ARTIST RECITAL
YEFIM BRONFMAN, piano
Sonata in C Major, Hob. XVI/50
Allegro
Adagio
Allegro molto
Humoreske in B-flat Major, Op. 20
Einfach
Hastig
Einfach und zart
Sehr lebhaft
Intermission
Joseph Haydn
(1732 – 1809)
Robert Schumann
(1810 – 1856)
Twelve Études, Op. 10
Etude No. 1 in C Major
Etude No. 2 in A Minor
Etude No. 3 in E Major
Etude No. 4 in C-sharp Minor
Etude No. 5 in G-flat Major, “Black Keys”
Etude No. 6 in E-flat Minor
Etude No. 7 in G-sharp Minor, “Double Thirds”
Etude No. 8 in F Major
Etude No. 9 in F Minor
Etude No. 10 in A-flat Major
Etude No. 11 in E-flat Major
Etude No. 12 in C Minor, "Revolutionary"
Frédéric Chopin
(1810 – 1849)
Mr. Bronfman is a Steinway Artist. He has recorded for Sony Classical, Deutsche
Grammophon, BMG/Arte nova, EMI and Canary Classics.
Exclusive Management:
Opus 3 Artists
470 Park Avenue South, 9th Floor North
New York, NY 10016
www.opus3artists.com
Please silence all cell phones, pagers and watch alarms. Thank you.
FINNEY MEMORIAL CHAPEL SATURDAY, MARCH 5, 2011 8:00 P.M.
Biography
Yefim Bronfman is widely regarded as one of the most talented virtuoso
pianists performing today. His commanding technique and exceptional lyrical
gifts have won him consistent critical acclaim and enthusiastic audiences
worldwide, whether for his solo recitals, his prestigious orchestral engagements
or his rapidly growing catalogue of recordings.
Mr. Bronfman’s 2010/11 US season highlights include recitals in Los
Angeles, San Francisco and Carnegie Hall as well as performances of
Tchaikovsky’s first piano concerto with the orchestras of Houston, Cincinnati
and Saint Louis and Brahms’ second with the orchestras of Atlanta, New York
and Los Angeles. He will also make return concerto appearances in Seattle, New
Jersey, Pittsburgh, San Francisco, Toronto, Montreal and Washington. With
long-time friend and collaborator Pinchas Zukerman, he will appear in duo
recital in Princeton, Kansas City, Chicago, Boston and Carnegie Hall.
In Europe he will tour with the Vienna Philharmonic playing the concerto
written for him by Esa-Pekka Salonen who will also conduct and with the
Philharmonia Orchestra of London, also with maestro Salonen, he will begin a
two-season project of the three Bartók concerti in London and on tour in Europe.
In partnership with Berlin’s Staatskapelle and Daniel Barenboim all three Bartók
concerti will again be featured in programs in Berlin, Vienna and Paris. Return
engagements in Europe include the Berlin Philharmonic, Royal Concertgebouw,
Israel Philharmonic, London Symphony, Frankfurt Radio, Santa Cecilia Rome
and Munich Philharmonic.
Orchestral highlights of the 2009/10 season included two performances at
the Tanglewood Festival with the Boston Symphony Orchestra under James
Levine and Michael Tilson Thomas and the New York Philharmonic’s first
European tour with Music Director Alan Gilbert. As “Artiste Etoile” in residence
at the Lucerne Festival he appeared with a wide range of repertoire in recital,
chamber music and with the London Philharmonia under Esa-Pekka Salonen, the
Lucerne Academy Orchestra and Pierre Boulez and the Vienna Philharmonic
conducted by Zubin Mehta. In summer 2009, he was the featured soloist at the
Berlin Philharmonic’s annual Waldbühne concert conducted by Sir Simon Rattle
and televised live throughout Europe. Similarly, in summer 2010, he soloed with
the Vienna Philharmonic conducted by Franz Welser-Möst at their televised
outdoor concert from Schönbrunn Palace. Both performances are now available
on commercial DVDs.
