Wednesday–Friday Evenings, October 22–24, 2014, at 7:30
Transcription
Wednesday–Friday Evenings, October 22–24, 2014, at 7:30
10-22 Angel_GP 10/7/14 3:02 PM Page 1 Wednesday–Friday Evenings, October 22–24, 2014, at 7:30 Post-performance discussion with Robert Hollingworth, Yaron Lifschitz, and Ara Guzelimian on Thursday, October 23 How Like an Angel (U.S. premiere) Created by Yaron Lifschitz and Robert Hollingworth Circa Yaron Lifschitz, Director I Fagiolini Robert Hollingworth, Director This performance is approximately 70 minutes long and will be performed without intermission. Please join the artists for a White Light Lounge immediately following the performance. (Program continued) The White Light Festival is sponsored by Time Warner Inc. Generous support for the White Light Festival presentation of How Like an Angel is provided by The Fan Fox and Leslie R. Samuels Foundation, Inc. These performances are made possible in part by the Josie Robertson Fund for Lincoln Center. James Memorial Chapel, Union Theological Seminary WhiteLightFestival.org Please make certain all your electronic devices are switched off. 10-22 Angel_GP 10/7/14 3:02 PM Page 2 Endowment support is provided by the American Express Cultural Preservation Fund. MetLife is the National Sponsor of Lincoln Center. Movado is an Official Sponsor of Lincoln Center. United Airlines is the Official Airline of Lincoln Center. WABC-TV is the Official Broadcast Partner of Lincoln Center. William Hill Estate Winery is the Official Wine of Lincoln Center. Artist Catering is provided by Zabar’s and Zabars.com. Circa acknowledges the assistance of the Australian Government through the Australia Council, its arts funding and advisory body, and the Queensland Government through Arts Queensland. How Like an Angel was originally produced by Norfolk & Norwich Festival in association with Circa and I Fagiolini, and commissioned by London 2012 Festival. Upcoming White Light Festival Events: Friday–Sunday, October 24–26, in the Walter Reade Theater White Light on Film: The Decalogue Krzysztof Kies ´lowski, Director The complete cycle of 10 films is screened over a weekend. Introduced by Annette Insdorf on October 24 at 7:30 Presented in association with the Film Society of Lincoln Center Saturday, October 25, from 3:45 to 5:15 in the Walter Reade Theater White Light Conversation: The Evolution of Morality John Schaefer, Moderator With John Luther Adams, Randy Cohen, Alice W. Flaherty, and Elaine Pagels Thursday–Saturday, October 30–November 1, at 7:30 in Synod House, the Cathedral of St. John the Divine Curlew River (U.S. premiere production) Ian Bostridge, Madwoman Netia Jones, Director and Designer BRITTEN: Curlew River A co-production between the Barbican Centre, London, Lincoln Center for the Performing Arts, Carolina Performing Arts, and Cal Performances Berkeley Tuesday, November 4, at 7:30 in Alice Tully Hall Mavis Staples One True Vine Sunday, November 9, at 5:00 in Avery Fisher Hall Cathedrals of Sound Gewandhaus Orchestra of Leipzig Riccardo Chailly, Conductor BACH: Orchestral Suite No. 4 BRUCKNER: Symphony No. 7 Pre-concert lecture by Scott Burnham at 3:45 in the Stanley H. Kaplan Penthouse For tickets, call (212) 721-6500 or visit WhiteLightFestival.org. Call the Lincoln Center Info Request Line at (212) 875-5766 to learn about program cancellations or to request a White Light Festival brochure. Visit WhiteLightFestival.org for more information relating to the Festival’s programs. Join the conversation: #LCWhiteLight We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members. In consideration of the performing artists and members of the audience, those who must leave before the end of the performance are asked to do so between pieces. The taking of photographs and the use of recording equipment are not allowed in the building. 