Program-Paris Combo 2013-04-19

Transcription

Program-Paris Combo 2013-04-19
�����������������������
��������������
������������������������
��������
���������������������������������������������
��������������������������������������
���������������������������
��������������������
��������������������������
���������������������������������������������������
�������������������������������������������������������
���������������������������������������������
������������������������
����������������������������
�������������������������������������������������
�����������������������������
�����
����������������
���������������������������
���������
�������������������������������
������������������������������������������������
����������������������������������������
����������������������������������������
�������������������������������������
����������
���������������
�������������
�������������
������
���������
�������������
������������������
��������������������������������
�������������������
���������������
�����������
�����
��������
�����������
Welcome to VIVA! & Gala
The 2012–13 season of concerts at the Cleveland
Museum of Art showcases 16 outstanding
performances from around the globe and the U.S.
Among the many highlights of the season are
programs that tie into exhibitions, the openings
of the Renaissance and Islamic galleries, and the
stunningly beautiful Ames Family Atrium.
Tonight please join me in welcoming the
inimitable Paris Combo back to Cleveland.
Next month, we have our season finale with The
Cleveland Orchestra in “California Masterworks”—
two programs in Gartner Auditorium of works by
California composers each preceded by a free
talk by Dr. Henry Adams. Three films spotlighting
two of the composers in these programs screen
in late April. Following the Friday performance,
experience MIX: Composition in the atrium—free
with your California Masterworks concert ticket.
Visit www.ClevelandArt.org/CaliforniaMasterworks
for details.
Paris Combo
Friday, April 19, 2013 • 7:30 p.m.
Gartner Auditorium, The Cleveland Museum of Art
ENSEMBLE
Belle du Berry – vocals
David Lewis – trumpet, piano
François Jeannin – drums, backing vocals
Potzi – guitar
Emmanuel Chabbey – double bass
Thank you for being with us tonight.
Massoud Saidpour
Curator of Performing Arts and Music
For legal reasons and physical safety of the artists and for the
comfort of the audience, cameras and other recording devices are
not permitted in the theater during the performance.
PROGRAM
Tonight’s program is presented without intermission.
The program order to be announced from the stage.
Comptez sur moi (Count on Me)
B. Grimault/ B. Grimault • D. Lewis • A. Boudrahem • F. Jeannin
I Saw Stars
Escapade
Ce que j’aime, c’est le début (What I Like Is the Beginning)
B. Grimault • D. Lewis • A. Boudrahem • F. Jeannin • M. Razanajato
B. Grimault/ B. Grimault • D. Lewis • A. Boudrahem • F. Jeannin
Sous la lune (Under the Moon)
Ubiquité (Ubiquity)
B. Grimault/
B. Grimault • D. Lewis • A. Boudrahem • F. Jeannin • M. Razanajato
B. Grimault/
B. Grimault • D. Lewis • A. Boudrahem • F. Jeannin • M. Razanajato
Lux
B. Grimault/ B. Grimault • D. Lewis • A. Boudrahem • F. Jeannin
B. Grimault/ B. Grimault • D. Lewis • A. Boudrahem • F. Jeannin
Je te vois partout (I See You Everywhere)
Living Room
B. Grimault/ B. Grimault • D. Lewis • A. Boudrahem • F. Jeannin
B. Grimault/
B. Grimault • D. Lewis • A. Boudrahem • F. Jeannin • M. Razanajato
Attraction
Señor
B. Grimault/ B. Grimault • D. Lewis • A. Boudrahem •
F. Jeannin • M. Razanajato
Chaque fois (Each Time)
B. Grimault/
B. Grimault • D. Lewis • A. Boudrahem • F. Jeannin • M. Razanajato
Homeron
B. Grimault/
B. Grimault • D. Lewis • A. Boudrahem • F. Jeannin • M. Razanajato
B. Grimault/ B. Grimault • D. Lewis • A. Boudrahem • F. Jeannin
Je rêve encore (I Still Dream)
Goodbye Pinocchio
B. Grimault
B. Grimault/ B. Grimault • D. Lewis • A. Boudrahem • F. Jeannin
Moi, mon âme et ma conscience (Me, My Soul and My
Conscience)
Fibre de verre (Fiberglass)
B. Grimault/
B. Grimault • D. Lewis • A. Boudrahem • F. Jeannin • M. Razanajato
B. Grimault/ B. Grimault • M. Montier Dauriac
Lettre à P (Letter to P)
Program subject to change.