Mr. Bronfman works regularly with an illustrious group of conductors,
including Daniel Barenboim, Herbert Blomstedt, Christoph von Dohnányi,
Charles Dutoit, Christoph Eschenbach, Valery Gergiev, Mariss Jansons, Lorin
Maazel, Kurt Masur, Zubin Mehta, Esa-Pekka Salonen, Yuri Temirkanov, Franz
Welser-Möst, and David Zinman. Summer engagements have regularly taken
him to the major festivals of Europe and the US.
He has also given numerous solo recitals in the leading halls of North
America, Europe and the Far East, including acclaimed debuts at Carnegie Hall
in 1989 and Avery Fisher Hall in 1993. In 1991 he gave a series of joint recitals
with Isaac Stern in Russia, marking Mr. Bronfman’s first public performances
there since his emigration to Israel at age 15. That same year he was awarded the
prestigious Avery Fisher Prize, one of the highest honors given to American
instrumentalists. In 2010 he was honored as the recipient of the Jean Gimbel
Lane prize in piano performance from Northwestern University.
Widely praised for his solo, chamber and orchestral recordings he was
awarded a GRAMMY® in 1997 for his recording of the three Bartók Piano
Concerti with Esa-Pekka Salonen and the Los Angeles Philharmonic. His
discography also includes the complete Prokofiev Piano Sonatas; all five of the
Prokofiev Piano Concerti, nominated for both GRAMMY® and Gramophone
Awards; and Rachmaninoff’s Piano Concertos Nos. 2 and 3. His most recent
releases are Tchaikovsky’s Piano Concerto No.1 with Mariss Jansons and the
Symphonieorchester des Bayerischen Rundfunks, a recital disc, ‘Perspectives’,
to complement Mr. Bronfman’s designation as a Carnegie Hall ‘Perspectives’
artist for the 2007-08 season, and recordings of all the Beethoven piano concerti
as well as the Triple Concerto together with violinist Gil Shaham, cellist Truls
Mørk, and the Tönhalle Orchestra Zürich under David Zinman for the Arte
Nova/BMG label.
His recordings with Isaac Stern include the Brahms Violin Sonatas from
their aforementioned Russian tour, a cycle of the Mozart Sonatas for Violin and
Piano, and the Bartók Violin Sonatas. Coinciding with the release of the
“Fantasia 2000” soundtrack, Mr. Bronfman was featured on his own
Shostakovich album, performing the two Piano Concerti with the Los Angeles
Philharmonic and Esa-Pekka Salonen conducting and the Piano Quintet. In 2002,
Sony Classical released his two-piano recital (with Emanuel Ax) of works by
Rachmaninoff, which was followed in March 2005 by their second recording of
works by Brahms. 2008 saw the release of the Tchaikovsky Trio in A minor with
partners Gil Shaham and Truls Mørk and a Schubert/ Mozart disc with the
Zukerman Chamber Players
A devoted chamber music performer, Mr. Bronfman has collaborated with
the Emerson, Cleveland, Guarneri and Juilliard quartets, as well as the Chamber
Music Society of Lincoln Center. He has also played chamber music with Yo-Yo
Ma, Joshua Bell, Lynn Harrell, Shlomo Mintz, Jean-Pierre Rampal, Pinchas
Zukerman and tours regularly in duo with Emanuel Ax.
Yefim Bronfman immigrated to Israel with his family in 1973, and made his
international debut two years later with Zubin Mehta and the Montreal
Symphony. He made his New York Philharmonic debut in May l978, his
Washington recital debut in March l98l at the Kennedy Center and his New York
recital debut in January 1982 at the 92nd Street Y.
Mr. Bronfman was born in Tashkent, in the Soviet Union, on April 10,
1958. In Israel he studied with pianist Arie Vardi, head of the Rubin Academy of
Music at Tel Aviv University. In the United States, he studied at The Juilliard
School, Marlboro, and the Curtis Institute, and with Rudolf Firkusny, Leon
Fleisher, and Rudolf Serkin.
Yefim Bronfman became an American citizen in July 1989.
