12pt;"><br />Bel canto</span></i><span style="font-size: 12pt;"> and Bebop might seem to be musical worlds apart.</span><span style="color: black; font-size: 12pt;"><span style="mso-spacerun: yes;"> </span>One grew out of the Italian tradition of
beautiful, florid singing, while the other originated in smoky New York jazz
clubs.<span style="mso-spacerun: yes;"> </span>And yet tenor Lawrence Brownlee is
identified with both.<span style="mso-spacerun: yes;"> </span>As one of today’s leading
opera singers, Brownlee specializes in the music of Gioachino Rossini, which
requires an unusually high voice of exceptional beauty and flexibility.<span style="mso-spacerun: yes;"> </span>The tenor made his professional stage debut –
at the Virginia Opera! – as Count Almaviva in Rossini’s <i style="mso-bidi-font-style: normal;">The Barber of Seville</i>, which has now become his signature
role.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<span style="color: black; font-size: 12pt;"><span style="font-family: inherit;">Brownlee
is also identified with another role, that of jazz musician Charlie
Parker.<span style="mso-spacerun: yes;"> </span>Last year, he portrayed the
iconic saxophonist to wide acclaim in the world premiere of Daniel Schnyder’s
opera <i style="mso-bidi-font-style: normal;">Yardbird</i>.<span style="mso-spacerun: yes;"> </span>Perhaps surprisingly, the jazz riffs and scat
singing required for this part serve a similar musical purpose as the ornate
runs and improvised embellishments of <i style="mso-bidi-font-style: normal;">bel
canto</i> opera.<span style="mso-spacerun: yes;"> </span>In fact, <i style="mso-bidi-font-style: normal;">The New York Times</i> likened Brownlee’s
performance as Parker to “jazzy Rossini.”<o:p></o:p></span></span></div>
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<span style="color: black; font-size: 12pt;"><span style="font-family: inherit;">Growing
up in Youngstown, Ohio, Brownlee played the bass, drums, trumpet, and
piano. He discovered classical singing
almost accidentally, after receiving a few voice lessons in junior high school. As an African-American operatic tenor,
Brownlee has had few role models. While sopranos
Leontyne Price and Jessye Norman achieved international success in the 1960s
and 70s, until recently, romantic lead roles were seldom assigned to male singers
of color. In addition, the <i>bel canto</i> repertoire, which ideally
suits Brownlee’s voice, had largely fallen out of fashion due to a shortage of singers
capable of performing it. But thanks to
Lawrence Brownlee, and fellow tenors Juan Diego Flórez and Javier Camarena, we
are now enjoying what critic Zachary Woolfe has called “a new golden age in
high male voices.” </span><span style="font-family: "times new roman";"><o:p></o:p></span></span></div>
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<span style="color: black; font-size: 12pt;"><span style="font-family: inherit;">Lawrence Brownlee will perform at the Modlin Center Saturday, March 19 at 7:30pm in Camp Concert Hall. Tickets and information can be found at <a href="http://modlin.richmond.edu/">modlin.richmond.edu</a>, the Modlin Center box office, or by phone at (804) 289-8980.</span></span></div>
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<span style="background-color: white; color: #3d3d3d; line-height: 18.2px;"><span style="font-family: inherit;"><b>More about Linda Fairtile</b><br />Linda Fairtile is the University of Richmond's liaison librarian for music, theatre, dance, and Italian studies, as well as a musicologist who specializes in Italian opera. She is the co-director of the American Institute for Verdi Studies at New York University and has appeared as a panelist on the Texaco Metropolitan Opera Quiz radio broadcasts.</span></span></div>
Anonymoushttp://www.blogger.com/profile/14295580050565458888noreply@blogger.com0tag:blogger.com,1999:blog-27889811.post-69262595081287683192013-04-12T15:59:00.001-04:002013-04-12T16:00:35.786-04:00UR Jazz Ensemble and Contemporary Combos<br />
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<span style="font-family: Times, 'Times New Roman', serif; font-size: large;">Professor of music and director of the jazz program at Richmond, Dr. </span><span style="font-family: Times, 'Times New Roman', serif; font-size: large; white-space: pre-wrap;">Michael Davison, invites you to the coming jazz and contemporary combos concert, a part of the free music series at the University of Richmond. The event will be held on </span><span style="font-family: Times, 'Times New Roman', serif; font-size: large; white-space: pre-wrap;">Monday, April 15 in </span><span style="font-family: Times, 'Times New Roman', serif; font-size: large; white-space: pre-wrap;">Camp Concert Hall at </span><span style="font-family: Times, 'Times New Roman', serif; font-size: large; white-space: pre-wrap;">7:30p.m, and is free! </span><br />
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<a href="http://modlin.richmond.edu/_common_KP3/images/modlin/events/large/2012-large/dom-generic.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Times, Times New Roman, serif;"><img border="0" height="156" src="http://modlin.richmond.edu/_common_KP3/images/modlin/events/large/2012-large/dom-generic.jpg" width="320" /></span></a></div>
<span style="font-family: Times, Times New Roman, serif;"><br /></span><span style="font-family: Times, Times New Roman, serif;">The Jazz & Contemporary Combos concert is a lot like Richmond weather: wait 10 minutes, and it will change! The semester’s ending concert – April 15, in Camp Concert Hall – will begin at 7:30 and include six different University of Richmond student groups. Charles Arthur will perform and lead his American Roots Ensemble, showcasing the music of Booker T & the MGs, as well as other early American blues pioneers. Charles will also present his Bluegrass Ensemble, pickin’ and grinnin’ through a few rousing renditions of classic American folk songs. Dr. David Esleck leads showcase two jazz combos: The Black & White Band and The Checkerboards. These two groups will perform a mix of swing, bebop and fusion. The Black & White Band will perform Claude Bolling’s Suite for Flute and Jazz Piano. This is a classical work, composed in a jazz style, featuring Katherine Cook on flute. A new addition to the concert this year, will be the UR Post-Fusion Ensemble, led by bass instructor, Randall Pharr. The group will perform post-60s jazz music - jazz mixed with rock, Latin, R&B and funk. Randall will perform bass with this group. Once again, I will perform and lead my student ensemble, the Little Big Band, through a couple of Latin jazz favorites. Don’t miss this concert. It showcases a wide range of talents by many University of Richmond students.<br /> </span><span style="font-family: Times, Times New Roman, serif;"><br /></span><span style="font-family: Times, Times New Roman, serif;">See you on April 15th. Check the weather before you leave home!</span><br />
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<a href="http://music.richmond.edu/_common_/images/faculty-staff-bio/as/mike_davison.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Times, Times New Roman, serif;"><img border="0" src="http://music.richmond.edu/_common_/images/faculty-staff-bio/as/mike_davison.jpg" /></span></a></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: #fefdfa; color: #333333; line-height: 18px;">Distinguished trumpeter Dr. Michael Davison is a University of Richmond Music Professor and Director of Jazz Ensemble. Davison is a legendary performer, respected professor, published composer, and ethnomusicologist. Davison’s love of music has shaped his life and career. He is in demand across the country as a classical and jazz performer and educator. As a performer, he has given jazz and classical recitals all over the United States as well as in parts of France, the Netherlands, Spain, South Africa, China and Cuba. Davison has recorded four jazz CDs as both a leader and sideman. His classical CD, Fenster, received rave reviews from the International Trumpet Guild Journal. Widely considered an expert in Cuban music, he performs and teaches Cuban music at the University of Richmond and worldwide. As a jazz musician, Davison has performed with the late tenor </span><span style="background-color: #fefdfa; color: #333333; line-height: 18px;">saxophonist and 11-time Grammy winner, Michael Brecker, popular jazz trombonist, Curtis Fuller and legendary Latin jazz saxophonist and composer, Justo Almario. He has also performed alongside some of Motown’s most iconic singers and groups, including Natalie Cole, Aretha Franklin, the Temptations and The Four Tops. As a classical musician, Davison has performed with Rhythm and Brass, a group that plays everything from Bach to Pink Floyd. He has performed with the Wisconsin and Whitewater Brass Quintets, the Rochester Philharmonic, Wisconsin Symphony, Wisconsin Chamber Orchestra, and the Richmond Symphony. Davison has performed for Pope John II and George Leonard Carey, Archbishop of Canterbury.</span></span></div>
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Modlin Center for the Artshttp://www.blogger.com/profile/14328975278019065456noreply@blogger.com0tag:blogger.com,1999:blog-27889811.post-31479239830878248322013-04-09T11:12:00.000-04:002013-04-09T11:12:18.613-04:00Global Sounds<b id="internal-source-marker_0.4602453405968845" style="font-weight: normal;"></b><br />
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<span id="internal-source-marker_0.4602453405968845"> Visiting Assistant Professor Dr. Paul Yoon previews the Global Sounds performance on </span>Saturday, April 13, 2013 at 3:00 p.m. The event is free and will be hosted in the University of Richmond Greek Theater. </h3>
