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Lincoln Center Kicks Off 2013 White Light Festival Lineup Today

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Ehrenkranz Artistic Director Jane Moss today announced the roster for Lincoln Center's fourth multidisciplinary White Light Festival, today October 24 through November 23, 2013.

The Festival's focus is music's capacity to illuminate the many dimensions of our interior lives, with a particular emphasis this year on the power of the voice. Spanning numerous musical traditions, genres, and disciplines, the Festival will offer 23 performances, films, and events featuring seven premieres and debuts by artists and companies from more than a dozen countries, including France, India, the Netherlands, Spain, Germany, the U.K., Mali, Estonia, Italy, Austria, Canada and the U.S. New to this edition of the Festival is White Light on Film, film screenings followed by discussions with their directors. Other Festival components include: a panel discussion focused on the subject of time, pre- and post-performance artist discussions, and the popular post-performance White Light Lounges.

Said Ms. Moss, "The White Light Festival's focus on our interior life seems especially crucial as an antidote to our increasingly outer directed and frenetic culture. The unique nourishment and illumination provided by art is only revealed in the stillness offered by our complete attention. For all of us, such moments of stillness are very special indeed, and we hope the artistic sanctuary of the White Light Festival offers many avenues of discovery and engagement."

The White Light Festival opens tonight, October 24 with a free concert by sacred steel gospel group The Campbell Brothers in the David Rubenstein Atrium. The Festival comes to a close November 21-23 with performances of one of the most transporting and acclaimed works of modern dance, Mark Morris' L'Allegro, il Penseroso ed il Moderato. In between, artistry of the highest caliber-represented by a range of International Artists and ensembles, from across a spectrum of Western and Eastern traditions-will unfold over one month, in venues on and off the Lincoln Center campus.

Tickets for White Light Festival are available online at WhiteLightFestival.org by calling CenterCharge, 212-721-6500, or at the Avery Fisher or Alice Tully Hall box offices, Broadway and 65th Street.

Programs, artists, and ticket prices are subject to change.

White Light Festival 2013 Presentations
Artists and Programs in Chronological Order

FREE OPENING EVENT

Thursday, October 24, 2013 at 7:30 pm

David Rubenstein Atrium, Broadway between 62nd and 63rd Streets

The Campbell Brothers

The vocal and sacred steel gospel group The Campbell Brothers have been bringing the deep gospel-blues sounds of Sacred Steel out of the church sanctuary and into concert halls and clubs for more than two decades, thrilling audiences from Lincoln Center Out of Doors to the Hollywood Bowl. They bring their powerful sound to the David Rubenstein Atrium for a Target Free Thursdays performance that also opens this year's White Light Festival.

The group-pedal steel guitarist Chuck Campbell, his brother lap steel guitarist Darrick Campbell, brother Philip Campbell, electric guitar, Philip's son Carlton on drums, and guest vocalists perform in a tradition that has been an integral, but little-known part of worship in the African-American Holiness-Pentecostal church repertoire (founded in 1903 by a Tennessee street preacher), that combines gospel with the growling, wailing, shouting and singing and swinging voice of the steel guitar.Jambase.com wrote, "The Campbells have struck the best balance between honoring the intent and roots of the music while stretching their arms out wide enough to reach a decidedly secular audience....whirling solos and weaving the gospel, daring you not to clap our hands, wave your arms, shake your butt and stomp your feet."

Chuck Campbell began playing lap steel guitar at the age of 11 and was one of the first musicians to utilize the pedal steel guitar in the House of God Church, Keith Dominion, where his father was a bishop. He is a renowned innovator, using techniques to emulate the human voice in an uncanny fashion, evoking soulful gospel and field songs and developing a unique tuning and set-up for the pedal steel guitar that has been used by new generations of musicians.

Saturday, October 26, 2013 at 7:30 pm

Alice Tully Hall, Broadway at 65th Street

Le Concert d'Astrée

Emmanuelle Haïm, conductor

Sonya Yoncheva, Aci

Delphine Galou, Galatea, U.S. debut

Laurent Naouri, Polifemo

Handel: Aci, Galatea e Polifemo

Emmanuelle Haïm and Le Concert d'Astrée made their U.S. debut at the Mostly Mozart Festival in 2005. She and the ensemble return with a rare performance of Handel's early oratorio Aci, Galatea e Polifemo, the work that launched Ms. Haïm's conducting career. The CD of Aci was the second recording released by Le Concert d'Astrée (2003) and featured in the role of the giant Polifemo renowned bass Laurent Naouri who will reprise the part here. Making her U.S. debut as Galatea is French contralto Delphine Galou. The Daily Telegraph described the work as, "Ninety minutes of pure Arcadian delight."