B. Grimault/
B. Grimault • D. Lewis • A. Boudrahem • F. Jeannin • M. Razanajato
4
Tout excusé (Totally Forgiven)
5
SELECT SONG TEXTS AND TRANSLATIONS
Moi, c’que j’aime, c’est le début
C’est pas lala, c’est pas la fin
What I like is the beginning
Not the end, the end.
Ce que j’aime, c’est le début
Lyrics: Bénédicte Grimault
What I Like Is the Beginning
REFRAIN
CHORUS
REFRAIN
Prémices de l’hymen,
naissance des sirènes
J’ai banni l’hallali
de mon beau paradis
CHORUS
Beginnings of the hymen,
birth of the sirens
I have banished the “Hallihi”*
from my own paradise
Lux
Lyrics: Bénédicte Grimault
Lux
Au début, il y a eu le big bang
Et puis l’inconnu, un peu de chaos,
le ying et le yang
Il n’y avait que toi, il n’y avait que moi
Moi, j’étais Adam , toi, Eve
ou bien vice et versa
Entre toi et moi,
tout a commencé par un très long baiser
Oui, ça, on sait que tout a commencé
Par un très grand éclat de joie
In the beginning was the big-bang
Then the unknown, a bit of chaos,
the ying and the yang
There was only you, there was only me
I was Adam, you were Eve,
or vice versa
Between you and me,
it all began with a long kiss
Yes, that we know—that it all started
with a big shout of joy.
Je suis un papillon de nuit
Je me colle à mes amis
pour trouver trouver le bon faisceau
de lumière qui colle à la peau
I’m a moth
I cling to my friends
To get the the best rays of light
The ones that stick to your skin
Je brille Oh! regardez ... je brille
Je grille! Oh! regardez ... je grille
I’m shining! Oh! look…I’m shining!
I’m burning! Oh! look…I’m burning!
Moi, c’que j’aime, c’est le début
C’est pas lala, c’est pas la fin
What I like is the beginning
Not the end, the end.
REFRAIN
CHORUS
REFRAIN
Je veux du Lux
je ne suis pas robin des bois
j’aime la lumière de Wood
et qu’on me voit dans les bois
jouer du oud, jouer du oud
CHORUS
I want Lux
I’m not Robin Hood
I love the black light of Wood
I want to be seen in the woods
Playing the oud, playing the oud
Puis, peu de temps après,
il y a eu le déluge
Une grosse averse est tombée
sur nos idées de démiurges
il y a eu de l’eau dans le jazz
et du jazz dans le ravin
Mais comment se jouer
du bonheur usé
On est comme les petits lapins
de la publicité
On tape sur le tambour jusqu’à
épuisement de l’amour
Mais c’est trop dur pour que ça dure
Then, a little bit later,
there was a flood
A big downpour rained
on our god-like ideas
We are in deep,
and there’s smoke on the water
But how do you get around
used-up happiness?
We’re like the little rabbits
in the commercial
We bang on the drum until
love runs out.
It’s too hard for it to last forever..
Je n’suis pas une lumière
Ni luciole, ni coléoptère
Je veux frotter mon derrière
Contre un coin de réverbère
I’m not very bright
Neither glow-worm, nor coleoptera
I just want to rub my backside
In the light of a street-lamp
Je brille Oh! regardez ... je brille
Je grille! Oh! regardez ... je grille
I’m shining! Oh! look…I’m shining!