10-22 Angel_GP 10/7/14 3:02 PM Page 3 How Like an Angel (U.S. premiere) Created by Yaron Lifschitz and Robert Hollingworth Circa Yaron Lifschitz, Director Rowan Heydon-White, Bridie Hooper, Rudi Mineur, Kathryn O’Keeffe, Paul O’Keeffe, Skip Walker-Milne, Billie Wilson-Coffey I Fagiolini Robert Hollingworth, Director Anna Crookes, Charlotte Mobbs, Soprano Clare Wilkinson, Mezzo-soprano Robert Hollingworth, Countertenor Matthew Long, Nicholas Hurndall Smith, Tenor Greg Skidmore, Baritone Christopher Adams, Bass TALLIS Excerpt from Gaude gloriosa Dei mater DANIEL-LESUR Dialogue, from Le cantique des cantiques BHEKA DLAMINI Umsindisi HILDEGARD O viridissima virga JOSQUIN Agnus Dei, from Missa “L’homme armé” sexti toni VICTORIA Alma Redemptoris mater (c. 1581) RODERICK WILLIAMS Tallis/Hildegard Patterns (2012) ADRIAN WILLIAMS Hymn to Awe (2011–12) Lawrence English, Electronic composer WhiteLightFestival.org 10-22 Angel_GP 10/7/14 3:02 PM Page 4 Note from the Artistic Director by Yaron Lifschitz It begins with a phone call. It ends in voices and bodies and space. It starts with thought. It ends in emotion. It was a typically humid Brisbane late afternoon when, mired in the Storey Bridge’s traffic, my phone rang. On the other end was a chuffed Jonathan Holloway, then artistic director of Norfolk and Norwich Festival. “Yaron,” he enthused, “if I said we could get funds to do a circus piece with vocal music in cathedrals for the Olympics, would you be interested?” I can’t remember what I said next, though I’m pretty sure it shouldn’t be repeated in a house of worship. And now, years later, after many thousands of kilometers and hundreds of emails, we get to show the fruits of that wonderful phone call. Jonathan got us here. The insight, patience, and intelligence of Robert Hollingworth, along with the talented musicians of his ensemble, I Fagiolini, created a wonderful musical journey. This is counterpointed by Lawrence English’s powerful sonic disruptions and Libby McDonnell’s costumes, which pushed the visuals into wonderful new terrain. My extraordinary delivery team of Jason Organ, Benjamin Knapton, and Danielle Kellie made this happen. And of course our startling acrobats fill the stage with the impossible. Certainly How Like an Angel is a show about belief, love, failure, ascent, humility, endurance, passion, loss, death, life—about our capacity for belief and the challenges and complexities of that belief. But I choose to work in a medium without words. So every one of these program notes is a trial—a sort of betrayal. The director’s note carries with it the promise to explain, “How Like an Angel is a show about...” But if we could say it in words, it wouldn’t need enactment. Wittgenstein put it best: “Whereof one cannot speak, thereof one must remain silent.” We know for sure that tonight, bodies will lift and drag, suspend and drop, hurl and recoil. Voices will soar and glide, delivering dense polyphony and intricate rhapsodies. There will be ferocity and tenderness, hope and fear, tension and release. At the heart of this work is a mystery. Something that eludes words. Maybe it is a form of wonder. I wanted to make something beautiful that makes you feel something, even if you can’t exactly say why. —Copyright © 2014 by Yaron Lifschitz Please turn to page 68 to learn about the evolution of the circus. 10-22 Angel_GP 10/7/14 3:02 PM Page 5 Note from the Music Director by Robert Hollingworth We’ve done some unusual things for a vocal ensemble, but working with Circa was a particular challenge. The basic energy of circus and music seemed to me (before meeting and working with Yaron Lifschitz and Circa) so different. Much of the music we sing is fundamentally linear, whereas I thought that circus was a series of moments. One of the biggest discoveries for I Fagiolini in this project was watching Circa rehearse and seeing how their language is fundamentally linear and expressive: those “tada” moments are points on a line and ones they work hard to iron into the line. Back at the beginning though, I went to some live Circa shows in London and Berlin, sent Yaron a lot of music (as he did me—he has very wide and informed musical tastes), and we drank a lot of coffee together. He had a shape in his mind for the piece, and I started to have ideas about music that could create some sort of relationship to the physical work I had seen. This led to the first version of the show in Perth, which was performed in a large hall. The show was substantially re-imagined for UK cathedrals, building on our experience of working together in Perth. Specifically, we wanted to avoid the live music merely being a soundtrack and to play with how the energy could flow from one group to the other and one piece could set up another. This was easier once we had the experience of working together in Perth, and was fuelled by some interesting and slightly dangerous live improvisations there (artistically dangerous but also literally—I don’t think our soprano Anna Crookes had actually expected to find herself standing on