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<b id="internal-source-marker_0.4602453405968845" style="font-weight: normal;"><span style="font-family: Cambria; font-size: 16px; vertical-align: baseline; white-space: pre-wrap;">The university context is artificial, not in the sense that it is “false,” but rather because it synthetically concentrates a great diversity of artistic, scientific, literary, and philosophical brilliance in one place. This artificiality is something to be embraced, because the “real world” rarely affords such vast opportunities for exploration or discovery in a singular locale. The encounter with diversity and difference challenges our assumptions so that we might expand our perspective and strengthen our grasp. The Global Sounds Concert on Saturday, April 13, is the kind of “world music” showcase one might find solely on a university campus. At this concert you will find gathered musical ensembles representing Brazilian samba; vocal and instrumental sitar music from northern India; drumming traditions from the Ewe, who live in Ghana; the gongs of the Balinese gamelan; and taiko drums from Japan. After the show, audience members will have a chance to hit the drums and gamelan and talk to the performers face to face. And nearly all the performers are University of Richmond students or live in the Richmond area. </span></b></div>
<b id="internal-source-marker_0.4602453405968845" style="font-weight: normal;"><br /><span style="font-family: Cambria; font-size: 16px; vertical-align: baseline; white-space: pre-wrap;"></span></b>
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<b id="internal-source-marker_0.4602453405968845" style="font-weight: normal;"><span style="font-family: Cambria; font-size: 16px; vertical-align: baseline; white-space: pre-wrap;">One difference you might encounter at the Global Sounds Concert is the close relationship between dance and music. In truth, the combination of dance and music is more common around the world than not, and it is really Western concert halls that are the exception. Dance will be a central component to both the Indian and Balinese performances. The costuming is vibrant, and every gesture has deep cultural significance. The Japanese taiko drumming will also incorporate more elaborate choreography than one might be accustom to in a “music” performance. </span></b></div>
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<b id="internal-source-marker_0.4602453405968845" style="font-weight: normal;"><span style="font-family: Cambria; font-size: 16px; vertical-align: baseline; white-space: pre-wrap;">Some of the sounds, such as the Samba ensemble, will be more familiar and recognizable. Others will be much more densely complex than expected. The Ewe drumming, for instance, incorporates deeply interlocking, polymetric rhythms that are significantly more elaborate than those found in Western musics. Still other sounds will be much more curious. The Balinese gamelan, for example, uses an entirely unique scale system. Also, each instrument of the gamelan comes in pairs such that one instrument of the pair is slightly out of tune with the other instrument. When both instruments simultaneously strike the same note, this out-of-tuneness creates a “shimmering” effect that is very much a part of the Balinese aesthetic. </span></b></div>
<b id="internal-source-marker_0.4602453405968845" style="font-weight: normal;">
<br /><span style="font-family: Cambria; font-size: 16px; vertical-align: baseline; white-space: pre-wrap;"></span><span style="font-family: Cambria; font-size: 16px; vertical-align: baseline; white-space: pre-wrap;">The outdoor Greek Theater (weather permitting) provides a more relaxed atmosphere compared to the concert hall, and this is closer to the performance context for many of these traditions. This is always a wonderful show, and we hope to see you there. </span></b><br />
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<span style="background-color: white; color: #222222;"><span style="font-family: Georgia, Times New Roman, serif;">Paul Yoon is Visiting Assistant Professor in the Department of Music. His work primarily focuses on Asian American politics and music making practices, and he received his Ph.D. from Columbia University. Yoon is currently the director of River City Taiko.</span></span><br />
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Modlin Center for the Artshttp://www.blogger.com/profile/14328975278019065456noreply@blogger.com0tag:blogger.com,1999:blog-27889811.post-21974456314827783722013-03-26T11:42:00.002-04:002013-03-26T11:42:33.452-04:00Salsa Mania<h2>
<span style="font-family: Arial, Helvetica, sans-serif;">Trumpeter, professor of music, and director of the Little Big Band jazz ensemble, Mike Davison, previews Salsa Mania -- a night of music and dance beginning on March 30, 2013 at Richmond CenterStage. Salsa Mania will include a lecture at 6pm, dance lessons at 6:30pm, and a performance by Chris Washburn and S.Y.O.T.O.S. with special guests the UR Jazz Ensemble at 7:30pm. <a href="http://www.etix.com/ticket/online/homePageSearch.do?method=showPerformanceDetail&performance_id=1648986&search_source=etix" target="_blank">Tickets are available here</a>.</span></h2>
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<a href="http://modlin.richmond.edu/_common_KP3/images/modlin/events/large/2012-large/syotos.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="312" src="http://modlin.richmond.edu/_common_KP3/images/modlin/events/large/2012-large/syotos.jpg" width="640" /></a></div>
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<b>University of Richmond Jazz Ensemble<o:p></o:p></b></div>
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<b>& <o:p></o:p></b></div>
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<b>S.Y.O.T.O<a href="http://www.blogger.com/blogger.g?blogID=27889811" name="_GoBack"></a>.S., With Chris Washburne, trombone<o:p></o:p></b><br />
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I remember the first time I heard
the word <i>salsa</i>. It was the 70s, and I was asked to play
a gig in New York. Since<i> salsa</i> was Spanish for “sauce,” I thought
that the gig would include a meal!
Little did I know that <i>salsa</i>
is a music and dance style that began in New York City. The music is a result of the blending of
American jazz with a few styles of Cuban music including <i>son, son montuno, guaracha, cha cha cha</i><i>, mambo,</i> and <i>bolero</i>. New
York City Latin music promoter Izzy Sanabria claims to have used the <i>salsa</i> label first in his English publication,
<i>Latin New York magazine</i>, in 1973.
In spite of salsa’s sketchy etymological history, the music is a lot
like the food – it is <i>muy caliente</i>
(very hot!). Instead of mixing
tomatoes, onions, and hot peppers, you take Cuban rhythms, sprinkle in elements
of American jazz – improvisation, harmony, horn voicings, and phrasing – mix it
together and <i>presto chango</i>, you get <i>salsa – </i>the music! American jazz blended
with the Cuban music called <i>son</i> in
the 20s. <i>Son</i> is considered the perfect blend of the Spanish guitar and the
African drum, and was mixed (here goes the food metaphor, again!) and received
its <i>sabor </i>in Cuba. <i>Son
</i>has been ‘updated’ or repackaged through the years, and turned into new
styles of dance music in the United States and the world: <i>Mambo</i>
and Latin jazz in the 50s, <i>Salsa</i> in the
60s, and<i> Timba</i> in the 70s.</div>
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As Gloria Estefan sings, “The
Rhythm is Gonna Get You”… Salsa Mania is designed to get you on your feet! Saturday's
concert will feature the University of Richmond Jazz Ensemble, led by Dr. Mike
Davison, and New York’s hottest <i>salsa</i> group See You On The Other Side (S.Y.O.T.O.S) led by
trombonist and Columbia University professor, Chris Washburne.<br />
<br />
While completing my doctorate at
the University of Wisconsin – Madison, I performed in the top jazz
ensemble. Chris, who was an undergraduate
at that time, also performed in the group. After getting to know Chris’s outstanding playing, we did
not see each other for years, until we both realized that we shared a similar
interest: <i>Salsa!</i> Chris now leads
the Louis Armstrong school of Jazz and the ethnomusicology area at Columbia
University in New York City. Since
our reacquaintance, Chris has been our guest artist at the University of
Richmond and also appears in my documentary <i>Cuba:
Rhythm in Motion.</i> Chris has
performed with Tito Puente, Eddie
Palmieri, Celia Cruz, Ray Barretto, Mark Anthony, Justin Timberlake, Celine
Dion, Gloria Estefan, and the Duke Ellington Orchestra. We are very excited to have Chris and
his group perform on the Modlin Arts Series. Their blend of <i>salsa</i> is
exciting, danceable, and fun!<br />
<br />
The March 30th Salsa Mania event will include a lecture - a discussion by Chris and yours truly
about <i>salsa</i>; a <i>salsa</i> dance class taught by
Edwin Roa, and the concert. The
music is specifically designed to make you get up and dance.<br />
<br />
In America, we say that when a baby
finally stands up, she is walking.
In Cuba, they say that she is dancing! We hope you will join us for Salsa Mania! You might not eat, but you will certainly
dance!</div>
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<a href="http://music.richmond.edu/_common_/images/faculty-staff-bio/as/mike_davison.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://music.richmond.edu/_common_/images/faculty-staff-bio/as/mike_davison.jpg" /></a><span style="text-indent: 0.5in;"></span></div>
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Distinguished trumpeter Dr. Michael Davison is a University of Richmond Music Professor and Director of Jazz Ensmble. Davison is a legendary performer,
respected professor, published composer, and ethnomusicologist.