Aci, Galatea e Polifemo, a dramatic cantata composed and performed in Naples in 1708, is the Italian-language predecessor to Handel's most renownEd English opera, Acis and Galatea. Based on a story from Ovid's Metamorphosis, it tells how the shepherd Aci, in love with the divine sea nymph Galatea, is killed by the jealous giant Polifemo. Aci is transformed into a stream that flows forever into the ocean.

French-born Emmanuelle Haïm studied harpsichord with Kenneth Gilbert and Christophe Rousset, and vocal music conducting at the Centre de Musique Baroque de Versailles, and at the Paris Conservatoire where she subsequently taught from 1990 to 2002. In demand as a continuo player, she spent a number of years with William Christie and Les Arts Florissants. She came to international attention leading the Glyndebourne Touring Opera production of Handel's Rodelinda in 2001. Further Glyndebourne conducting triumphs came in 2003 with Handel's Theodora and Giulio Cesare in 2006. Ms. Haïm is a regular guest conductor with the City of Birmingham Symphony Orchestra and the Scottish Chamber Orchestra. She made her debut with the Berlin Philharmonic in 2008 and returned in 2011 for a program of works by Handel and Rameau. She made her U.S. symphony orchestra conducting debut in fall 2011 with the Los Angeles Philharmonic also conducting works of Handel.

Le Concert d'Astrée was founded in 2000 by Emmanuelle Haïm and has claimed a place alongside today's leading Baroque ensembles. In addition to its residency at Opéra de Lille (established in 2004), the ensemble performs in opera houses and leading concert halls throughout France and worldwide, among them the Concertgebouw, Barbican, and Vienna Konzerthaus, and regularly at international festivals such as Salzburg. Among the notable productions it has collaborated on are Bach's St. John Passion directed by Robert Wilson at the Théâtre du Châtelet and Handel's Giulio Cesare directed by David McVicar at Opéra de Lille. Le Concert d'Astrée has had an exclusive recording contract with Virgin Classics since 2001 and its releases have garnered numerous prizes. Its most recent release, Un Fête Baroque, a recording of the ensemble's 2011 gala tenth-anniversary concert, was nominated for a 2013 Grammy Award. The 2012-2013 season for Le Concert d'Astrée and Emmanuelle Haïm opened with the premiere of a new production of Charpentier's Médée at Paris' Théâtre des Champs-Élysées in October. This May and June is the premiere of a new Laurent Pelly production of Handel's Giulio Cesare with Opéra National de Paris at the Palais Garnier. Visit: leconcertdastree.fr/

Le Concert d'Astrée is made possible in part by endowment support provided by the American Express Cultural Preservation Fund.

White Light Lounge: Audience members are invited to mingle and enjoy a glass of wine in the Alice Tully Hall outer lobby immediately following the performance.

Monday, October 28, 2013 at 7:30 pm

Manhattan Center's Grand Ballroom, 311 West 34th Street

Up-close

Kaori Yamagami, cello

Orpheus Chamber Orchestra

Musicians from the International Contemporary Ensemble:

David Bowlin, violin; Michael Nicolas, cello; Jacob Greenberg, piano

All Michel van der Aa Program: Memo; Oog; Transit; Up-close (U.S. premiere)

The work Up-close is performed by special arrangement with the Los Angeles Philharmonic

Virtual reality and our relationship to technology pervade in the innovative multimedia works of Dutch composer and filmmaker Michel van der Aa. Four works are performed in a special portrait concert featuring the Orpheus Chamber Orchestra and musicians from ICE for the White Light Festival, traversing the composer's early and recent works. The works present themes of identity, memory, loss, illusion and existence; they are: Memo (2003) for violin and portable cassette recorder, Oog (1995) for cello and soundtrack, Transit (2007) for piano and video projection, and Up-close (2010) for cello, string ensemble and film with soloist Kaori Yamagami which will be heard in its U.S. premiere. The composer was awarded the prestigious Grawemeyer Award in 2012 for the innovative cello concerto Up-close, which offers a mysterious interplay between the musicians, the soloist and the accompanying film. The composer has noted that by the end of the work and its hall of mirrors within the story: "If anything we are left with more mystery, not less." The Guardian (London) noted of Up-close: "Being 'up-close' can never give us the bigger picture, and we are left with a mystery that continues to resonate after the music has faded."