I’m burning! Oh! look…I’m burning!
Même si je vois bien
Que la lumière ne me vaut rien
au teint
Je crève d’un rêve
né d’Eve et d’Adam
Although I see clearly that
The light does nothing
for my complexion
I’d die for a dream
born of Adam and Eve
REFRAIN
CHORUS
6
* The cry to celebrate the kill in a hunt.
7
Goodbye Pinocchio
Lyrics: Bénédicte Grimault
Goodbye Pinocchio
REFRAIN
Un point sur l’horizon,
en souvenir de toi
Pointillés, suspension
Et ton sourire narquois
CHORUS
A dot on the horizon,
in memory of you
A dotted line, a suspension point
And your mocking smile
Mon ciel s’est soudain senti dégagé
un petit vent frais vient de se lever
de se lever
de se lever
My sky has suddenly cleared
A cool breeze has sprung up
Sprung up
Sprung up
Oh, I would have happily thrown it all in,
happily told you where to get off
you and your laminated tuxedo
and your slicked-back blow-dry
but no, I cannot, (yes but no),
very well dance without you
Other times, with every step,
each time I was drawn in:
but with you, each time, with every step,
each time I danced,
it was not easily forgotten.
Tu pensais pouvoir m’effrayer
tu pensais pouvoir m’apitoyer
m’apprivoiser m’emmurer ou
m’amadouer
You thought you could scare me
You thought you could make me pity you
Tame me Wall me in,
soften me up
REFRAIN
CHORUS
Petit à petit, je survie
comme une douce couleuvre en appétit
je survis, mon ami
je survis à la vie
Little by little, I’m surviving
Like a hungry little grass-snake
I’m surviving my friend
I’m surviving this life
Puis tu as posé tes mains
sur ma taille et soudain,
j’ai senti, comme à regret,
mon dédain s’évaporer.
C’est ta dégaine ridicule
qui m’a touchée, je crois,
et mon regard acidule n’a pas eu l’effet:
“casses-toi!“
You put your hands
on my waist and suddenly
I felt my disdain evaporate
almost with regret
It’s your ridiculous look
that touched me I think
and my acid-like glance failed
to have the “drop dead” effect!
A la vie que tu voulais me faire mener
me faire mener par le bout de ton nez
j’y croyais plus trop
j’y croyais plus, Pinocchio...
This life you wanted me to lead
Leading me on, by the end of your nose
I didn’t believe in it anymore
Not anymore, Pinocchio...
Goodbye, Pinocchio
Goodbye, Pinocchio
REFRAIN
CHORUS
J’ai mes idées sur l’amour
et tu ne colles pas au schéma
Mais si j’enlace tes contours,
j’oublie comment
et pourquoi...
I have my own ideas about love…
and you don’t really fit in
But if I embrace your form
I forget about the whys
and the wherefores
Chaque fois
Lyrics: Bénédicte Grimault
Each Time
Dans un dancing un soir,
où j’étais par hasard,
attirée par les lampions
comme un vulgaire papillon.
C’était là ton habitacle,
tu t’y donnais en spectacle.
J’étais là incognito
et tu me fais ton numéro...
In a dance-hall one evening,
where I ended up by chance,
Attracted like a vulgar little moth
by the Chinese lanterns
You were in your element,
making a spectacle of yourself
I was there incognito
and you did your number on me...
REFRAIN
CHORUS
Oh, j’aurais bien tout laissé tomber,
je t’aurais bien envoyer valser
toi et ton smoking laminé
et ton brushing gominé
mais non, je ne peux pas—oui, mais
non—décemment danser sans toi
Chaque fois, chaque pas ,
chaque fois j’ai marché, mais avec toi,
Chaque fois, chaque pas ,
chaque fois j’ai dansé,
ça s’oublie pas
8
9
Comptez sur moi
Lyrics: Bénédicte Grimault
Count on Me
Si tu me jures, si tu m’assures
d’un amour éternel
Je ne suis pas sure que ça me rassure,
ça risque même de me couper les ailes
Pour la confiance
compte pas sur moi
La résistance
compte pas sur moi
Pour la prestance
compte pas sur moi
Pour la romance, alors là,
tu peux compter sur...