Davison’s love of music has shaped his life and career. He is in demand
across the country as a classical and jazz performer and educator. As a
performer, he has given jazz and classical recitals all over the United
States as well as in parts of France, the Netherlands, Spain, South
Africa, China and Cuba. Davison has recorded four jazz CDs as both a
leader and sideman. His classical CD, Fenster, received rave reviews
from the International Trumpet Guild Journal. Widely considered an
expert in Cuban music, he performs and teaches Cuban music at the
University of Richmond and worldwide. As a jazz musician, Davison has
performed with the late tenor saxophonist and 11-time Grammy winner,
Michael Brecker, popular jazz trombonist, Curtis Fuller and legendary
Latin jazz saxophonist and composer, Justo Almario. He has also
performed alongside some of Motown’s most iconic singers and groups,
including Natalie Cole, Aretha Franklin, the Temptations and The Four
Tops. As a classical musician, Davison has performed with Rhythm and
Brass, a group that plays everything from Bach to Pink Floyd. He has
performed with the Wisconsin and Whitewater Brass Quintets, the
Rochester Philharmonic, Wisconsin Symphony, Wisconsin Chamber Orchestra,
and the Richmond Symphony. Davison has performed for Pope John II and
George Leonard Carey, Archbishop of Canterbury.<br />
<br />
His influence as an educator goes beyond the University of Richmond
campus. Davison also serves as trumpet instructor and head of the brass
area at the world-renowned Interlochen International Arts Camp in
Interlochen, Michigan. He hosted the International Trumpet Guild
Conference in 1999 and is an Edwards Instrument Performing Artist.
Davison, along with producer Ed Tillett, completed Cuba: Rhythm in
Motion, a documentary tracing the musical genealogy between Cuban
rhythms and American jazz. The film premiered on the campus of the
University of Richmond in 2007 and has been shown around the world,
including Spain, Australia and Mexico. Dr. Davison is presently writing a
book on Cuban folk music. </div>
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<!--EndFragment-->Modlin Center for the Artshttp://www.blogger.com/profile/14328975278019065456noreply@blogger.com0tag:blogger.com,1999:blog-27889811.post-44349867828023904562013-03-18T13:36:00.001-04:002013-03-18T15:49:10.785-04:00eighth blackbird and Nico Muhly<!--[if gte mso 9]><xml>
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<b>Tim Munro of eighth blackbird introduces Nico Muhly, who will be playing with the ensemble at the Modlin Center on March 20th. <a href="http://modlin.richmond.edu/events/modlinarts-presents/8bb-spring.html" target="_blank">Tickets are available here</a>.</b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7gUyOcfWss9BxAeJjeUcSI7Z-VMiMeXn32rTAtPxl9DIxIgVoJiIWfvxzXM1LmycRcMTwiKWhKhsaDhyuAMH3U2PMvmzi8MT2DfMbLqrnv7QFJy1-ehC-uL2eIpw7zEVdWR93/s1600/NICO_RETOUCHED-1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7gUyOcfWss9BxAeJjeUcSI7Z-VMiMeXn32rTAtPxl9DIxIgVoJiIWfvxzXM1LmycRcMTwiKWhKhsaDhyuAMH3U2PMvmzi8MT2DfMbLqrnv7QFJy1-ehC-uL2eIpw7zEVdWR93/s320/NICO_RETOUCHED-1.jpg" width="213" /></a></div>
<b>"I just whip in like a tornado...."</b></div>
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Composer Nico Muhly thinks fast, talks fast, writes fast, cooks fast. Sitting still is simply not for him. One week he's writing a ballet for the Paris Opera Ballet, the next touring Australia as keyboardist/composer with Sufjan Stevens and Bryce Dessner, the next working on a hollywood film score.</div>
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A conversation with Nico is a dizzying but thrilling intellectual roller coaster ride through myriad musical, pop-cultural, culinary, philosophical, cultural worlds. Loves: international phonetic alphabet, William Byrd, Benjamin Britten, Roland Barthes and A.M. Holmes. Hates: Whole Foods and "jib-jab music" (his term for the terminally avant-garde). His compositions reflect his omnivorousness. Philip Glass, Steve Reich and John Adams may be Nico's compositional grandparents, but his music fluently speaks so many languages (indie rock, 16th- and 17th-century English choral music) that it's better to just say that Nico's music sounds like...well, like Nico.</div>
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In rehearsal, Nico is a mood-enhancing drug. He almost never says "play softer" or "it should be faster," but will riff on a wild and LSD-trip-like conjunction of musical, poetic, literary or pop-cultural images (Rihanna or Chinese cooking or Mozart or Stravinsky) to make his point.</div>
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eighth blackbird's Modlin concert is a celebration of this fascinating young star's wildly fertile imagination. It features a clutch of four diverse pieces written by Nico over the past ten years (including two works commissioned by eighth blackbird), as well as music by Glass and Reich, huge figures in Nico's musical landscape. And Nico himself will appear with eighth blackbird (on organ and toy piano!) for two pieces.</div>
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<b><span style="font-size: medium;">About Tim Munro</span> </b><br />
Born in Brisbane, Australia, Tim studied flute at Oberlin College,
Queensland Conservatorium (Australia) and Australian National Academy of
Music. His teachers included Michel Debost, Margaret Crawford and
Patrick Nolan.<br />
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Tim has played with professional orchestras, chamber groups and new
music ensembles around Australia. Highlights include concerto
performances with the Queensland Orchestra, solo performances at the
Melbourne Arts Festival and Bangalow Festival, and recordings for
Australian radio and commercial CD release. He also participated in the
Carnegie Hall Training Workshops and the Pacific Music Festival.<br />
Composers he has worked with include Elliott Carter, Oliver Knussen,
Aaron Jay Kernis, Joseph Schwantner, Tania Leon, Peter Sculthorpe and
Brett Dean.<br />
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A classical music tragic, Tim <a href="http://www.eighthblackbird.org/blog/author/tmunro/">likes to write</a> and speak about music, and in an earlier life was Publications Coordinator of the Tasmanian Symphony.</div>
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<!--EndFragment-->Modlin Center for the Artshttp://www.blogger.com/profile/14328975278019065456noreply@blogger.com0tag:blogger.com,1999:blog-27889811.post-33601570364407790072013-03-12T13:19:00.001-04:002013-03-12T13:19:14.758-04:00Russian National Ballet's "The Sleeping Beauty"
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<span style="font-family: Arial,Helvetica,sans-serif;">UR Department of Theatre and Dance's assistant director of dance, Anne Van Gelder offers some context for the Russian National Ballet's adaptation of <i>The Sleeping Beauty</i> running March 14-15 at 7:30pm. <a href="http://modlin.richmond.edu/events/modlinarts-presents/russian-national-ballet.html" target="_blank">Tickets are available here.</a></span></h2>
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<span style="font-family: Arial,Helvetica,sans-serif;">As far back as I can remember, <i style="mso-bidi-font-style: normal;">The Sleeping Beauty</i> was a favorite fairy tale of mine.<span style="mso-spacerun: yes;"> </span>The lure of a beautiful princess, a handsome
prince, magical fairies and of course, the evil, vengeful witch made for plenty
of opportunities for my sister and me to act out the story and to take on all
of the roles.<span style="mso-spacerun: yes;"> </span>It’s a fascinating fairy
tale that has been re-told in myriad genres including Marius Petipa’s iconic
ballet that premiered at the Maryinsky Theatre in St. Petersburg in 1890.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">The ballet is one of Petipa’s masterpieces because it
marries czarist spectacle though the virtuosic choreography with the
outstanding musical score by Tchaikovsky. As was his custom, Petipa wrote the
scenario for the ballet; the collaborative process involved his<span style="color: #3366ff;"> </span>giving Tchaikovsky specific choreographic action
to go with the musical phrases.<span style="mso-spacerun: yes;"> </span>He even
went as far as specifying which instruments were to be used for a particular
musical passage.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">The rapidly evolving ballet technique of the late 19<sup>th</sup>
century lent itself to spectacle and proved to be the perfect vehicle for paying
homage to the Romanov dynasty.<span style="mso-spacerun: yes;"> </span>As Petipa
was in service to the reigning czar, his version of <i style="mso-bidi-font-style: normal;">The Sleeping Beauty </i>or<i style="mso-bidi-font-style: normal;"> La
Belle au Bois Dormant,</i> is reminiscent of the court of Louis XIV, which
served to flatter the Romanovs and the St. Petersburg elite.<span style="mso-spacerun: yes;"> </span>By doing this, Petipa reinforced the notion
that the Romanov dynasty was a constant and that nothing had changed nor needed
to change since the reign of Louis XIV two centuries earlier.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Petipa’s choreography utilized the corps de ballet in grand
spatial patterns that seemed to echo those of 17<sup>th</sup> and 18<sup>th</sup>
century French court ballets.<span style="mso-spacerun: yes;"> </span>His
proclivity for composing virtuosic divertissements for the ballerina was a
means of revisiting the ornate <i style="mso-bidi-font-style: normal;">ballet `a
entrées</i> so popular during the Baroque period.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">So while we may enjoy the fairy tale from our childhood,
Petipa’s <i style="mso-bidi-font-style: normal;">The Sleeping Beauty</i> is much
more.<span style="mso-spacerun: yes;"> </span>The historic style he evokes
through authentic period processionals and dances entertained, instructed and
emotionally moved the audience while serving to flatter and reinforce the
authority of the monarchy much as the 17<sup>th</sup> and early 18<sup>th</sup>
century court dances did for Louis XIV.<span style="mso-spacerun: yes;"> </span>It
is worth noting, then, that the Russian National Ballet adaptation originates
from the Petipa version of 1890 with its grandeur, magic, opulence and