an acrobat’s shoulders without warning at one moment). As performances and rehearsals continued, both singers and acrobats started to have a much stronger response to what the other was doing. Few of the acts are specifically choreographed in a conventional sense, but all are inspired by the music, and that process quickly started to flow back the other way. Of course, the music you will hear was not intended to be performed for such an occasion, but neither was it intended to be performed to a partly atheist 21st-century public who have paid for their tickets. Context is everything, and we hope that the juxtapositions of the music, sounds, light, and physical work (both corporeal and vocal) take you somewhere interesting tonight and give you pause for thought. —Copyright © 2014 by Robert Hollingworth WhiteLightFestival.org 10-22 Angel_GP 10/7/14 3:02 PM Page 6 Excerpt from Gaude gloriosa Dei mater THOMAS TALLIS Gaude gloriosa Dei mater Virgo Maria vere honorificanda, Quae a domino in gloria super caelos exaltata Adepta es thronum Rejoice, glorious mother of God, Virgin Mary truly honored, who is exalted by God in glory above the heavens to attain your throne. Dialogue, from Le cantique des cantiques JEAN YVES DANIEL-LESUR Text: Song of Solomon (1:9,13) (1:15) (2:2–4) (3:5) À ma cavalle attellée au char de Pharaon je te compare. Mon bien-aimée est à moi comme un bouquet de myrrhe Qui repose entre mes seins. Que tu es belle, ma bien-aimée; Tes yeux sont des colombes. Comme le lis entre les chardons, Tel est ma bien-aimée entre les jeunes-filles. Comme le pommier parmi les arbres du verger Tel est ma bien-aimée parmi les jeunes hommes. placed between my breasts. How fair thou art, my beloved; your eyes are like doves. As the lily among thorns, so is my beloved among the maidens. As the apple tree among the orchard trees, so is my beloved among the young men. J’ai désirée son ombrage et m’y suis assise Et son fruit est doux à ma bouche. Il m’a menée au cellier du vin Et la bannière qu’il dresse sur moi, c’est l’amour. I desired his shade and sat down there, and his fruit is sweet to my mouth. He took me to his wine-cellar and the banner with which he dresses me is love. Filles de Jerusalem, n’éveillez pas la bien-aimée Avant l’heure de son bon plaisir. Daughters of Jerusalem, do not wake the beloved before the hour of his choosing. To the horses that pull Pharaoh’s chariot do I compare thee. My beloved is to me like a posy of myrrh Umsindisi BHEKA DLAMINI Uma ngimbona loMsindisi Efa esiphambanweni maa… Ngingayisa ntoni kuye efanele ukumbonga, Anginakho okwanele kodwa ng’zomnik’ uqobo lwami. Uqobo lwami lugcwel’ isono lugcwele konk’ ukonakala When I see the savior dying on a cross What can I offer which will be worthy of giving thanks to him? I have nothing great enough but I’ll surrender myself to Thee. I am full of sin and unrighteousness. 10-22 Angel_GP 10/7/14 3:02 PM Page 7 Awushwele Nkosi yami Asenyuke siye Golgotha Ziyohlanzwa zibemhlophe lee ngegazi leMvana Awu hlanz’ izono zami O! gazi leMvana siyosindiswa Siyosinda k’lelogazi; O kulelogazi… Uzodinsa k’lelogazi; elaphum’emanxebeni Ngegazi leMvana ma Nxeba l’ka Jesu; ngiz’fihle kuwe; Ng’thethelelwe. Forgive, my Lord. Let’s ascend to Golgotha. They will be washed whiter there by the blood of the lamb. Please wash my sins. O, by the blood of the lamb we will be saved. We will be saved by that blood. You will be saved by that blood; it has flowed from the wounds. With the blood of the lamb. Wound of Jesus, let me hide myself in thee and be forgiven. O viridissima virga HILDEGARD OF BINGEN O viridissima virga ave, Que in ventoso flabro sciscitationis sanctorum prodisti. Hail, o greenest branch, sprung forth in the airy breezes of the prayers of the saints. Cum venit tempus Quod tu floruisti in ramis tuis; Ave, ave sit tibi, Quia calor solis in te sudavit Sicut odor balsami. So the time has come that your sprays have flourished; hail, hail to you, because the heat of the sun has exuded from you like the aroma of balm. Nam in te floruit pulcher flos Qui odorem dedit omnibus aromatibus Que arida erant. For the beautiful flower sprang from you which gave the aroma to all perfumes which were parched. Et illa apparuerunt omnia In viriditate plena. And they have radiated anew in their full freshness. Unde celi dederunt rorem super gramen Et omnis terra leta factus est, Quoniam viscera ipsius Frumentum protulerunt, Et quoniam volucres celi Nidos