Program Notes
Sonata in C major, Hob. XVI:50 (1794-95)
by Joseph Haydn (Rohrau, Upper Austria, 1732 - Vienna, 1809)
Joseph Haydn in his sixties was more youthful in spirit than many artists half
his age. Stimulated by the city of London that was then, as it is now, one of the
great musical centers of the world, he reached the summit of a lifetime of
creative work. His most significant achievements from this period include,
next to a magnificent set of twelve symphonies, three piano sonatas written for
Therese Jansen, a young German-born pianist who had studied with the
famous Muzio Clementi and later enjoyed a successful career in England. Just
as Haydn wrote no more symphonies after the London set, the sonatas written
for Jansen also remained the last ones he ever composed.
We shall hear the first of the three sonatas. It is a work brimming with
innovative ideas, both in terms of musical construction and pianistic technique.
The first theme of its opening ‟Allegro” is exceedingly simple and has only
the sparsest of accompaniments, yet Haydn built an extraordinarily varied
movement with this unassuming raw material. He introduced the melody in
many different guises, transposing it to different keys and registers. The most
unusual of these is a moment when the theme appears in a distant tonality, in
the bass region of the keyboard, with the mysterious instruction ‟open pedal”
added. This is the only pedal instruction in all of Haydn’s music, and its
precise meaning has long been debated by scholars. According to the late H.C.
Robbins Landon, the dean of 20th-century Haydn scholars, Haydn meant the
left pedal, the so-called una corda (which shifts the keyboard in such as way
that the hammer strikes only one string per note instead of the usual three).
Another great Haydn specialist, László Somfai, thinks that both pedals—the
una corda and the damper—should be used simultaneously. On pianos of
Haydn’s time, holding down the damper pedal did not blur the sound as
strongly as is the case on modern instruments.
The second movement is a lavishly ornamented, songful Adagio, while
the finale is one of the wittiest creations of this composer who had always
been a master of musical humor. It is a scherzo whose melody is constantly
‟derailed” into unexpected new keys from where it can come back only after
long moments of hesitation. Also, in this movement Haydn took advantage of
the fact that the newest English keyboards had a range of a full six octaves,
and near the end he used a climactic high ‟A” that would have been
impossible back home in Vienna.
Humoreske, Op. 20 (1839)
by Robert Schumann (Zwickau, Saxony, 1810 - Endenich, 1856)
The word ‟humor” is one whose meaning has changed repeatedly over the
centuries. Nowadays, it stands for language or behavior that inspires laughter.
Originally, however, the four ‟humors” of the human body were the four fluids
(black bile, yellow bile, phlegm, and blood) whose balance was believed to be
responsible for our health. Later on, ‟humor” became a synonym of ‟mood,”
as in being in good or bad humor. Then, in a laudable example of positive
thinking, ‟good humor” was shortened simply to ‟humor,” and since there is
nothing like a joke to put you in a good mood, the word became more
specifically assocated with hilarity.
When Schumann wrote his Humoreske for piano (he actually called it
Grosse Humoreske, ‟great humoresque”), he still had the earlier, broader
meaning of the word in mind. To be sure, the work has its share of funny
moments: for instance, the first fast section of the work always makes me want
to ‟LOL” for the way it repeats fragments of its melody at the most
unexpected times. But this is only one of this work’s many moods, and the title
refers precisely to the utterly capricious alternation of those moods. And
‟humor,” in this instance, was a very serious matter indeed: Schumann got the
idea for the piece from a philosophical treatise called Vorschule der Ästhetik
(School for Aesthetics) by his favorite writer, Jean Paul (1763-1825), a master
of humor in every sense of the word. In his great Schumann monograph, the
late John Daverio identified the passages from Jean Paul that are most directly
applicable to Humoreske: an ‟infinity of contrast” and a ‟setting of the small
world beside the great,” resulting in ‟a kind of laughter...which contains pain
and greatness.” In other words, the sharp contrasts may have a comical effect
in themselves, but that takes nothing away from the poignancy of the
melancholy (the word means ‟black bile”) episodes.
The Humoreske, which is nearly half an hour long, is one of several
extended cyclic works Schumann wrote in the 1830s, from
Davidsbündlertänze to Carnaval to Kreisleriana. It is probably the most
complex and ambitious of them all, because of the subtle interplays of the
constituent segments, with many internal motivic recalls. It is not even easy to
say how many such segments the work contains: Daverio counted fifteen, but
different CD recordings often divide the piece into a different number of
tracks. Some of the mood changes are arranged in recurrent A-B-A forms, but
the overall shape of the work remains entirely unpredictable. Still, the work is
unified by its main tonality (B-flat major), and with hindsight, one may
reconstruct its overall trajectory from a dreamy-lyrical opening to a similarly
wistful epilog (though with a surprisingly tempestuous final gesture tacked on
at the very end). In between, it is a kaleidoscope of ever-changing musical
images. Those studying the score will find some highly revealing indications.