spectacle.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">The Sleeping Beauty</i> is a ballet that is not to be missed!<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="mso-spacerun: yes;"><b>ANNE NORMAN VAN GELDER Assistant Director of Dance</b> holds degrees from Virginia Intermont College (B.A.) and the University of Utah (M.F.A.) in Choreography and Pedagogy. Her career as performer, educator and choreographer has enabled her to work with Conrad Ludlow, Willam Christensen, Alun Jones, Li-Chou Cheng, Ford Evans, Richard Munro, and Tom Pazik among others and she has served as ballet mistress/régisseur for several companies. She taught beginner to advanced levels of ballet technique at the University of Utah, Virginia Intermont College and the Willam F. Christensen Center for Dance. She regularly gives master classes at the American College Dance Festival and recently gave a workshop at VCU’s School of Fine Arts. While in Utah, she created choreography for members of the U.S. Women’s Gymnastics Team and she has also created choreography for Theatre Bristol, Park City Shakespeare Festival, the Ogden Symphony and the Roanoke Symphony. She continues to study dance regularly, including Baroque dance workshops in NYC with noted historic dance experts, Thomas Baird and Paige Whitley Bauguess. Ms. Van Gelder’s choreography has been seen throughout Virginia and Utah and recently, she worked with artists of the Saratov Academic Youth Theatre on their US premiere production of <i>The Humpbacked Horse</i>, featuring dances she re-set. She created choreography for these URP&D productions: <i>Wings, The Tempest, Fiddler on the Roof</i>, <i>The Chairs </i>and <i>The Bald Soprano</i> directed by Italian director and filmmaker, Paolo Landi. Most recently, Ms. Van Gelder served as period movement stylist for the URP&D production of Moliere’s <i>The Learned Ladies</i>. She appeared as Hedy in UR’s production of <i>How to Succeed in Business Without Really Trying</i>. Ms. Van Gelder is a recipient of the Vera Volkova Award for choreography, is a member of the dramatic fraternity, Alpha Psi Omega and considers her study of dance ongoing.</span></span></div>
Modlin Center for the Artshttp://www.blogger.com/profile/14328975278019065456noreply@blogger.com0tag:blogger.com,1999:blog-27889811.post-36492475890075487012013-03-04T12:50:00.002-05:002013-03-04T12:50:34.462-05:00Black Grace Dance Company<br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">The Executive Director at the Modlin Center for the Arts, Deborah Sommers, expounds upon the New Zealand-based dance company, Black Grace, and its visionary founder, Neil Ieremia. The company is coming to the Modlin Center March 7-8. <a href="http://tickets.modlin.richmond.edu/single/psDetail.aspx?psn=525" target="_blank">Tickets are available here. </a></span></h4>
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<span style="font-family: Arial, Helvetica, sans-serif;">I first saw Black Grace Dance Company in 2004, then an all-male dance troupe, and was quite moved by the company’s work<b> – </b>a fusion of dance and cultural styles with electrifying rhythms. The dancers were of exceptional athletic ability. Today, Black Grace is not only known as New Zealand’s leading contemporary dance company, but as an internationally acclaimed group still performing powerful and expressive work that continues to inspire.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Since its inception in 1995, Black Grace has been in motion. Neil Ieremia, the Artistic Director and founder of Black Grace, was raised by Samoan parents in New Zealand. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Growing up within this context, he became interested in dance as a way to express the stories, emotions, and concerns of the contemporary Pacific Islander. To that end, <span class="s1">the term ‘black’ in Black Grace refers to the courage in the New Zealand Māori-Pacific Islander argot of the 1980s.</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Since 2005, Ieremia’s vision has extended beyond the original incarnation of the company. He describes the company’s evolution as transformative, and this has influenced both the span and vocabulary of his work, and the configuration of the dancers involved in each project. The dance troupe today consists of Pacific Islander, Samoan, and Maori male and female performers. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Through a blend of styles, Ieremia’s distinctive, rhythmically-charged, and pattern-oriented choreography addresses ideas about human nature, cultural disparities, and fosters dialogue about a world and country still separated by the cultural differences of its population. In his soul-searching exploration of identity, reflecting both his own inner search, and what it means to be the company called Black Grace, Ieremia introduces a new dance vocabulary by mixing Pacific Island traditional and contemporary dance styles. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span class="s3">Ieremia has also choreographed for the </span>Royal New Zealand Ballet, the New Zealand Symphony Orchestra and Opera New Zealand. In 2003 he was nominated for the prestigious international Rolex Mentor Programme, and in 2005 received the Arts Foundation of New Zealand Laureate Award. He has created programs for inner city youth, and he is a 2009 recipient of the Paul D. Fleck Fellowship in the Arts from The Banff Centre, Canada.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The Modlin Center’s program includes the following work, which encompasses some of the following styles.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><i>Pati Pati,</i></b> which uses body percussion influenced by traditional Samoan Sasa (seated dance) and Fa’ataupati (slap dance). </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><i>Amata Act 3 </i></b>– an excerpt from a full-length work entitled “Amata” that explores the theme of change. The piece uses compositional structure and floor patterns based on Samoan fine mats known as “ie toga.” The mat’s linear nature and weave pattern can also be found in the movement vocabulary, which is composed of various versions of a basic language phrase derived from letters, spoken conversations, arguments, and apologies. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The evening concludes with <b><i>Vaka</i></b>. This piece uses a raft as a metaphor for hope and is based on travelling and displacement. The experience of leaving home behind, saying goodbye to loved ones, and finding yourself in a new place and culture as so many immigrants have done across time is encapsulated in this piece. It was inspired by the controversial portrayal of Maori explorers in the infamous painting “The Arrival of the Maoris in New Zealand” by Louis J. Steele and Charles F. Goldie 1898. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">As Ieremia explains, “The journey of every vaka (canoe) faces challenges and danger as it navigates towards an often unknown future. We are constantly asked to evolve and adapt in order to survive. How much of ourselves do we allow to change?” Ieremia has certainly addressed this question over many years. It is a relevant question –one that many people may consider both individually and as a society in general. </span></div>
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<a href="http://modlin.richmond.edu/_common_KP3/images/modlin/Staff/Deborah-Sommers" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" src="http://modlin.richmond.edu/_common_KP3/images/modlin/Staff/Deborah-Sommers" /></span></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white;">As</span><span style="background-color: white;"> Executive Director of the Modlin Center for the Arts, Deborah Sommers is responsible for the 45-event Great Performances Series, four main stage productions by the University's theatre and dance department and the University Players and Dancers, 30 musical performances in the Department of Music's Free Concert Series, plus community events and performances throughout the year. Sommers also directs and teaches Richmond's arts management program and works with faculty across the disciplines to design academic components that coordinate with the Modlin Center's artistic programming.</span></span></div>
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<span style="background-color: white;"><span style="font-family: Arial, Helvetica, sans-serif;">Prior to joining the Modlin Center, Sommers was director of programming at Fairfield University's Quick Center for the Arts. Since 1992 Sommers has produced an 80-event season of national and international artists that attracts patrons from across the New York area. She also lead a K–12 outreach program touching 14,000 students with long- and short-term artist residencies in public schools, supervised an internship program for university students, and oversaw a children's theatre summer camp and adult summer festival chorus.</span></span><br />
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<span style="background-color: white;"><span style="font-family: Arial, Helvetica, sans-serif;">Before joining the Quick Center, Sommers was company administrator of the Performing Arts Center at the State University of New York at Purchase, coordinating the professional season programming, artists, and residencies. She also worked for the PepsiCo Summerfare Festival. A graduate of Hunter College with a bachelor's degree in music and education, Sommers subsequently earned both an M.B.A. and doctor of jurisprudence from Pace University. She is admitted to the New York and Connecticut bars and has sat on several boards and committees, including the United Nations Development Fund for Women USA-Connecticut Chapter, Fairfield Arts Council, and Connecticut Dance Alliance.</span></span><br />
<br />Modlin Center for the Artshttp://www.blogger.com/profile/14328975278019065456noreply@blogger.com0tag:blogger.com,1999:blog-27889811.post-65162547881364612532013-02-25T15:28:00.000-05:002013-02-26T14:48:01.486-05:00University Dancers, Shifting Ground<br />
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<span style="font-family: Arial, Helvetica, sans-serif;">UR Department of Theatre and Dance's assistant director of dance, Anne Van Gelder offers a preview of the University Dancers' 28th Annual Spring Concert, <i>Shifting Ground </i>running March 1-2 at 7:30 p.m. and March 3 at 2 p.m. <a href="http://tickets.modlin.richmond.edu/single/psDetail.aspx?psn=606" target="_blank">Tickets are available here</a>. </span></h2>
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<span style="font-family: Arial, Helvetica, sans-serif;">Have you
ever wished you could find just the right words to describe a clear night sky
where the vast blackness is filled with brilliant stars? Or perhaps you just said goodbye to a friend
whom you know you’ll never see again.