Michel van der Aa is one of the most outstanding Dutch composers of his generation, known for music of expressive power and an idiomatic sense for the stage, combining sounds and scenic images in a play of changing perspectives. He has studied with Diderik Wagenaar, Gilius van Bergeijk and Louis Andriessen, and has collaborated with filmmakers Peter Greenaway and Hal Hartley and choreographer Philippe Blanchard. Van der Aa's music is regularly performed in leading international festivals for contemporary music in London, Berlin, Paris, Warsaw, Los Angeles, Lucerne and Amsterdam, among others. Champions of his music include Peter Eötvös, Reinbert de Leeuw, the Schönberg and Asko Ensemble, Freiburg Baroque Orchestra, musikFabrik and the Netherlands Opera. In addition to the Grawemeyer Award, van der Aa also received the Mauricio Kagel Prize for excellence in composition. Earlier this year, the English National Opera premiered his 3-D opera, Sunken Garden at London's Barbican Centre. http://www.vanderaa.net/

Principal cellist of the Amsterdam Sinfonietta, Kaori Yamagami has appeared as soloist with the Philadelphia Orchestra, L'Orchestre de Paris, CBC Radio Orchestra, Toronto, Montreal and Sapporo Symphony Orchestras, among others. She has also performed at the Ravinia and Verbier Festivals, and has collaborated in chamber music performances with Gidon Kremer, Yuri Bashmet and Markus Groh.

Orpheus Chamber Orchestra celebrated its 40th anniversary in the 2012-2013 season. The orchestra has released more than 70 albums, including the Grammy Award-winning Shadow Dances: Stravinsky Miniatures, and has commissioned some 35 works, including four this past season The season featured collaborations with leading contemporary soloists, including mezzo soprano Sasha Cooke, baritone Nathan Gunn, violinist Anne Akiko Meyers, Wayne Shorter Quartet, Richard Goode, and its first ever composer-in-residence, Gabriel Kahane. The Orpheus Process, an original method that places democracy at the center of artistic execution, has been the focus of studies at Harvard and Stanford.

There will be a post-concert discussion with Michael van der Aa and WNYC's John Schaefer in the Grand Ballroom immediately following the concert.

White Light Lounge: Audience members are invited to mingle and enjoy a glass of wine in Manhattan Center's Grand Ballroom immediately following the performance.

Thursday, October 31, 2013 at 7:30 pm

Friday, November 1, 2013 at 7:30 pm

Saturday, November 2, 2013 at 7:30 pm

Rose Theater, Frederick P. Rose Hall, Broadway at 60th Street

The Manganiyar Seduction

Roysten Abel, concept and director

Daevo Khan, conductor

Manganiyar musicians

Returning to the White Light Festival is The Manganiyar Seduction, the acclaimed music-theater work by Indian director Roysten Abel that features a dazzling stage set that displays four levels of boxes outlined in lights, each box faced with red velvet curtains covering a musician. The design was inspired by the women's quarters of Hawa Mahal (a royal palace in Jaipur) and the red light district of Amsterdam. Breaking with Indian music's "no conductor" tradition, The Manganiyar Seduction's more than 40 musicians are led by Daevo Khan-who also plays the traditional wooden block instruments known as kartal. ConcertoNet described the effect as "A Wall of Sound which Phil Spector would have gasped at."

The Manganiyars are a caste of Muslim musicians from Northern India who originally performed for The Kings Of Rajasthan, and have incorporated the worship of Hindu deities into their Muslim faith. They play a mix of folk and classical Indian music ranging from Sufi mystic songs and ballads about kings, to Hindu music for births, marriages, and other celebrations. "They have their Muslim saints and worship Allah," said Abel in an NPR interview, "and they also have their Hindu goddesses. They sing to both."