in ipsa habuerunt. Whence the skies bestowed dew upon the pasture, and all the Earth was made joyful because her womb brought forth corn, and because the birds of the firmament built their nests in her. Deinde facta est esca hominibus, Et gaudium magnum epulantium; Unde, o suavis virgo, In te non deficit ullum gaudium. Then there was harvest ready for Man and a great rejoicing of banqueters, whence, o sweet Virgin, no joy is lacking in you. Hec omnia Eva contempsit. Eve rejected all these things. Nunc autem laus sit altissimo. Now let there be praise to the Highest. WhiteLightFestival.org 10-22 Angel_GP 10/7/14 3:02 PM Page 8 Agnus Dei, from Missa “L’homme armé” sexti toni JOSQUIN DES PREZ Text: Based on John (1:29) Agnus Dei, qui tollis peccata mundi, Miserere nobis. Agnus Dei, qui tollis peccata mundi, Dona nobis pacem. O Lamb of God, that takes away the sins of the world, have mercy on us. O Lamb of God, that takes away the sins of the world, give us peace. Alma Redemptoris mater TOMÁS LUIS DE VICTORIA Alma Redemptoris mater, Quae pervia caeli porta manes, Et stella maris, succurre cadenti, Surgere qui curat populo. Tu, quae genuisti, natura mirante, Tuum sanctum Genitorem: Virgo prius ac posterius, Gabrielis ab ore sumens illud Ave, peccatorum miserere. Gracious mother of the Redeemer, who remains the ever-open gate to heaven, and star of the sea, help your people who fall but try to rise again. You who gave birth, while nature marvelled, to your Holy Creator: a virgin before and after, who heard from the mouth of Gabriel that “Ave”: have mercy on sinners. Hymn to Awe ADRIAN WILLIAMS Text: Based on the poem “Cathedral” by Gillian Clarke, with permission Before Before Before Before Before Before the Saints bishops, builders and stonemasons; artists and sculptors, music, organists and choirs; architects the poetry of psalm and hymn and common prayer; Before there was a word for “cathedral” Before there was a word for “architecture” Before there was a word for “art” When our first house was the great original forest Before there was a word for “cathedral” Before there was a word for “architecture” Before there was a word for “art” When our first house was the great original forest 10-22 Angel_GP 10/7/14 3:02 PM Page 9 Before the Saints Before bishops, builders and stonemasons; Before there was a word for “wonder,” Names for stars or footprints on the moon; Before a man looked at a tree and made a cross And felt the hammering rain and thought of nails and made a cross And felt the hammering rain and thought of nails and made a cross. Hammering rain. Hammering nails. Before… First mark, first word, first hymn to awe, First vision of a building taller than a forest, Aisled, vaulted, clerestoried with sunlight. h WhiteLightFestival.org 10-22 Angel_GP 10/7/14 3:02 PM Page 10 Meet the Artists Yaron Lifschitz Yaron Lifschitz, the artistic director and CEO of Circa, is a graduate of the University of New South Wales, University of Queensland, and National Institute of Dramatic Arts (NIDA), where he was the youngest director ever accepted into its graduate directors’ course. Since graduating, Mr. Lifschitz has directed more than 60 productions, including large-scale events, opera, theater, physical theater, and circus. His work has been seen in 30 countries and across six continents. DANNY HIGGINS He was the founding artistic director of the Australian Museum’s Theatre Unit, the head tutor of directing at Australian Theatre for Young People, and has been a regular guest tutor in directing at NIDA since 1995. With Circa, Mr. Lifschitz has created works such as by the light of stars that are no longer..., CIRCA, Wunderkammer, How Like an Angel, “S,” Beyond, Opus, and, most recently, Carnival of the Animals, which premiered in 2014. Mr. Lifschitz lives in Brisbane, Australia, with his son, Oscar. His passion is for creating works of philosophical and poetic depth while drawing from the traditional languages of circus. Robert Hollingworth Robert Hollingworth specializes in Renaissance and contemporary repertoire (notably Monteverdi), and creates groundbreaking projects that present music to audiences in innovative ways. He founded I Fagiolini in 1986; with the ensemble he has presented signature projects such as Simunye, The Full Monteverdi, Tallis in Wonderland, and How Like an Angel with Circa. He has also directed Accentus (France), Norddeutscher Rundfunk Chor, Nederlands Kamerkoor, Wrocław