How do you describe that feeling?
Sometimes you just can’t find the right words. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">A choreographer’s
voice can be heard through the language of movement. They communicate the simplest ideas to the
most epic, each with the sensitivity that only movement can offer. As Isadora Duncan famously said, <span style="color: #333333;">“If I could tell you what it meant, there would be no
point in dancing it.”</span><o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">With <i>Shifting Ground: New
Voices in Dance</i>, University Dancers celebrates 28 years of nurturing exploration
through movement as choreographers, designers and dancers investigate aspects
of the human condition from isolation to loss to identity and community. This
year's concert features Richmond students in original works created <i>at</i>
Richmond through guest artist residencies, like the <i>New Voices in Dance</i> project for choreographers Kanji Segawa and
Alexandra Damiani. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The
combined artistry of Richmond’s resident costume designer, Johann Stegmeir, and
lighting designer, Maja White, come to fruition beautifully with the work of our
various choreographers and dancers. Segawa’s work explores a barren
environment through an athletic<span style="color: red;"> </span>style that
utilizes linear formations and free-flowing phrases; while in Damiani’s<i> </i>piece,
dancers weave experiences of isolation, community and heritage through powerful
solos of broken lines and poignant group vignettes. Christian von Howard
choreographed his second work for the company, a piece that quietly echoes
restrained power through mesmerizing circles,<span style="color: red;"> </span>and Richmond faculty member
Alicia Diaz, in her first work for University Dancers, calls forth a vast space
that presents time-loosened recursive identities in a quartet for four women.
Themes of loss, faith and the struggle to accept fate inspire the works of contemporary
choreographer Diane Coburn Bruning, who comes to us from Washington, D.C. Similarly, grief and denial are themes that
run through my own work, set to a haunting composition by Benjamin Broening,
associate professor of music. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Brianna Leporace, a dance minor,
and Natalie Perkins, a dance major, present the audience with fractured and
destabilizing psychological domains, moods that resonate with the company’s
collaborative final piece. University Dancers values and nurtures the
collaborative process—especially with our student artists. This year, Brianna Leporace collaborated with
Heather Dunlap, a theatre arts and physics double major, on the lighting design
for her piece. Both women will present
their work at the American College Dance Festival in March. Natalie Perkins, who is also presenting her
work at ACDF is collaborating with faculty member Maja E. White. Samantha Campbell,
a senior majoring in mathematical economics, is designing the lights for company’s
collaborative work. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Many of the dancers in the
company are Richmond (Artist) Scholars or Theatre and Dance Department
scholarship recipients, and their areas of study range from dance and biology
to business and physics. Our students are fortunate to have had the opportunity
to work withartists of such caliber as resident choreographer, Alicia Diaz, and
guest choreographers-in-residence Kanji Segawa, Alexandra Damiani, Diane Coburn
Bruning and Christian von Howard. </span><span style="font-family: Arial, Helvetica, sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Anne Van Gelder is the assistant director of dance in the Department of Theatre and Dance. She teaches Productions Studies, Dance History-Theory II, all levels of
Ballet technique and Jazz technique classes and serves as artistic director of
University Dancers. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Ms. Van Gelder holds
degrees from Virginia Intermont College and the University of Utah in
Choreography and Pedagogy. She performed throughout Virginia and Utah and
has served as ballet mistress/régisseur for several companies. As a dancer, she
worked with Alun Jones, Li-Chou Cheng, Ford Evans, Conrad Ludlow, Richard
Munro and Tom Pazik among others. She taught beginner to advanced levels
of ballet technique at the University of Utah, Virginia Intermont College and
the Willam F. Christensen Center for Dance. She regularly gives master classes
at the American College Dance Festival and recently gave a workshop at Virginia
Commonwealth University’s School of Fine Arts. She has also created
choreography for Theatre Bristol, Park City Shakespeare Festival, the Ogden Symphony
and the Roanoke Symphony. Her research interests lie in historic dance
and she continues to study dance regularly, including Baroque dance workshops
in NYC with noted historic dance experts, Thomas Baird and Paige Whitley
Bauguess. Ms. Van Gelder’s choreography
has been seen throughout Virginia and Utah and recently, she worked with
artists of the Saratov Academic Youth Theatre on their US premiere production
of <i>The Humpbacked Horse</i>, featuring dances she re-set. She created
choreography for these URP&D productions: <i>Wings, The Tempest,
Fiddler on the Roof </i>and <i>The Chairs</i> and <i>The Bald Soprano</i>
directed by Italian director and filmmaker, Paolo Landi. Most recently, Ms. Van
Gelder served as period movement stylist for the URP&D production of
Moliere’s <i>The Learned Ladies. </i>She appeared as Hedy in UR’s 2009
production of <i>How to Succeed in Business Without Really Trying</i>, directed
by Walter Schoen. </span><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><o:p></o:p></span></div>
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<br />Modlin Center for the Artshttp://www.blogger.com/profile/14328975278019065456noreply@blogger.com0tag:blogger.com,1999:blog-27889811.post-91128510612252067262013-02-22T17:22:00.001-05:002013-02-22T17:22:17.118-05:00An Evening with Judy Collins<div style="text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b>Deborah Sommers</b>, Executive Director at the Modlin Center for the Arts, reflects on artist Judy Collins contributions to the musical world. </span></div>
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<a href="http://modlin.richmond.edu/_common_KP3/images/modlin/events/large/2012-large/judy-collins.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a><a href="http://modlin.richmond.edu/_common_KP3/images/modlin/events/large/2012-large/judy-collins.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="194" src="http://modlin.richmond.edu/_common_KP3/images/modlin/events/large/2012-large/judy-collins.jpg" width="400" /></a><a href="http://modlin.richmond.edu/_common_KP3/images/modlin/events/large/2012-large/judy-collins.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">A memory from the past: my
guitar in hand, reading and singing from my Judy Collins songbook, remembering how
much the lyrics and music meant to me. I still have the book! I treasured the beautiful
lyrics Judy Collins wrote, and was inspired by the songs that she interpreted
from other artists. I always felt that her interpretations of these songs were
the quintessential version of those works. Her silky, pure voice still resonates
with me when I think of her recordings. Little did I know that years later, I
would get a chance to tell Judy Collins how much she influenced my early
musical life when I presented her for the first time.</span></div>
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<b><i><span style="font-family: Arial, Helvetica, sans-serif;">“Who
knows where the time goes, who knows where the time goes…”<sup>1</sup></span></i></b></div>
</div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Collins was a major voice in the music
of the 60s and 70s, and today, she is still producing stunning recordings. Additionally,
she has produced multiple records and an Academy-award winning documentary, authored
books, appeared on stage and television in theatrical productions, and has
interpreted and arranged many major songwriters’ music.</span><span style="font-family: Arial, Helvetica, sans-serif;"> Her musical choices have always been quite
eclectic and spans folk, rock, art songs, and more. Her renditions of songs
from artists such as Bob Dylan, Leonard Cohen, and Stephen Sondheim’s “Send in
the Clowns” are exquisite. Her performance of Joni Mitchell’s “Both Sides Now”
was the quintessential version, and the list goes on. Regardless, Collins’ own songs, which are
both literal and metaphorical, create strong imagery, allowing each of us to
catch glimpses into her life. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Similar to other folk
artists of that era, Judy Collins was also a social activist -- her voice spoke
for a generation of people. She championed several issues and political causes
such as women’s rights and civil rights.