At one point, one finds as an explicit direction for tempo rubato (the left and
right hands being slightly out of sync, indicated as ‟in tempo” and ‟out of
tempo”). Another time Schumann notates an ‟inner voice” on a third staff; this
line, which is not played, shows the melody emerging from the figurations. For
the listener, it is another fascinating dialog between the two aspects of
Schumann’s persona: the gentle Eusebius and the fiery Florestan, each
expressing himself with greater eloquence and sophistication than ever before.
Twelve Etudes, Op. 10 (1829-1833)
by Frédéric Chopin (Żelazowa Wola, 1810 - Paris, 1849)
In the year 1826, the 15-year-old Franz Liszt brought out in Paris his Etudes
en 12 exercices, his first published work, and the first set of concert etudes in
the modern sense. The same year, 16-year-old Fryderyk Chopin (to use the
Polish spelling of his first name) was also busy composing at home in Warsaw.
He probably didn’t know Liszt’s etudes at that time, but the formidable
reputation of his Hungarian colleague couldn’t have failed to reach him. By
the time his twelve etudes were published in 1833, Chopin, too, was a Parisian
and was able to dedicate the etudes ‟to his friend, F. Liszt.” (In 1834-36, he
would write another dozen etudes, the Op. 25 set, dedicated to Countess Marie
d’Agoult, Liszt’s companion and the mother of his three children.)
For both Liszt and Chopin, an etude (the word is French for ‟study”) was
a piano piece highlighting a technical problem such as scales, arpeggios,
chords, etc.; however, it was intended for performance rather than instruction.
It is characteristic for Chopin that the ‟technical problems” he tackled
included not only studies in velocity but the slow ‟cantabile” found in the Emajor and E-flat minor etudes (long singing phrases are real technical
problems, as every pianist knows!).
Etude No. 1 (C major) has arpeggios with an unusually wide span in the
right hand, over a continuously unfolding harmonic progression that makes it
sound like a Romantically expanded re-creation of the first prelude from
Bach’s Well-tempered Keyboard, a great inspiration for Chopin.
Of No. 2 (A minor), Herbert Weinstock writes in his still-valuable 1949
study of Chopin’s music: [It is] ‟an essay on how to produce a perfectly even,
graduated scale with the third, fourth, and fifth fingers of the right hand.”
Chopin indicated the required fingering in the score.
The slow No. 3 (E major) is one of the most famous pieces in the set.
Chopin himself said to his pupil Adolf Gutmann that he had never in his life
written another melody as beautiful as this. The difficulty of the piece lies
(aside from the ‟con bravura” middle section) in balancing this beautiful
melody against the rich accompanying voices. In the original manuscript,
Chopin added the words ‟attacca il presto con fuoco” at the end—in other
words, he wanted the next etude to follow without a break. No. 4 (C-sharp
minor) is another exercise in agility, characterized in addition by a dramatic
passion of rare intensity and some fascinating harmonies.
In No. 5 (G-flat major), the right hand’s rapid figurations use the black
keys only. No. 6 (E-flat minor) is another slow piece with a rustling innervoice accompaniment. In No. 7 (C major), the right hand plays a double line
of sixteenth-notes that has to be absolutely even to produce the desired effect.
No. 8 (F major) is a fast-moving arpeggio etude like No. 1, but more
dramatic in tone, owing to strong accents and staccato figures in the left hand.
One of the longest pieces in the set, it contains a middle section in which both
hands play rapid sixteenth-note passages over ever-changing chromatic
harmonies. The etude ends with an extended, brilliant coda.
In No. 9 (F minor), the challenge lies in the unusually wide span of the
left-hand accompanying figure. The melody (‟molto agitato”) is characterized
by great passion; forte and pianissimo alternate quite abruptly, and there is a
particular progression (in measures 25-28) that directly anticipates 20thcentury compositional practices.