Philharmonic Choir, Sinfonieorchester Wuppertal (Judas Maccabeus), English Concert (Purcell), and the Academy of Ancient Music (Bach). Mr. Hollingworth writes and presents for BBC Radio 3 (CD Review, The Early Music Show, The Choir, and Discovering Music). In 2010 he delivered the Lufthansa Lecture entitled “Monteverdi the Modern Man” and spoke at the European Early Music Network conference. Mr. Hollingworth has worked on a number of films, including Quills. In 2011, his world premiere recording of Striggio’s (until recently) lost Mass in 40 Parts was released on Decca with an all-star UK lineup. His latest recording, 1612 Italian Vespers, was released on Decca Classics in 2012, was chosen as Gramophone CD of the month, and was performed at the 2012 BBC Proms at the Royal Albert Hall to critical acclaim. He recently arranged the music for the album Shakespeare: The Sonnets and appeared extensively on BBC TV and radio discussing the disc. Mr. Hollingworth is a regular guest conductor at the Dartington International Summer School and gives master classes and residencies throughout Europe. He ran a conducting master class and lecture for the American Choral Directors Association at their 2012 conference, and recently organized a new master of arts degree in solo-voice ensemble singing at the University of York. Circa From Brisbane, Australia, comes a bold new vision of contemporary circus. A blending of bodies, light, sound, and skills. A place where acrobatics and movement 10-22 Angel_GP 10/7/14 3:02 PM Page 11 meld into a seamless whole. A celebration of the expressive possibilities of the human body at its extremes. Circa has established an international reputation as one of the most innovative circuses on the planet. Since 2006 Circa has toured to 30 countries across six continents. Circa’s work has been rapturously received by audiences, presenters, and critics around the world. Circa’s current touring shows span diverse contexts from works for families in traditional arts centers to European contemporary arts festivals. Its performances are highly innovative, genrebending pieces that stretch the practice and perceptions of circus. Circa features a full-time ensemble, a concentrated administrative team, and a dedicated circus studio. In 2013 Circa gave over 400 performances to over 150,000 audience members locally, nationally, and internationally. ERIC RICHMOND Circa also runs a training center with a workshop program in Brisbane at its professional studio, in schools, and with partners throughout Queensland and beyond. Circa has an impressive track record of producing quality workshops for children, young people, and adults in a range of community contexts. masks. In 2004 I Fagiolini premiered The Full Monteverdi, a dramatized account of the composer’s Fourth Book of Madrigals by John La Bouchardière, which has since been turned into a highly successful film. In 2011 I Fagiolini celebrated its 25th anniversary with the successful release of a world premiere recording of Striggio’s Mass in 40 Parts on Decca. The recording stayed at the top of the specialist classical chart for nearly four months, and won the 2011 Gramophone Early Music Award and a Diapason d’Or de l’Année. In 2012, the ensemble gave a UK tour of the Striggio project, made its Royal Albert Hall Proms debut, and released 1612 Italian Vespers (Gramophone CD of the month). The same year, I Fagiolini launched yet another unlikely collaboration, this time with Australian contemporary circus company Circa. How Like an Angel premiered as part of the Perth International Arts Festival, and toured the UK as part of the London 2012 and 2013 Festivals. I Fagiolini is now presenting Carnevale Veneziano: A Night on the Piles and The Boat from Venice to Padua, which featured in the inaugural season at the Sam Wanamaker Playhouse in London’s Globe Theatre. In the spring of 2015, I Fagiolini will premiere its latest music theater project, Betrayal: A Polyphonic Crime Drama, at the Barbican. I Fagiolini has recorded 19 CDs and three DVDs, and has given live performances around the world. The ensemble was recognized for its achievements in 2005 with the prestigious Ensemble Prize from the Royal Philharmonic Society. I Fagiolini is currently the ensemble-in-residence at the University of York in England. I Fagiolini I Fagiolini is renowned for its innovative staged productions of vocal music from the Renaissance to the present day. The group has