Today, she still is active in supporting and speaking for UNICEF’s
international programs. She is actively touring and giving concerts, giving
lectures and talks on topics such as suicide prevention and other areas that
have been important to her throughout her life.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>“…I’ve
looked at life from both sides now,<o:p></o:p></b></span></div>
</div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>From
win and lose, and still somehow,<o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>It’s life’s illusions
I recall,</b><o:p></o:p></span></div>
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<b><span style="font-family: Arial, Helvetica, sans-serif;">I really don’t know,
life at all…”<sup>2</sup></span></b></div>
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<b><span style="font-family: Arial, Helvetica, sans-serif;"><sup><br /></sup></span></b></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I look forward to discovering
her choice of songs for the evening’s concert at the Modlin Center. She is an
artist whose work and strong presence has traveled along life with us, and I
look forward to seeing her again.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><i><sup>1</sup></i><i> (Words and music by Sandy Denny taken from
Judy Collins songbook)<o:p></o:p></i></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><i><sup><span style="font-size: x-small;">2</span></sup></i><i><span style="font-size: x-small;"> (Music and lyrics by Joni Mitchell, copies from the Judy
Collins Songbook.)</span></i></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>About Deborah Sommers</b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">As Executive Director of the Modlin Center for the Arts, Deborah Sommers is responsible for the more than 45-event ModlinArts Series, four main stage productions by the University's Theatre and Dance department and the University Players and Dancers, 30 musical performances in the Department of Music's Free Concert Series, plus community events and performances throughout the year. Sommers also directs and teaches the University of Richmond's Arts Management program, and works with faculty across the disciplines and schools to design academic components that coordinate with the Modlin Center's artistic programming.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Prior to joining the Modlin Center, Sommers was director of programming at Fairfield University's Quick Center for the Arts. At the Quick Center, Sommers produced an 80-event season of national and international artists that attracted patrons from across the New York area. She also presented a strong K–12 outreach program reaching 14,000 students with long- and short-term artist residencies in public schools, supervised an internship program for university students, and oversaw a children's theatre summer camp and adult summer festival chorus.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Before joining the Quick Center, Sommers was company manager/administrator of the Performing Arts Center at the State University of New York at Purchase, which presented a 60-event season, presenting and coordinating the professional season programming, artists, and residencies. She also worked for a a number of festivals including the PepsiCo Summerfare Festival, and throughout the years has been a consultant in the performing arts field and managed some artists. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">A graduate of Hunter College with a bachelor's degree in music and education and film, Sommers subsequently earned both an M.B.A. and Doctor of Jurisprudence from Pace University. She is admitted to the New York and Connecticut bars. Currently, Sommers sits on the Board of Directors of CultureWorks, Inc. in Richmond, and sits on various committees at the University and public communities. Previously Sommers has sat on several boards and committees, including the United Nations Development Fund for Women USA-Connecticut Chapter, Fairfield Arts Council, and Connecticut Dance Alliance. Other experiences include working as a legal intern at Pace Investors Rights Clinic, Westchester Human Rights Commission, and Pro Bono Legal Partnership, which serves the legal needs of nonprofits.</span></div>
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<br />Modlin Center for the Artshttp://www.blogger.com/profile/14328975278019065456noreply@blogger.com0tag:blogger.com,1999:blog-27889811.post-84847655410234368562013-02-13T15:30:00.000-05:002013-02-13T15:30:29.697-05:00Production Studies III Showcase, "The Waiting Room"<style>
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</style>The University of Richmond Department of Theatre and Dance presents the annual Production Studies III Showcase Thursday, February 14-Saturday, February 16 at 7:30pm and Sunday, February 17 at 2pm in Cousins Studio Theatre. The performance is free but tickets are required and are available <a href="http://tickets.modlin.richmond.edu/single/psDetail.aspx?psn=718" target="_blank">here</a>. This year's production is <i>The Waiting Room.</i> Associate Professor of Theatre and Chair of the Department of Theatre and Dance, Dorthy Holland, offers a preview of the performance:<br />
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Remember the last time that you were in a doctor’s waiting
room?<span style="mso-spacerun: yes;"> </span>Or a hospital waiting room?<span style="mso-spacerun: yes;"> </span>What was it like? Interminably dull?
Mind-numbing? Soul-draining?<span style="mso-spacerun: yes;"> </span>Not so in <i style="mso-bidi-font-style: normal;">this</i> Waiting Room!<span style="mso-spacerun: yes;"> </span>Here, you will encounter a charming Chinese
woman from the 18<sup>th</sup> century who is having trouble with her bound
foot. You will also see an elegant woman from the 19<sup>th</sup> century who
is looking for medical help to cure her “hysteria.”<span style="mso-spacerun: yes;"> </span>And then there is the out-spoken Wanda, a 20<sup>th</sup>
century woman whose latest breast implant surgery did not go exactly according
to plan.<span style="mso-spacerun: yes;"> </span>But not everyone in and around
the waiting room is suffering from some physical ailment. There are charismatic
drug company executives who are visionaries striving to find the cure for
cancer, altruistic and inspirational doctors, feisty nurses who dispense
philosophical insights along with patient care, and eager bureaucrats doing
their diligent best to help make this all work.<span style="mso-spacerun: yes;">
</span>This is most fantastical and exciting waiting room, a place where dreams
and hopes and aspiration tangle in a very moving and provocative comic drama. With
an emphasis on the <i style="mso-bidi-font-style: normal;">comic</i>.<span style="mso-spacerun: yes;"> </span>And the <i style="mso-bidi-font-style: normal;">fantastical</i>.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>And
the <i style="mso-bidi-font-style: normal;">real</i>.<span style="mso-spacerun: yes;"> </span>Oddly, all are intimately related in this
play, an artful and beautifully-designed production.</div>
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<span style="mso-bidi-font-family: Helvetica;">What is equally
exciting about this production is that the Director, Lighting Designer, Set
Designer, Costume Designer, and the whole creative team are all students. <span style="mso-spacerun: yes;"> </span>Senior Mary McDonnell, a double business
administration and theatre arts major, is the Director; senior Heather Dunlap, a
double physics and theatre arts major, is the Lighting Designer; junior Maggie
McGrann, a double theatre arts and English major, is the Costume Designer;
junior Kathryn Cohen, a theatre arts major and business administration minor,
is the Set Designer; and senior DeShawn Holmes, a theatre arts major, is the Sound
Designer.<span style="mso-spacerun: yes;"> </span><span style="background: white; color: #222222;">Senior Hannah Rhodes, a leadership studies and theatre arts
double major, served as Dramaturg and Props Master for the production; </span>senior
Bryce Carson, an interdisciplinary studies major, served as PR and Business
Manager, and senior Barbara Vaughan is the Production Stage Manager. </span><br />
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<span style="mso-bidi-font-family: Helvetica;">______________________________________________________________ </span><br />
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Dorothy Holland is associate professor of theatre and associate
professor of women, gender, and sexuality studies. Dr. Holland is also
chair of the Department of Theatre and Dance, where she teaches a range
of courses: Production Studies, Theatre History, 20th-century Acting
Styles and Theories, Physical Theatre, Staging Gender, Musical Theatre,
and the First Year Seminar. Her research explores the intersections of
performance theory, feminist theory, and contemporary theatre practice.