No. 10 (A-flat major) is a study in perpetual motion, with the added
difficulty that the accents of the right and left hands do not necessarily
coincide. The chromatic melody we hear at the beginning dominates the entire
etude almost without interruption.
No. 11 (E-flat major) is special for having broken chords in both hands,
moving in equal eighth-notes throughout the etude. The top notes of the chords
form a graceful melody, and part of the technical challenge is to bring it out
against the full harmonies of the accompaniment,
No. 12 (C minor) is the famous ‟Revolutionary” etude, supposedly
written by Chopin upon learning that the Russians had taken Warsaw in 1831.
Although it was not the last etude of Op. 10 to be composed, it seems to
summarize the technical problems of the entire set, as it combines rapid
passagework, powerful chords, stunning harmonic progressions, and highly
expressive melodic writing. British musicologist Gerald Abraham was right
when he said that this etude represented ‟Chopin’s supreme formal
achievement up to the date (September 1831) at which it was written.”
THE FRIENDS OF THE ARTIST RECITAL SERIES
Our generous Friends take great pride in knowing that they play a part in bringing superb
music to our community. Please join the Friends of the Artist Recital Series today and
take advantage of the special benefits such as invitation to exclusive receptions,
recognition in concert programs, discounted subscriptions, and a tax deduction. For more
information on the Friends, please call the Conservatory of Music, (440) 775-8200.
The following list represents memberships in the Friends program as of February 1, 2011.
MAESTRO
($500+)
George and Ruth Bent
David and Adelade Davies
Veronica Dever
Richard and Louise Dunn
Daniel and Elizabeth
Goulding
Marvin Krislov and
Amy Sheon
Jane B. Nord
Riverside Company
David H. Stull
Don and Mary Louise
VanDyke
ENCORE
($250+)
Ellen Adams
Bill and Inger Barlow
Robert and Cynthia Coan
Roger and Fran Cooper
Emiko H. Custer
Sean Decatur and
Renee Romano
David and Susan Egloff
Mary K. Gray and Jamey
Haddad
Nancy J. Gray
John and Dian Haynes
Clyde and Maryann Hohn
Donald and Joy Illig
Andrea Kalyn
Irwin Lewis
Thomas Lopez and Holly
Handman-Lopez
J. Duncan and Nina S. Love
Jane Mathison and
Peter Takács
Thomas and Mary
Van Nortwick
Theodore Nowick and
Robert Taylor
James K. Sunshine
Pang Tsui
Etta Ruth Weigl
Catherine Wilber
Keith and Torie Young
BRAVO
($125+)
Helene and Ted Altfeld
Geoffrey Andrews
Marc and Sharon Blecher
Richard and Viola Blount
David and Sigrid Boe
Clair and Janis Brewer
James David Christie
Nancy Cooper – In Memory of
Walter Aschaffenburg
Norman and Ann Craig
Phyllis Current
Harold and Lois Dalton
Bernard and Sheila Eckstein
Cherie Fabian
Dewey and Carol Ganzel
Harvey Gittler and
Naomi Barnett
Marcia and Sam Goldberg
Mary Lynne Grove and
Marian Lott
Herb and Sabra Henke
Maxine W. Houck
William and Janet Hutchison
Elizabeth James
Adelbert and Betty Jenkins
Kathy Linehan
Robert and Carol Longsworth
Joseph and Dorothy Luciano
William Masica
Jocelyn M. Maurushat
Albert J. McQueen
Jeanne Pease
Terri and Charles Postel
OVATION
($75+)
Richard and Dina
Schoonmaker
Warren and Judy Sheldon
Robert and Judy Skillicorn
Harold and Linda Slocum