If you swear, if you pledge to me
an eternal love
I’m not sure that it will reassure me
It may even clip my wings
For confidence
don’t count on me
For endurance
don’t count on me
For presence
don’t count on me
But for romance, though,
you can count on…
Compter sur moi
sur mes dix doigts
compter sur le bout de mes doigts
1
2
3
Compter sur moi
ta chanson la
connaître sur le bout de mes doigts
Count on me
On my ten fingers
Count on the tips of my fingers
1
2
3
Count on me
To have your song
At my fingertips
Car tu m’inspires
quand tu me fais rire avec tes blagues
douteuses sur les chanteuses
Tu me fais sourire
quand tu veux me séduire,
Ô toi mon preux chevalier
de l’apocalypse heureuse
Pour la confiance
compte pas sur moi
La résistance
compte pas sur moi
Pour la prestance
compte pas sur moi
Pour la romance, alors là,
tu peux compter sur...
Because you inspire me
when you make me laugh with your
dubious jokes about girl-singers
You make me smile
when you try to seduce me
Oh my proud knight
of the Apocalypse of Happiness
For confidence
don’t count on me
For endurance
don’t count on me
For presence
don’t count on me
But for romance, though,
you can count on…
Compter sur moi
Sur mes dix doigts
Count on me
On my ten fingers
10
Compter sur le bout de mes doigts
1
2
3
Compter sur moi
ta chanson la
connaître sur le bout de mes doigts
Tu peux compter, compter sur moi,
compter sur le bout de mes doigts...
Count on the tips of my fingers
1
2
3
Count on me
To have your song
At my fingertips
You can count on me, count on me,
count on the tips of my fingers...
Tout excusé
Lyrics: Bénédicte Grimault
Totally Forgiven
C’était un arbre dans une cour
était-il là avant que
les murs ne l’entourent?
C’est à lui que j’ai pensé
quand je t’ai vu empêtré,
étriqué dans ton costume de fidélité
The tree in the courtyard—
was it there before
the walls surrounded it?
It was that tree I thought of
When I saw you hemmed in
by your tight suit of faithfulness
On a le droit d’avoir un jardin pour soi,
secret où les autres n’entrent pas,
c’est pas la peine d’en faire tout un plat
non, pas pour moi
We have the right to have a secret garden
Where others cannot enter
It’s not worth making a fuss about it
No, not for me
REFRAIN
tu cherches des excuses
tu m’auras par la ruse
tu sais, d’être ce que tu es
tu es tout excusé
CHORUS
you’re looking for excuses
you’ll end up fooling me!
you know, be who you are
you are totally forgiven
Une statue tendant son poing
dans un square parisien,
son élan à jamais pétrifié,
j’y ai pensé
quand je t’ai vu empêtré de regrets,
d’alibis en papier mâché
A statue with its fist raised
In a Parisian square,
forever frozen in its tracks
I thought of it
When I saw you entangled
in your paper-mâché regrets and alibis
On est né dans un jardin secret ,
On est plein de mystère,
à jamais planqué
tu sais, de ton jardin secret, j’ai
j’ai pas la clef
We are born in a secret garden
We are full of mystery
forever hidden
You know that for your secret garden
I don’t have the key
REFRAIN
CHORUS
11
Je te vois partout
Lyrics: Bénédicte Grimault
I See You Everywhere
Translation: David Lewis
Ca m’a pris sur les bancs de l’école
A l’époque, c’était Colargol
Et puis les rustines et la colle
—mais là je m’égare un peu—
Je n’étais pas une enfant de coeur
qu’on arrache aux instants rêveurs
d’un naturel bien éthéré...