<br />
<br />
Holland has been a professional actor and director for over 30 years;
she has performed leading roles on Broadway, Off-Broadway, in national
tours, and in regional theatres throughout the country. Since she came
to the University of Richmond in 1999, Holland has directed a variety of
main-stage productions: <i>All My Sons</i> (Arthur Miller), <i>How I Learned to Drive</i> (Paula Vogel), <i>Mother Courage and Her Children</i> (Brecht), <i>Company</i> (Sondheim), <i>Gypsy</i> (starring Lorna Luft), <i>The Furies</i> (Aeschylus), <i>Amadeus</i> (Peter Shaffer), <i>Small Tragedy</i> (Craig Lucas), <i>Fiddler on the Roof</i>, <i>The Skin of Our Teeth</i> (Thornton Wilder), <i>The Madwoman of Chaillot</i> (Giraudoux), and <i>Rent</i> (Jonathan Larson). She has also performed leading roles in several local productions: Prospero in <i>The Tempest</i>, Emily Stilson in <i>Arthur Kopit's Wings</i>, Evelyn in <i>Tales of the Lost Formicans</i>, and the Catwoman in <i>By the Bog of Cats -</i>- all directed by Walter Schoen. She was also the Old Woman in Ionesco’s <i>The Chairs</i>, directed by Paolo Emilio Landi, appeared in <i>The Laramie Project</i> for Barksdale Theatre, was Vada Love Powell in <i>The Exact Center of the Universe</i> and Susan Strasberg in the premier of Alex Finlayson's <i>Misfits</i>, also for Barksdale Theatre.</div>
Anonymoushttp://www.blogger.com/profile/14295580050565458888noreply@blogger.com0tag:blogger.com,1999:blog-27889811.post-64502754138505737292012-09-16T11:26:00.002-04:002012-09-16T13:32:52.537-04:00The Philip Glass Festival<!--[if gte mso 9]><xml>
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<span style="font-family: "Arial Narrow","sans-serif"; font-size: 11.0pt; mso-fareast-font-family: "MS Mincho"; mso-fareast-theme-font: minor-fareast;"><b>Deborah Sommers</b>, Executive Director at the Modlin Center for the Arts offers an introduction to and overview of the Philip Glass Celebration.</span><span style="font-family: "Arial Narrow","sans-serif"; font-size: 11.0pt; mso-fareast-font-family: "MS Mincho"; mso-fareast-theme-font: minor-fareast;"><br /></span></h2>
<span style="font-family: "Arial Narrow","sans-serif"; font-size: 11.0pt; mso-fareast-font-family: "MS Mincho"; mso-fareast-theme-font: minor-fareast;">__________________________________</span><br />
<span style="font-family: "Arial Narrow","sans-serif"; font-size: 11.0pt; mso-fareast-font-family: "MS Mincho"; mso-fareast-theme-font: minor-fareast;">Philip
Glass’ 75<sup>th</sup> birthday year is being celebrated worldwide in a host of
ways. Even his larger work such as his operas have been remounted and are
touring internationally. <span style="mso-spacerun: yes;"> </span>At the Modlin
Center for the Arts, we decided to present a festival of events to mark this occasion.
Since Glass, however, is such a prolific composer, choosing what to present was
not an easy task. </span><br />
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<span style="font-family: "Arial Narrow","sans-serif"; font-size: 11.0pt; mso-fareast-font-family: "MS Mincho"; mso-fareast-theme-font: minor-fareast;">Besides
being Philip Glass’s 75<sup>th</sup> birthday year, the Modlin Center is
hosting this celebration for a number of reasons. Philip Glass’ compositions not
only reflect his own creativity and pioneering work, which have influenced many
artists and composers, but also his collaborative efforts which extend across
disciplines and genres including music, dance, film, visual arts, poetry, and
more. </span><span style="font-family: "Arial Narrow","sans-serif"; font-size: 11.0pt; mso-bidi-font-family: Arial;">Collaboration is a key element in much of Glass’
work. Therefore, a vast majority of his compositions were written in
conjunction with, and to be performed with, other art forms. Since Glass’ work
extends into other genres and film, it is widely recognizable. Therefore, it
was a great opportunity to work with such a talented and creative living
composer, and to share this occasion with him. </span></div>
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<span style="font-family: "Arial Narrow","sans-serif"; font-size: 11.0pt; mso-bidi-font-family: Arial;">Personally, the idea of creating a Glass
celebration intrigued me as I have followed his work for many years.<span style="mso-spacerun: yes;"> </span>I have been directly influenced by his compositions
as an artistic director working in the performing arts, and in developing my own
skills as an artist. I have worked with many who were also directly influenced
by Philip Glass, and who have created work based on his music. In addition,
this is a great opportunity for me to create a celebration of events that will
allow us to explore and share with Philip Glass -- his thoughts and experiences
on the idea of creativity and collaboration. </span><span style="font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-fareast-font-family: "MS Mincho"; mso-fareast-theme-font: minor-fareast;"></span></div>
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<span style="font-family: "Arial Narrow","sans-serif"; font-size: 11.0pt; mso-fareast-font-family: "MS Mincho"; mso-fareast-theme-font: minor-fareast;">Through
Philip Glass’ operas, symphonies, compositions for his own Philip Glass
Ensemble, and his wide-ranging collaborations with other artists ranging from
Twyla Tharp to Allen Ginsberg, Woody Allen to David Bowie, Philip Glass has had
an extraordinary and unprecedented impact upon the musical and intellectual
life of his times. His many associations, both personally and professionally,
with leading rock, pop, and world music artists, date back to the 1960s.
Including the beginning of his collaborative relationship with artist Robert
Wilson. Indeed, Glass is the first composer to simultaneously win a wide,
multi-generational audience in the opera houses, concert halls, within the
dance world, in film, and in popular music.</span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Arial Narrow","sans-serif"; font-size: 11.0pt; mso-fareast-font-family: "MS Mincho"; mso-fareast-theme-font: minor-fareast;">In
the past 25 years, Glass has composed more than 20 operas; eight symphonies;
two piano concertos and concertos for violin, piano, timpani, and saxophone
quartet and orchestra; soundtracks to films ranging from new scores for the
stylized classics of Jean Cocteau to Errol Morris’s documentary about former
defense secretary Robert McNamara; string quartets; and a growing body of work
for solo piano and organ. He has collaborated with Paul Simon, Linda Ronstadt,
Yo-Yo Ma, and Doris Lessing, among many others. He presents lectures,
workshops, and solo keyboard performances around the world, and continues to
appear regularly with the Philip Glass Ensemble.</span></div>
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<span style="font-family: "Arial Narrow","sans-serif"; font-size: 11.0pt; mso-fareast-font-family: "MS Mincho"; mso-fareast-theme-font: minor-fareast;">We
will be showing three films, which will be accompanied by an introduction from
the University’s Department of Music faculty. The films were chosen because
they are either about Philip Glass or are excellent examples of his film scores
that reflect the idea of creativity and collaboration.<span style="mso-spacerun: yes;"> </span>In addition, Philip Glass will be speaking about
his unique approach to creation in our Artist Voices series entitled “Collaboration
and the Creative Process.” Glass will also perform in concert with the
violinist Timothy Fain. <span style="mso-spacerun: yes;"> </span>University of
Richmond’s Grammy-winning ensemble-in-residence, eighth blackbird, will perform
an evening concert of works by Glass and composers influenced by Glass. With
all of these events, we have created many wonderful opportunities for students
from all schools and the community to discuss these ideas and concepts with
Glass. </span></div>
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<span style="font-family: "Arial Narrow","sans-serif"; font-size: 11.0pt; mso-fareast-font-family: "MS Mincho"; mso-fareast-theme-font: minor-fareast;">The Philip
Glass Festival will provide a unique opportunity to meet a composer who has had
a profound artistic impact, and who has had many interesting and
ground-breaking collaborations.<span style="mso-spacerun: yes;"> </span>We are
delighted that Phillip Glass was able to take the time from his busy
celebration year to come to the Modlin Center and to share in a number of
events with the University of Richmond and with the community. </span><br />
<span style="font-family: "Arial Narrow","sans-serif"; font-size: 11.0pt; mso-fareast-font-family: "MS Mincho"; mso-fareast-theme-font: minor-fareast;">____________________________________</span><br />
<b>The Philip Glass Festival</b> begins Sunday, September 16 at 3pm in Camp Concert Hall with the film <i>Glass: A Portrait of Philip in Twelve Parts, </i>and
will continue through October 5. The festival will include films,
lectures, a ModlinArts Artist Voices Series presentation with Philip
Glass and Philip Glass and Tim Fain in concert<i>.</i> Visit <a href="http://modlin.richmond.edu/">modlin.richmond.edu</a> for a full schedule of events. <i> </i><span style="font-family: "Arial Narrow","sans-serif"; font-size: 11.0pt; mso-fareast-font-family: "MS Mincho"; mso-fareast-theme-font: minor-fareast;"></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT0WXvPvR86CjIttfR75gjrt0k_I4tO-cFTUfj6q0fVrQul4wTucik28NdowAHJVI-MshSSOPZLt-uwbjvhy5jo46fsVobtFlX4X15SV5koWECF3L8G2dKXCEFxVt8Q_66Z9sU/s1600/sommers-deborah1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT0WXvPvR86CjIttfR75gjrt0k_I4tO-cFTUfj6q0fVrQul4wTucik28NdowAHJVI-MshSSOPZLt-uwbjvhy5jo46fsVobtFlX4X15SV5koWECF3L8G2dKXCEFxVt8Q_66Z9sU/s1600/sommers-deborah1.jpg" /></a></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; mso-fareast-font-family: "MS Mincho"; mso-fareast-theme-font: minor-fareast;"> <b>About Deborah Sommers</b></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; mso-fareast-font-family: "MS Mincho"; mso-fareast-theme-font: minor-fareast;">As