staged Handel with masks, Purcell with puppets, and madrigal comedies with more WhiteLightFestival.org Ara Guzelimian Ara Guzelimian is provost and dean of The Juilliard School in New York City, having been appointed to the post in August 2006. At Juilliard he oversees the faculty, 10-22 Angel_GP 10/7/14 3:02 PM Page 12 curriculum, and artistic planning of the distinguished performing arts conservatory in all three of its divisions—dance, drama, and music. Prior to the Juilliard appointment, he was senior director and artistic advisor of Carnegie Hall from 1998 to 2006, where he was also host and producer of the acclaimed “Making Music” composer series. In recent seasons he has been heard both on the Metropolitan Opera radio broadcasts and, as a guest host, on public radio’s Saint Paul Sunday. Previously Mr. Guzelimian was the artistic administrator of the Aspen Music Festival and School in Colorado and artistic director of the Ojai Festival in California. He was associated with the Los Angeles Philharmonic from 1978 to 1993—first as producer for the orchestra’s national radio broadcasts and subsequently as artistic administrator. He is editor of Parallels and Paradoxes: Explorations in Music and Society (Pantheon Books, 2002), a collection of dialogues between Daniel Barenboim and Edward Said. In 2003 Mr. Guzelimian was awarded the title Chevalier des Arts et des Lettres by the French government for his contributions to French music and culture. White Light Festival I could compare my music to white light, which contains all colors. Only a prism can divide the colors and make them appear; this prism could be the spirit of the listener. —Arvo Pärt. Celebrating its fifth anniversary, the White Light Festival is Lincoln Center’s annual exploration of music and art’s power to reveal the many dimensions of our interior lives. International in scope, the multidisciplinary festival offers a broad spectrum of the world’s leading instrumentalists, vocalists, ensembles, choreographers, dance companies, and directors complemented by conversations with artists and scholars and post-performance White Light Lounges. Lincoln Center for the Performing Arts, Inc. Lincoln Center for the Performing Arts (LCPA) serves three primary roles: presenter of artistic programming, national leader in arts and education and community relations, and manager of the Lincoln Center campus. A presenter of more than 3,000 free and ticketed events, performances, tours, and educational activities annually, LCPA offers 15 programs, series, and festivals including American Songbook, Great Performers, Lincoln Center Festival, Lincoln Center Out of Doors, Midsummer Night Swing, the Mostly Mozart Festival, and the White Light Festival, as well as the Emmy Award–winning Live From Lincoln Center, which airs nationally on PBS. As manager of the Lincoln Center campus, LCPA provides support and services for the Lincoln Center complex and the 11 resident organizations. In addition, LCPA led a $1.2 billion campus renovation, completed in October 2012. 10-22 Angel_GP 10/7/14 3:02 PM Page 13 Circa Rowan Heydon-White Bridie Hooper Paul O’Keeffe Rudi Mineur Skip Walker-Milne Billie Wilson-Coffey Lincoln Center Programming Department Jane Moss, Ehrenkranz Artistic Director Hanako Yamaguchi, Director, Music Programming Jon Nakagawa, Director, Contemporary Programming Jill Sternheimer, Acting Director, Public Programming Lisa Takemoto, Production Manager Charles Cermele, Producer, Contemporary Programming Kate Monaghan, Associate Director, Programming Mauricio Lomelin, Associate Producer, Contemporary Programming Julia Lin, Associate Producer Nicole Cotton, Production Coordinator Regina Grande, Assistant to the Artistic Director Luna Shyr, Programming Publications Editor Nasrene Haj, House Seat Coordinator Utsuki Otsuka, Production Assistant Reshena Liao, House Program Intern For the White Light Festival Avancy Inc., Production Services Andrew Hill, Production Electrician Jessica Barrios, Wardrobe For Circa Yaron Lifschitz, Director Ben Knapton, Associate Director Jason Organ, Technical Director/Lighting Designer Libby McDonnell, Costume Designer Jennifer Cook, Director of International Partnerships WhiteLightFestival.org Kathryn O’Keeffe 10-22 Angel_GP 10/7/14 3:02 PM Page 14 Circa’s U.S. representation: Thomas O. Kriegsmann (ArKtype) I Fagiolini’s representation: Percius Artist and Project Management www.percius.co.uk WhiteLightFestival.org