The Manganiyar Seduction had its U.S. premiere at the inaugurAl White Light Festival in 2010, receiving a rapturous reception. The New York Times described the "tumultuous...instantaneous ovation" that greeted the performers at the end of the show.

Roysten Abel was classically trained in Delhi's National School of Drama and Britain's Royal Shakespeare Company. He founded the Indian Shakespeare Company in 1995, and directed his first original production in 1999, Othello: A Play in Black and White, which won a Fringe First Award at Edinburgh before touring internationally. Abel's subsequent work with such street performers as magicians, jugglers, snake charmers, and acrobats led to an invitation to develop and direct a play about Fellini in Rimini, Fellini's hometown, and in 2003, he directed his first feature film, In Othello. Abel's work with musicians in a theatrical context has resulted in two major productions: The Manganiyar Seduction and A Hundred Charmers (with 100 snake charmers), both of which have toured the world. Mr. Abel is currently working on a new work titled The Soul Kitchen, and is also creating an International Center for Contemporary Folk Performances in Jaisalmer, Rajasthan, scheduled to open in 2015.www.roystenabel.com

A post-performance discussion with director Roysten Abel and WNYC's John Schaefer will take place on Friday, November 1 in the Rose Theater.

White Light Lounge: Audience members are invited to mingle and enjoy a glass of wine immediately following the performances.

This presentation of The Manganiyar Seduction is made possible in part by The Fan Fox and Leslie R. Samuels Foundation, Inc.

Sunday, November 3, 2013 at 5 pm

Alice Tully Hall, Broadway at 65th Street

The Cycles of Life: A Musical Exploration of the Balkans (New York premiere)

Jordi Savall, vielle, rebec, and music director

Hespèrion XXI

Acclaimed musician, historian, educator, and viola da gamba virtuoso Jordi Savall returns to Lincoln Center with Hespèrion XXI for his newest musical journey: The Cycles of Life: A Musical Exploration of the Balkans, surveying the mosaic of Christian, Sephardic Jewish, and Muslim cultural influences on sacred and secular music of the region. "Early music has its purists and pedants, its scholars and heretics. Jordi Savall is one of its great souls. A gentle, unassuming, and learned presence [he] has for decades been taking listeners on vibrant, thematically cohesive journeys" (The Boston Globe). One of those journeys, Jerusalem: City of Heavenly and Earthly Peace, a series of concerts and discussions was a highlight of theGreat Performers 2009-2010 season. As Savall explained in interview in the Fall 2012 issue of Listen magazine, "What interests me is the power of music to make dialogue possible and the power of music to change our lives. It's these two elements that move me to develop certain repertories, related to certain historical moments."

For his latest musical journey Savall focuses on the Balkans, the region of southeastern Europe with a fraught history of ethnic and religious conflicts going back centuries. But it is also an area where diverse groups were unified under Turkish Ottoman rule for 400 years, during which a level of tolerance existed that allowed non-Muslims to retain their customs, languages and traditions. An exchange of musical traditions also flourished. And it is that vast "musical fresco" that Savall, Hespèrion XXI celebrate with this program.

Beginning with the kabbalah creation story, The Cycles of Life travels through birth, youth, love, marriage, maturity, and death with a mosaic of Sephardic lullabies, Greek dances, Hebrew songs, Christian Orthodox chants and Sufi devotional music that explore time and transformation. A companion album-featuring songs and instrumental music from Hungary, Bulgaria, Serbia, Croatia, Macedonia, Greece, Romania, and Turkey-is scheduled for release soon on Savall's record label, Alia-Vox.

For more than 30 years, Jordi Savall has been devoted to the rediscovery and performance of neglected musical treasures through live performance and an enormous body of recordings with Hespèrion XXI, La Capella Reial de Catalunya, and Le Concert des Nations ensembles-all founded with his late wife, singer Montserrat Figueras. Savall's 2011 recording Dinastía Borja ("The Borgia Dynasty"), one of the last CDs made with Figueras, received a 2011 Grammy for "Best Small Ensemble Performance." This past April, Savall was named Chevalier de la Légion d'Honneur-France's highest honor-in recognition of his prolific career in the recovery and reappraisal of early music, as well as his role in making music an instrument of mediation at the service of understanding and peace. alia-vox.com/

There will be a post-performance discussion with Jordi Savall and Ara Guzelimian in Alice Tully Hall.