Executive Director of the Modlin Center for the Arts, Deborah Sommers is
responsible for the more than 45-event ModlinArts Series, four main stage
productions by the University's Theatre and Dance department and
the University Players and Dancers, 30 musical performances in the
Department of Music's Free Concert Series, plus community events and
performances throughout the year. Sommers also directs and teaches the
University of Richmond's Arts Management program, and works with faculty
across the disciplines and schools to design academic components that
coordinate with the Modlin Center's artistic programming.</span></div>
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<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; mso-fareast-font-family: "MS Mincho"; mso-fareast-theme-font: minor-fareast;">Prior
to joining the Modlin Center, Sommers was director of programming at Fairfield
University's Quick Center for the Arts. At the Quick Center, Sommers produced
an 80-event season of national and international artists that attracted patrons
from across the New York area. She also presented a strong K–12 outreach
program reaching 14,000 students with long- and short-term artist
residencies in public schools, supervised an internship program for
university students, and oversaw a children's theatre summer camp and
adult summer festival chorus. </span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; mso-fareast-font-family: "MS Mincho"; mso-fareast-theme-font: minor-fareast;">Before
joining the Quick Center, Sommers was company manager/administrator of the
Performing Arts Center at the State University of New York at Purchase,
which presented a 60-event season, presenting and coordinating the professional
season programming, artists, and residencies. She also worked for a a
number of festivals including the PepsiCo Summerfare Festival, and throughout
the years has been a consultant in the performing arts field and managed some
artists. </span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 10.0pt; mso-fareast-font-family: "MS Mincho"; mso-fareast-theme-font: minor-fareast;">A
graduate of Hunter College with a bachelor's degree in music and education and
film, Sommers subsequently earned both an M.B.A. and Doctor of Jurisprudence from Pace University. She is admitted to the New York and
Connecticut bars. Currently, Sommers sits on the Board of Directors of
CultureWorks, Inc. in Richmond, and sits on various committees at the
University and public communities. Previously Sommers has sat on several boards
and committees, including the United Nations Development Fund for Women
USA-Connecticut Chapter, Fairfield Arts Council, and Connecticut Dance
Alliance. Other experiences include working as a legal intern at Pace Investors
Rights Clinic, Westchester Human Rights Commission, and Pro Bono Legal
Partnership, which serves the legal needs of nonprofits.</span></div>
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Modlin Center for the Artshttp://www.blogger.com/profile/14328975278019065456noreply@blogger.com0tag:blogger.com,1999:blog-27889811.post-26904682896219161192012-09-14T16:23:00.000-04:002012-09-14T16:31:24.788-04:00Glass Reflections<div class="separator" style="clear: both; text-align: center;">
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<b>Tim Munro</b>, the flutist with Grammy-winning ensemble eighth blackbird, will introduce the film <i>Glass: A portrait of Philip in Twelve Parts</i> at the Modlin Center on Sunday, September 16 at 3pm. In this short blog post, Tim offers memories of Glass's sometimes surprising appearances in his life.<br />
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<br />
Picture me as a tall, gawky 15-year-old, on family vacation. There is a patch of open road near Barcaldine, in the famous "red center" of Australia. A truck (a "ute") bumps and lists along the corrugated dirt track. I brace myself on the exposed tray. A much-loved, tape-patched Walkman is hugged tight to my chest, piping raw, rude, stark, repetitive music into my ears. The truck's rough housing makes a racket, and I'm holding on for dear life, yet my attention is focused solely on the pulsating music in my ears. My eyes are closed. Philip Glass has me in his thrall...<br />
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Fast forward ten years. I've plucked up the courage to perform Philip's music in public for the first time. Music in Fifths is a simple-sounding, constant, steady, fast stream of notes for ten minutes. But it's got me beat. I'm unprepared for the concentration and focus required to rehearse and perform this unrelenting music. I complain to friends, exasperated. "But it's just so bloody impossible. If I think about a post-rehearsal beer, I'm lost; If a drop of sweat drips into my eye, I'm lost; if I breathe for too long, I'm lost. My embouchure trembles, my body is soaked in sweat. This is musical torture!"<br />
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Fast forward another two years. eighth blackbird, my ensemble, is performing with Philip for the first time. During rehearsal I'm regressing, full of the tongue-tied gawkiness of that 15-year-old in the bumpy outback. In contrast, Philip is sweet, engaged, complimentary. He asks us how long our version of his piece Music in Similar Motion is, and when we tell him it's eleven minutes, he says, with a wry smile, "Well, then this rehearsal should take exactly eleven minutes!"<br />
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Growing up, my brother and I fought about music. I was the classical geek, walking down the street with a Mahler score in one hand and a conducting baton in the other. My brother was a Bob Dylan obsessed folk-rock fan-boy, who claimed that classical music was "all head and no heart." Our fights were bitter, personal. While other mothers worried that their kids were doing drugs or having sex, our mother was defusing brawls about the relative superiority of Ligeti and Beck. The Venn diagram of our musical tastes, however, crossed for just one composer: Philip Glass. In fact, I think it is fair to say that Philip's music has, over time, brought Simon and me to a place where a peace accord could be drafted. Philip was our musical diplomat... <i>– Tim Munro</i><br />
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<b>The Philip Glass Festival</b> begins Sunday, September 16 at 3pm in Camp Concert Hall with the film <i>Glass: A Portrait of Philip in Twelve Parts, </i>and will continue through October 5. The festival will include films, lectures, a ModlinArts Artist Voices Series presentation with Philip Glass and Philip Glass and Tim Fain in concert<i>.</i> Visit <a href="http://modlin.richmond.edu/">modlin.richmond.edu</a> for a full schedule of events. <i> </i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHfJWToMx5OqoaZzVD7UwV4hg8rAKxVFkCPXD1wHXC4txHcDOA7oaKsRUHskqJqqctedZr2Mh0S5108g2eQJzXXEtSfd02lU3GLbBAEarrgdDWXb2gkSDYmOXwPnpp9YeF-YaJ/s1600/blogimage.TimMunro.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHfJWToMx5OqoaZzVD7UwV4hg8rAKxVFkCPXD1wHXC4txHcDOA7oaKsRUHskqJqqctedZr2Mh0S5108g2eQJzXXEtSfd02lU3GLbBAEarrgdDWXb2gkSDYmOXwPnpp9YeF-YaJ/s200/blogimage.TimMunro.jpg" width="178" /></a></div>
<b><span style="font-size: large;">About Tim Munro</span> </b><br />
Born in Brisbane, Australia, Tim studied flute at Oberlin College,
Queensland Conservatorium (Australia) and Australian National Academy of
Music. His teachers included Michel Debost, Margaret Crawford and
Patrick Nolan.<br />
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Tim has played with professional orchestras, chamber groups and new
music ensembles around Australia. Highlights include concerto
performances with the Queensland Orchestra, solo performances at the
Melbourne Arts Festival and Bangalow Festival, and recordings for
Australian radio and commercial CD release. He also participated in the
Carnegie Hall Training Workshops and the Pacific Music Festival.<br />
Composers he has worked with include Elliott Carter, Oliver Knussen,
Aaron Jay Kernis, Joseph Schwantner, Tania Leon, Peter Sculthorpe and
Brett Dean.<br />
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A classical music tragic, Tim <a href="http://www.eighthblackbird.org/blog/author/tmunro/">likes to write</a> and speak about music, and in an earlier life was Publications Coordinator of the Tasmanian Symphony Modlin Center for the Artshttp://www.blogger.com/profile/14328975278019065456noreply@blogger.com0tag:blogger.com,1999:blog-27889811.post-38949977928390547272012-07-24T09:20:00.001-04:002012-07-24T09:20:51.337-04:00New Season, New BlogOver the past few season, you may have notices some changes at the Modlin Center for the Arts at the University of Richmond. New faces, some new programming, new look to the brochure, new box office ticketing system, new, new, new. And now we introduce our new season. While the Modlin Center has gone through some changes, the arts offerings are stronger than ever. From Del McCoury to the Mark Morris Dance Group. From the Ebène quartet to Dr. John and the Blind Boys of Alabama. From Philip Glass to the National Circus of the People's Republic of China, Direct from Beijing. And we can't leave out the stellar productions offered by the Department of Theatre and Dance, the free concert series offered by the Department of Music, and the stunning visual art displays provided by the University Museums. Even as some things change, other things never will. The Modlin Center is committed to bringing some of the world's top talent to the intimate stages in our venues, and to connect the University and the Richmond community to these artists in an unprecedented way. So...welcome to the new blog, the new staff, the new technology, the new season, and the same ol' world-class arts.<br />
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Check out the <a href="http://issuu.com/modlincenter/docs/2012-2013brochure" target="_blank">2012-2013 brochure here</a>. Visit us online at<a href="http://modlin.richmond.edu/" target="_blank"> modlin.richmond.edu</a>Anonymoushttp://www.blogger.com/profile/14295580050565458888noreply@blogger.com0