...tu m’as vite envoûtée
It all started back in school
At first it was Winnie-the-Pooh
and then tire-mending glue
—but I’m digressing a little—
I certainly wasn’t an angel
Awakening from innocent daydreams
Floating through life...
…you soon bewitched me
REFRAIN
C’est bien plus fort que moi
je te vois partout, sur tout
même les yeux fermés
C’est bien plus fort que moi
je ne peux pas m’empêcher
de fantasmer sur toi
CHORUS
I can’t control myself
I see you everywhere, in everything
Even with my eyes closed
I can’t control myself
I can’t stop fantasizing
About you
Je n’ai pas tout de suite pris la mesure
de cette nouvelle conjoncture
de cette étrange dictature
—mais là je m’égare un peu—
Ton image apparaissant partout
même dans mes rêves les plus fous
bien obligée de constater...
...tu m’as vite envoûtée
I didn’t realize at all how serious
This new situation,
This new dictatorship was
—but I’m digressing a little—
Your image appearing everywhere
Even in my craziest dreams
I had to admit...
…you soon bewitched me
12
REFRAIN
CHORUS
Dans la salle de bain, dans le cuisine,
partout, sur tout, je t’imagine
je te vois nu sous ton hermine
—mais là je m’égare un peu—
Ton visage m’obsède tant et plus
qui j’étais, je ne le suis plus
libères un peu de ma psyché...
...tu m’as trop envoûtée
In the bathroom, in the kitchen,
Everywhere I imagine you
I see you naked under your ermine
—but I’m digressing a little—
Your face obsesses me so much
I am no longer who I was before
Free up a a bit of my psyche!
…you bewitched me too much
REFRAIN
CHORUS
dépixélisé, anamorphosé, en format HD
je te vois
J’ordonne mes envies en cadavre exquis:
dans les bras d’un loup
je te vois partout
De-pixelated, anamorphic, in H-D format
I see you
I list my desires like a Cadavre Exquis*:
in the arms of a wolf
I see you everywhere
* Word-game played by the French
surrealists
13
ABOUT THE ARTISTS
Paris Combo
Four albums and a decade spent touring the globe
playing to enthusiastic audiences from Sydney to
San Francisco and Berlin to Beirut have enabled Paris
Combo to create its own unique world, establishing
itself as one of the most piquant, intriguing groups
on the international music scene. Fronted by the
mischievous vocals of chanteuse Belle du Berry, the
combo has struck a positive chord with critics and
audiences for their fun-loving mix of jazz, French pop,
cabaret, gypsy, Latino and Middle Eastern rhythms.
In the early ’90s, du Berry, Potzi, and François Jeannin
first performed together as members of the offbeat
retro revue Champêtres de Joie, playing acoustically
in the historic Berry Zèbre cinema in Paris’ Belleville
district. Together they collaborated with French
choreographer Philippe Decouflé at the closing
ceremony of the Winter Olympics in Albertville. Du
Berry met Australian musician David Lewis in 1994
when both were performers at the inaugural Cabaret
Sauvage revue (now a popular venue in Paris) and
it was not long before he joined the trio. They were
then joined by bassist Mano Razanajato, forming what
was to become Paris Combo.
From 1995–97, the group honed their unique style
playing in cafés and on barges moored along the
Seine. Du Berry, whose musical roots go back to
post-punk bands, often cites influences such as
Arletty, the French singeractress of the ’30s, but also
the Surrealists and a panoply of more recent artists
including the B-52’s. Potzi’s Django-influenced guitar
often mixes with François’ ska or Latin grooves to
14
create a fascinating blend. Lewis, who had previously
played with a wide variety of French bands including
Manu Dibango and Arthur H, attributes the group’s
approach to Paris’ cosmopolitan atmosphere.
In 1997, Paris Combo released their eponymous first
album on the now-historic indie label, Boucherie
(Butchery), and began touring intensively in France.
The band’s popularity may have coincided with a
swing revival in the mid-1990s, but Paris Combo
played a more varied set than the retro swing bands.