White Light Lounge: Audience members are invited to mingle and enjoy a glass of wine immediately following the performances.

Monday, November 4, 2013 at 8 pm

Avery Fisher Hall, Broadway at 65th Street

The Cleveland Orchestra

Franz Welser-Möst, conductor

Joela Jones, piano

Cynthia Millar, ondes martenot

Luba Orgonášová, soprano

Kelley O'Connor, mezzo-soprano

Herbert Lippert, tenor

Ruben Drole, bass-baritone

Cleveland Orchestra Chorus

Robert Porco, director

Beethoven: Grosse Fuge in B-flat major for string orchestra, Op. 133

Messiaen: Trois petites liturgies de la Présence Divine

Beethoven: Mass in C major, Op. 86

"The sheer splendor of the orchestra's playing made you sit upright in awestruck appreciation," said a recent review of The Cleveland Orchestra in the San Francisco Chronicle.

The acclaimed orchestra, led by Artistic Director and conductor Franz Welser-Möst, pairs two glorious works from the sacred repertoire, one from the 19th century, the other, the 20th, Beethoven's Mass in C major and Messiaen's Trois petites liturgies de la Présence Divine, composed during World War II, alongside Beethoven's late, technically-brilliant Grosse Fuge.

The Cleveland Orchestra celebrated its 95th anniversary this past season. Under the leadership of Music Director Franz Welser-Möst for the past eleven seasons, the orchestra has flourished at its home in Severance Hall, in appearances in the U.S. and abroad, and with innovative residencies, including one at Miami's Adrienne Arsht Center. During Welser-Möst's tenure, the orchestra has presented thirteen world and fifteen U.S. premieres. Music education has been a cornerstone of the orchestra's mission since the launch of the first formal program in 1921, and it has introduced more than 4 million Cleveland-area young people to symphonic music. Recent initiatives, through the Center for Future Audiences, have resulted in impressive increases in the number of students (high school through grad school) regularly attending concerts, it was reported in a just-published article in The Cleveland Plain Dealer.

Highlights of The Cleveland Orchestra's 2012-2013 season included premieres of works by Matthias Pintscher, Stephen Paulus, and Young Composer Fellow Sean Shepherd; concerts led by Artist-in-Residence Ton Koopman; and conducting debuts by Manfred Honeck, Gianandrea Noseda and Robin Ticciati, among others. "Near-flawless playing" is what The New York Times wrote about the orchestra's performance this past November at Carnegie Hall, reviewing a program that included works of Beethoven and the N.Y. premiere of the Pintscher work Chute d'Étoiles. For the 2013-2014 season, Music Director Franz Welser-Möst will introduce a Fall Festival, pairing symphonies by Beethoven and Shostakovich, and an all-Brahms weekend with two programs featuring Brahms's Violin Concerto and his Second and Fourth Symphonies. Mr. Welser-Möst brings opera back to Severance Hall, with a semi-staged production of Janácek's The Cunning Little Vixen. Guest artists returning to Severance Hall include Leon Fleisher, Mitsuko Uchida, Radu Lupu, and conductors Christoph von Dohnányi, Pierre Boulez, and Herbert Blomstedt. The Orchestra celebrates the 100th anniversary of the birth of Benjamin Britten with performances of his Spring Symphony, Violin Concerto, and Serenade for Tenor, Horn, and Strings. For more information visit:clevelandorchestra.com

In addition to his directorship of The Cleveland Orchestra, Franz Welser-Möst has served as General Music Director of the Vienna Staatsoper since 2010. He appears regularly as guest conductor with the Vienna Philharmonic at both the Musikverein, and on tour to the Salzburg and Lucerne Festivals, the BBC Proms and Suntory Hall, Tokyo. Mr. Welser-Möst has been guest conductor with most of the leading European and U.S. orchestras. His recordings and DVDs have won numerous awards including the Gramophone Award and the Diapason d'Or. Recent recordings with The Cleveland Orchestra include DVDs of Bruckner Symphonies Nos. 5, 7, 8 and 9, and CDs on Deutsche Grammophon of Beethoven's Symphony No. 9 and Wagner excerpts.

