Inspiring Connection

Photo: Joan Marcus

Between October 17, when Sankai Juku opened our season, and March 4, when it abruptly ended, Meany Center focused on connecting our audiences and community with our visiting artists. We presented two of four planned student matinees, reaching nearly 2,000 students. A member of the Iranian Canadian group Niyaz visited a sixth grade class at Licton Springs K–8 School and led a whirling dervish activity with the students, and later facilitated a workshop on whirling meditation for community members. More than 40 members of the Chamber Music Club at UW organized to attend the Danish String Quartet concert together.

High Priestess of the Crossroads

 

We were so proud to present Daniel Alexander Jones’ Black Light, featuring his alter ego Jomama Jones, in December. We were even prouder of the Black Light Ambassadors project, which Daniel suggested, having used it to great effect in other locations. The concept is simple: invite members of diverse communities to meet the artist, learn about the show, attend the performance — and give them complimentary tickets for 10 other people they know. Over three nights, we welcomed numerous audience members who had never attended an event at Meany before. Afterward, one of our Ambassadors wrote: “I invited my neighbor Camilla. It was her birthday. Her 57th. She was beside herself with happiness. ‘I am being seen!’ she kept saying. She called out, ‘Amen,’ and, ‘I witness!’ and, ‘Mm hmm!’ every chance she could. She sat on the edge of her seat the whole time. Her queer, POC self was ecstatic! A true gift.”

Photo: Benjamin Ealovega

Photo: Mariko Nagashima

Backwards Beethoven

Jonathan Biss was on our President’s Piano Series twice this season, as part of our year-long celebration of the 250th anniversary of Beethoven’s birth. He was to appear in November with an evening of early sonatas, and then again in December to play middle and late works. Sadly, he was forced to cancel his November appearance due to illness. He more than made up for it, though, a month later when he agreed to play the two concerts back to back in reverse order: late works first in the Kathryn Alvord Gerlich Theater, followed the day after with a lecture and performance of early works in the intimate 240-seat Studio Theatre.

Everybody's a Critic!

It’s true that over the years local media has cut back on its arts coverage — but rest assured, criticism is alive and well at TeenTix! When we presented Grupo Corpo in February, several of our younger audience members attended in a professional capacity as part of a workshop on writing dance criticism. After a pre-show lesson taught by dance artist, writer and teacher Kaitlin McCarthy that covered the basics of dance criticism and how to approach writing a dance review, teen participants attended Grupo Corpo’s performance. They met the following day for discussion and writing practice. These kids don’t pull their punches: “I think that Pederneiras’ method of communicating the contrasting versions of baroque was mildly successful,” wrote one 10th grader. “When viewing the piece, I could clearly see a division between sections, but I think there was still room for personal interpretation as opposed to a more obvious one.”

When pianist Hélène Grimaud left the Meany stage the evening of March 4, 2020, we still had eight artists and 11 performances on the schedule, not to mention several of our most exciting community outreach events yet to come!
 

To honor the artists who put so much time, talent and passion into creating work they were unable to present, we’d like to share with you what would have happened on our stage and in our community had the pandemic not turned our world upside down.

Things Left Undone

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Jerusalem Quartet

This would have been our second time presenting the Jerusalem Quartet — an evening of Mozart, Brahms and Korngold. In place of a live performance, the Quartet created a charming video for us in which they talked more in depth about the program they had planned to perform.

Photo: Felix Broede

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RUBBERBAND

Hailing from Quebec, RUBBERBAND lives up to its name, stretching the boundaries of modern dance with a powerful infusion of hip-hop, contemporary dance and ballet. The Company’s projected K–12 student matinee was completely subscribed — with a waiting list.

Photo: Mathieu Doyon

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George Li

We were looking forward to finishing our President’s Piano Series with a performance by George Li, silver medalist at the 2015 International Tchaikovsky Competition. At 15, this dynamic young pianist won first prize in the 2010 Young Concert Artists International Auditions. The following year, he played at a state dinner in the Obama White House.

Photo: Simon Fowler

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Step Afrika!

We were eager to co-commission Step Afrika!’s new work about the 1739 Stono Rebellion — what a timely production it would have been this year. Step Afrika! would also have been our last student matinee of the season — and was fully subscribed with a waitlist.

Photo: Jati Lindsay

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Los Angeles Master Chorale

We were so excited to present the Los Angeles Master Chorale performing an incredible feat: singing Orlando di Lasso’s fiendishly complex Renaissance masterpiece, Lagrime di San Pietro, in its entirety, completely from memory. 

Photo: Tao Ruspoli & Marie Noorbergen

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The Hagen Quartet

This cancellation really broke our hearts. The Vienna-based Hagen Quartet almost never tours on the West Coast, and we were thrilled for this very rare opportunity to present them to our Seattle community. Alas, it was not to be.

Photo: Harald Hoffmann

Third Coast Percussion with Sérgio & Clarice Assad

Another heartbreaker. In addition to their mainstage performance, joined by Brazilian father-daughter duo Sérgio and Clarice Assad on piano, guitar and vocals, they were planning a massive community music-making project, involving as many as 100 people of all ages, backgrounds and musical abilities at a free public performance at the Olympic Sculpture Park.

Photo: Barbara Johnson

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David Finckel, Wu Han & Philip Setzer

Our 2019–20 Season would have ended with a sublime performance by these three dear friends of Meany, playing a program of Beethoven, Mendelssohn and the heartbreaking lamentation of Shostakovich’s Trio No. 2.

Photo: N A

CONTACT US

Meany Center for the Performing Arts
supportmeany@uw.edu
Tickets: 206-543-4880
Donor Services: 206-685-2819

 

© 2020 Meany Center for the Performing Arts