Los Angeles Times critic Don Heckman declared, “The
group’s music fits into the swing revival category
occupied by such bands as the Squirrel Nut Zippers
and Big Bad Voodoo Daddy, but their range of
styles is far too eclectic to be bunched into a single
category.” Most critics agreed, attributing to the
group such wide-ranging characteristics as French
cabaret, rumba, flamenco, Gypsy swing, cool jazz,
African, Latin, and Middle Eastern styles.
On the heels of the success of their debut CD, Paris
Combo released Living Room in Europe in 1999 and in
the United States the following year. One of the last
Boucherie releases, the album was soon re-licensed
to Universal in France where it was a gold record with
100,000 albums sold by the end of 2000. The group
performed at the iconic Parisian venue l’Olympia to
cap-off the year’s 120 concerts. This was followed by
the release of Attraction in 2001, a live album in 2002,
and extensive touring in the U.S., Europe, Asia and
Australia.
In late 2004, Paris Combo released Motifs produced
by respected American sound engineer Oz Fritz.
As a prelude to the CD’s U.S. release, the group
performed symphonic arrangements of their set with
15
the Hollywood Bowl Orchestra. Anastasia Tsioulcas
declared in Billboard that Motifs is “a required cocktail
party soundtrack” emphasizing the mainstream
appeal of the band, but Paris Combo still refused
to be classified, nor did their mainstream appeal
diminish their carefully crafted sound. Washington
Post critic Mike Joyce wrote, “Engaging, clever and
cutting by turns, it doesn’t take long for Motifs to
prove once again that Paris Combo has carved out a
truly distinctive niche for itself.”
In 2010, after an extended sabbatical, the group
starting writing and rehearsing again. Belle, Potzi,
François, and David worked together for over a
year composing and arranging new songs and
re-discovering their own distinctive group sound,
allowing Belle’s lyrics to explore the crazy extremes
of love—from total obsession (“Je te vois partout”) to
total forgiveness (“Tout excuse”).
At the end of 2011, joined by newcomer Emmanuel
Chabbey on bass, Paris Combo made an exclusive
comeback appearance at the Hollywood Bowl and
began performing their new songs as well as favorites
such as “Living Room” and “Señor” in France, Europe,
and the Middle East. At the same time, they began
to record at Labomatic Studios in Paris with star
producers Dominique Blanc-Francard and Bénédicte
Schmitt (Gainsbourg, Françoise Hardy, Camille).
Before the album was finished, rough mixes of songs
had started making their way onto radio playlists and
compilations in Europe and Australia.
CREDITS
Philippe Moja – Front of House sound engineer
Paris Combo appears by arrangement with:
Eye for Talent
1139 San Carlos Ave - Ste 310
San Carlos, CA 94070
650-595-2274
www.eyefortalent.com
Students “Pay What You Can” at the door for any VIVA! & Gala
Performing Arts Series concert. Starting 90 minutes prior to the
performance, show your valid student ID when purchasing tickets
in person and pay any whole-dollar amount. Subject to availability.
UPCOMING PERFORMANCES
Music in the Galleries
Wednesdays, May 1, 6:00 p.m.
Our 2012–13 season of “first Wednesday” gallery concerts concludes
with an hour-long performance by young artists from the Cleveland
Institute of Music. Free.
The quintet is back with their fifth studio recording
simply titled 5, which has now been released in the
US.
www.pariscombo.com
16
17
�����������������������
UPCOMING PERFORMANCES & EVENTS
�����������������������
California
Masterworks
The Cleveland
Orchestra’s performances in the museum in May 2011
������������������������������������������������������
were ������������������������������������������������������
a milestone event and, according to the Plain Dealer, among the
year’s “high notes” in classical music. This groundbreaking collaboration
�������������������������������������������������
continues, again following a masterworks theme, this time turning
����������������������������������������������������������
attention
to the west coast of the United States. Classical music was
�������������������������������������������������������
inexorably
bumped off its European axis with the emergence of
��������������������������������
California
composers including Lou Harrison, Terry Riley, and Henry
Cowell, among many others. After all, California, which faces away from
����������������������������������������������������
the influential European cities, welcomed to its shores the cultures of
����������������������������������������������������
Southeast
Asia and Latin America. Non-European percussion traditions,
������������������������������������������������������
tuning
systems, and compositional architectures found their way into
music����������������������������������������������������������
composed for orchestra and the concert stage, creating a classical
canon������������������������������������������������������
of a different sort—refreshing and exciting.