Founded in 1952, the Cleveland Orchestra Chorus celebrated its 60th anniversary this season. It is one of the few professionally trained, all-volunteer choruses sponsored by a major American orchestra. Director Robert Porco is in his 15th season leading the chorus.

Wednesday, November 6, 2013 at 7:30 pm

Thursday, November 7, 2013 at 7:30 pm

Rose Theater, Frederick P. Rose Hall, Broadway at 60th Street

DESH (U.S. premiere)

Akram Khan, director, choreographer, and performer

Tim Yip, visual design

Jocelyn Pook, composer

Michael Hulls, lighting

Celebrated choreographer Akram Khan revisits Lincoln Center with the U.S. premiere of DESH, winner of the U.K.'s 2012 Olivier Award for Best Dance Work. Called "The most beautiful and confident work of his career" (The Guardian, London) when it premiered at Sadler's Wells in 2011, DESH was inspired by Khan's parents' homeland of Bangladesh. It is the London-based choreographer's first full-length solo piece and stands as a very personal exploration. To research the work, he took his talented creative team-including composer Jocelyn Pook (Eyes Wide Shut film score) and Tim Yip (Crouching Tiger, Hidden Dragon production design)-to Bangladesh to "live, smell, eat, drink, and sleep Bangladesh," said Khan in a Sadler's Wells program interview. "Bangladesh is, for me, man against nature. Constantly under threat with water, the cyclones and flooding. And yet they find new ways to live amongst the monster...that's something that really inspired me." With DESH, Khan also confronts our collective, universal frailty in the face of forces beyond our control, mining the dreams and stories that help us to survive and grow.

Akram Khan combines elements of modern and kathak dance to create boundary-crossing works that challenge conventional ideas of traditional dance. In addition to company works that have featured collaborations with the National Ballet of China and the London Sinfonietta, he has also created pieces for the Oscar-winning actress Juliette Binoche, the internationally-acclaimed ballerina Sylvie Guillem, and was chosen to choreograph and perform a section of the London 2012 Olympics Opening Ceremony. He is the recipient of numerous awards, including the International Society for the Performing Arts Distinguished Artists Award and The Age Critics' Award. Khan first brought his company to White Light Festival 2012 for the N.Y. premiere of Vertical Road, a work that won the UK's 12th Critic's National Dance Award for Best Modern Choreography.www.akramkhancompany.net

There will be a post-performance discussion with Akram Khan on November 6 in the Rose Theater.

White Light Lounge: Audience members are invited to mingle and enjoy a glass of wine immediately following the performances.

DESH is sponsored by COLAS. Co-produced by MC2: Grenoble, Curve Leicester, Sadler's Wells London, Théâtres de la Ville de Luxembourg, and Concertgebouw Brugge.

This presentation of DESH is made possible in part by The Fan Fox and Leslie R. Samuels Foundation, Inc.

White Light on Film

Presented in association with the Film Society of Lincoln Center

Walter Reade Theater, 165 West 65th Street

White Light Lounges: Audience members are invited to mingle and enjoy a glass of wine immediately following both film screenings, Furman Gallery, Walter Reade Theater.

Saturday, November 9, 2013 at 6:30 pm

The End of Time; Peter Mettler, director; 2012; 109 minutes (New York premiere)

Time as an abstract concept, as a metaphysical construct, and as a physical reality is the subject of Canadian filmmaker Peter Mettler's latest film, The End of Time. Peter Mettler's films have been deemed impossible to make and they elude categorization. They include Pictures of Light (1994), which captured the wonder of the Northern Lights on celluloid, andGambling, Gods, and LSD (2002), an exploration of the notions of transcendence and belief. Mettler's new movie is a non-fiction film that examines "time" with sequences that range from the world's largest particle physics laboratory, to the slow-moving wall of volcanic lava encroaching upon a single plant, to a skydiver hurtling towards earth from a height of 102,000 feet, to the city of Detroit in the death throes of urban decay. In addition to its narrative sections, the film has passages of purely visual and aural expression, giving it a more experimental, as well as poetic, quality. "I think it is the most difficult film that I have made," says Mettler. "And also my most personal."

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