Martha A. Stacy
Kathryn Stuart and David
Breitman
Ellis and Beth Tallman
James and Andree Underwood
Ed and Anne Wardwell
Elizabeth Weinstock
Helen Wheeler
Eleanor Whitehead
Reid and Gail Wood
James and Janice Zinser
Marci and Brian Alegant
Paul and Sally Arnold
Nancy Beauchamp
Jane Blodgett
Charlotte Bosch
Joanne and Walker Brock
Edward and Sally Brown
John and Julie Bucher
Marianna and Jim Carney
Alan Carroll
Corning Chisholm
Bonnie L. Cook Villari
Bruce and Mary Ellen Cudney
Frances M. DeChant
Joyce Dugan
John and Anne Elder
John and Joanne Erwin
David and Paulie Evans
Ann L. Fuller
Milton and Jane Garrett
Meg Gold
Phyllis Gorfain and
Bruce Richards
Chris and Debra Harris
Shirley Hayward
Jean Heller
James and Ann Helm
Allen Huszti
Gloria S. Kim
Carol Lasser and Gary
Kornblith
Allen and Sue Kruger
Frank and Lenore Laycock
Shirley Lutts
Alfred and Ann Mackay
Daune S. Mahy
Robert and Nancy McClusky
Marilyn McDonald
Sue McFee
Jeanne McKibben
Nicki and John Memmott
Marlene and Dan Merrill
Jane Moore
Thelma Morris
Jean K. Mulac
Marilyn Myerson
Ferdinand Protzman
Floyd and Marjorie Ramp
Charles and Sharon Raquet
Ruth Searles
William and Susan Skinner
Daniel R. Stinebring
Ron and Toni Susel
June Swartwout
Helen Taylor
Heidi Thomann Tewarson and
Jack Glazier
Virginia Waratinsky
Carol Warren
R. Budd and Janet Kelsey
Werner
Betty Whitacre
Lee Wood
If your name is missing or incorrectly listed, please call (440) 775-8200
so that we may correct it in future programs.
Thank you.
OBERLIN COLLEGE CONSERVATORY OF MUSIC
2011 SPRING SEMESTER
MAJOR CONCERT EVENTS
Danenberg Honors Recital
Sunday, March 6, 8:00 pm
Warner Concert Hall
Oberlin Chamber Orchestra
Tuesday, March 8, 8:00 pm
Saturday, April 16, 8:00 pm
Finney Chapel
Oberlin Wind Ensemble
Thursday, March 10, 8:00 pm
Saturday, April 15, 8:00 pm
Tuesday, May 10, 8:00 pm
Warner Concert Hall
Contemporary Music Ensemble
Friday, March 11, 8:00 pm, Warner Concert Hall
Saturday, May 7, 8:00 pm, Clonick Hall
Friday, May 13, 8:00 pm, Warner Concert Hall
Oberlin Jazz Ensemble
Saturday, March 12, 8:00 pm
Saturday, May 14, 8:00 pm
Finney Chapel
Guitar Ensemble
Tuesday, March 22, 8:00 pm
Tuesday, April 19, 8:00 pm
Kulas Recital Hall
Oberlin Orchestra
Wednesday, April 13, 8:00 pm
Wednesday, May 11, 8:00 pm
Finney Chapel
Arthur Dann Piano Competition
Sunday, April 17, 1:00 pm
Finney Chapel
Oberlin College Choir
Thursday, April 21, 8:00 pm
Finney Chapel
Oberlin Collegium Musicum
Friday, April 29, 8:00 pm
Saturday, April 30, 8:00 pm
Fairchild Chapel
Women’s Chorale
Wednesday, May 4, 8:00 pm
Warner Concert Hall
Oberlin College Community Strings
Thursday, May 5, 8:00 pm
Finney Chapel
Musical Union / Oberlin Chamber Orchestra
Sunday, May 8, 8:00 pm
Finney Chapel
Oberlin College Community Winds
Thursday, May 12, 8:00 pm
Finney Chapel
Opera Scenes Part I & II
Monday, May 16, 4:00 & 8:00 pm
Finney Chapel
Piano Extravaganza*
Friday, May 27, 8:00 pm
Warner Concert Hall
*tickets available through the Alumni Office (440-775-8692)
Commencement Recitals I & II
Saturday, May 28, 8:00 pm
Sunday, May 29, 8:00 pm
Finney Chapel
These events are free unless otherwise noted.
Visit the Oberlin Conservatory on-line calendar at www.oberlin.edu for
additional concert listings and further information.