Tickets
$29–$44 (each program)
����������������������������������������������������
Program
1
������������������������������������������������������
Wednesday,
May 1, 7:30 p.m.
������������������������������������������������������
��������������������������
Henry�����������������������������
Cowell: Sinfonietta
Dane��������������������������������������������������������
Rudhyar: Out of the Darkness (World premiere)
Lou Harrison:
Suite for Violin with String Orchestra, featuring Steve Rose
�����������������������������������������������������������
Free ������������������������������������������
pre-concert talk at 6:00 p.m. by Henry Adams:
“The Quest for Nirvana and the Birth of Modern Art”
���������������������������������������������������������
Program
2
���������������������������������������������������������
Friday,
May
3, 7:30 p.m.
����������������������������������������������������
���������������������������������������������������������
James
Tenney: Clang
John ���������������������������������������������������������
Adams: Shaker Loops
Terry��������������������������������������������������������
Riley: The Sands, featuring the Calder Quartet
Free ��������������������������������������������������������
pre-concert talk at 6:00 p.m. by Henry Adams:
�����������������������������������������������������
“The Funkiness of California Art in the 20th Century”
Films
Tom Welsh,
the museum’s director of City Stages, will introduce and
�
discuss all three films. Each program $9; CMA members, seniors 65 &
over, and students $7; or one CMA Film Series voucher.
Music����������������
with Balls & Crossroads Friday, April 26, 7:00.
������������������������������������������
Lou Harrison:
A World of Music Sunday, April 28, 1:30.
Visit www.clevelandart.org/vivagala for more information about
��������������������������������������������������������������
performances, including audio/video samples and program notes.
��������������������������������������������������������������
Inca Son
��������
������������������������
Friday, October 26, 7:30
Naseer Shamma & Ensemble
������������������������
����������������������
Friday, March 15, 7:30
Prazak Quartet
��������������
���������������������������
Wednesday, October 31, 7:30
Ana Moura: Fado of Portugal
���������������������������
����������������������
Friday, March 22, 7:30
Jordi Savall & Hespèrion XXI
����������������������������
Wednesday, November 7, 7:30
���������������������������
Oliver Mtukudzi
���������������
IN THE ATRIUM
�������������
���������������������
Friday, April 5, 9:00
James Feddeck, solo organ
�������������������������
Sunday, January 13, 2:30
������������������������
Kronos Quartet
��������������
Friday, January 18, 7:30
������������������������
King Lear:
�����������
Contemporary Legend Theatre
����������������������������
of Taiwan
���������
������������������������
Friday, January 25, 7:30
Chanticleer
�����������
IN THE ATRIUM
�������������
���������������������������
Wednesday, January 30, 9:00
Flamenco Vivo/Carlota Santana
�����������������������������
������������������������
Friday, February 8, 7:30
The Idan Raichel Project
������������������������
Saturday, February 16, 7:30
���������������������������
Victoire
��������
Friday, February 22, 7:30
�������������������������
The Art of Naqqali:
��������������������
Master Storytellers of Iran
���������������������������
Wednesday & Friday, March 6 & 8, 7:30
�������������������������������������
�������������������������������������
Saturday & Sunday, March 9 & 10, 2:30
Paris Combo
�����������
����������������������
Friday, April 19, 7:30
The Cleveland Orchestra
�����������������������
����������������������
California Masterworks
�����������������������������������
Wednesday & Friday, May 1 & 3, 7:30