OPERA, THEATER, AND DANCE PERFORMANCES
AT OBERLIN COLLEGE
SPRING SEMESTER, 2011
OPERA
La Clamenza di Tito by W.A. Mozart
Associate Professor Jonathon Field, director
Wednesday, Friday, Saturday, March 16, 18, 19, 8:00 pm
Sunday, March 20, 2:00 pm
Hall Auditorium
Opera Scenes Part I & II*
Associate Professor Jonathan Field, director
Monday, May 16, 4:00 & 8:00 pm
Finney Chapel
*Free admission
THEATER
TWO ROOMS
By Lee Blessing
Directed by Samantha Abrams ’12
March 17, 18, 19, 20, 8:00 pm
Little Theater
A BROKEN AND CONTRITE HEART & A FEW DAYS OF TROUBLE
(ORIGINAL)
Written and directed by Heather Harvey ’11
April 6, 7, 8, 9, 8:00 pm
Little Theater
AFTER ASHLEY
By Gina Gionfriddo
Directed by Jenny Gaeng ’11
April 21, 22, 8:00 pm
April 23, 2:00 & 8:00 pm
Little Theater
FLORA THE RED MENACE
By John Kander ’51 and Fred Ebb
Directed by Matthew Wright
Choreographed by Holly Handman-Lopez
May 5, 6, 8:00 pm, May 7, 2 & 8 pm, May 8, 2:00 pm
Commencement Performances*
May 27, 8:30 pm, May 28, 2:00 & 8:00 pm
Hall Auditorium
*tickets available through the Alumni Office (440-775-8692)
DIRECTING SCENES
Directed by Paul Moser
May 11, 12, 13, 14, 8:00 pm
Little Theater
PLAYWRIGHTING READINGS
Curated by Caroline Jackson Smith
May 15, 16, 17, times TBA
Little Theater
DANCE
ESSENCE SENIOR CONCERT
Haydee Souffrant
March 11, 12, 8:00 pm
Warner Center, Main Space
SENIOR DANCE CONCERT
Katherine Barkley and Modesto Acosta
March 18, 19, 8:00 pm
Warner Center, Main Space
TIMARA/DANCE SENIOR CONCERT
Katherine Buono
March 19, 7:00 & 9:00 pm
Wilder Main
WOMEN’S VOICES
Directed by Chris Seibert, Education Director, Cleveland Public Theater
March 20, 7:00 pm
Warner Center, Main Space
Reception follows in Studio 3
SPRING BACK
Student works and choreography by Nusha Martynuk
April 15, 16, 8:00 pm
Warner Center, Main Space
SENIOR DANCE CONCERT
Kai Evans and Helen Joyce
April 29, 30, 8:00 pm
Warner Center, Main Space
AUTOBIOGRAPHY & PERFORMANCE CLASS PROJECTS
Organized by Ann Cooper Albright
May 1, Times TBA
Warner Center
FLORA THE RED MENACE
By John Kander ’51 and Fred Ebb
Directed by Matthew Wright
Choreographed by Holly Handman-Lopez
May 5, 6, 8:00 pm, May 7, 2 & 8 pm, May 8, 2:00 pm
Commencement Performances*
May 27, 8:30 pm, May 28, 2:00 & 8:00 pm
Hall Auditorium
*tickets available through the Alumni Office (440-775-8692)
Tickets for these performances on sale at
CENTRAL TICKET SERVICE
Located in the lobby of Hall Auditorium
Monday–Friday, 12–5pm • 440–775–8169
Group Discounts for 10 or More * Gift Certificates in Any Denomination
American Express, MasterCard & Visa accepted.
Oberlin College would like to acknowledge The Riverside Company
for its support in underwriting all the Oberlin radiobroadcasts on
104.9 WCLV for the Artist Recital Series and the Oberlin
Conservatory during the 2010-2011 season. As a private equity firm
investing in small to medium sized businesses, the Riverside Company
supports investors and business owners across the world with offices
in New York, Cleveland, Dallas, San Francisco, and Europe, and we
are grateful for their commitment to serious music in Northeast Ohio.
Terminal Tower
50 Public Square, Suite 4000
Cleveland, Ohio 44113
Phone: (216) 706-3009
Fax: (216) 344-1330
www.riversidecompany.com