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The gardens at Montgomery Place once featured decorative garden ornaments and furniture, displaying a wide mix of styles, alongside the plants. Examples of statuary, furniture, potted plants, and hanging baskets that have been documented in early photographs of Montgomery Place will be presented in the exhibition.
Exhibition produced in partnership with and curated by Barbara Israel and her staff from Barbara Israel Garden Antiques. Funding provided by the A. C. Israel Foundation and Plymouth Hill Foundation.
For more information, call 845-752-5000, e-mail montgomeryplace@bard.edu, or visit http://bard.edu/montgomeryplace.
Visit the Montgomery Place website to learn more about special tours, events, and upcoming exhibitions.
Please note: On June 8, the mansion will be closed for private tours at 1:30 and 2:30.
For more information, call 845-752-5000, e-mail montgomeryplace@bard.edu, or visit https://www.bard.edu/montgomeryplace/.
Saturday, June 22, 2019 – Sunday, October 13, 2019
Hessel Museum of Art
Crocodile, the first U.S. exhibition of work by Leidy Churchman (b. 1979, Villanova, Penn.), illustrates the ideas and drive toward reinvention and experimentation at play in this emerging artist’s work. Including over 60 paintings, it focuses on Churchman’s recent work while situating his practice within a longer trajectory through the presentation of projects such as Snakes (2011), a performance on video, and the “hardbacks” (2010), a series of intricately painted book covers. Crocodile also features a newly commissioned large-scale floor painting by Churchman.
Guided tours of the exhibition are available on July 20, 21, 27, and 28 at 4:00 pm, no reservation required.Sponsored by: Center for Curatorial Studies.
For more information, call 845-758-7598, e-mail ccs@bard.edu, or visit https://ccs.bard.edu/museum/exhibitions/528-leidy-churchman-crocodile.
Saturday, June 22, 2019 – Sunday, October 13, 2019
Hessel Museum of Art
Exile Is a Hard Job is the first solo U.S. museum exhibition of work by Nil Yalter (b. 1938), who has been a pioneer of socially engaged art since the 1970s. She was one of the first artists in France to use video, when it first emerged as a new artistic medium. Born in Cairo, the artist grew up in Istanbul and has been living in Paris since 1965. Exile Is a Hard Job presents the diversity of her work, from previously little-known paintings to her early videos and multimedia installations, in which she combines photography, video, drawings, and sculpture into collages. Exile Is a Hard Job originated at the Museum Ludwig in Cologne as Yalter’s first major retrospective, opening March 8, 2019. The exhibition at the Hessel Museum of Art focuses on her prolific period from the late ’60s to the early ’80s, and includes more than 20 of her most significant projects from this time.
Guided tours of the exhibition are available on July 20, 21, 27, and 28 at 4:00 pm, no reservation required.Sponsored by: Center for Curatorial Studies.
For more information, call 845-758-7598, e-mail ccs@bard.edu, or visit https://ccs.bard.edu/museum/exhibitions/529-nil-yalter-exile-is-a-hard-job.
Saturday, June 22, 2019 – Sunday, October 13, 2019
CCS Bard Galleries
Acting Out: Works from the Marieluise Hessel Collection takes its prompt from Leigh Ledare’s The Task, a single-channel film of a three-day Group Relations Conference—a social psychology method developed by London’s Tavistock Institute—that the artist organized in Chicago in 2017. In addition to directing the film crew, Ledare assembled the 28 participants and secured the collaboration of 10 psychologists trained in the method. During a sequence of small and large group meetings, the group studies its own self-made social structure—an abstract “task” that allows participants to examine the identities, roles, desires, and biases individuals import into the group, as well as conscious and unconscious group dynamics. Building upon this gripping portrait of current social dynamics and discontents, the exhibition includes works by artists in the Marieluise Hessel Collection at CCS Bard, including Larry Clark, Lyle Ashton Harris, Nan Goldin, Boris Mikhailov, Lorraine O'Grady, Cindy Sherman, and Jo Spence, historical works that reverberate with themes raised by Ledare’s film and its participants. The exhibition also includes a selection of journals, diaries, and planners that the artist Lyle Ashton Harris kept between the mid 1980s until the early 2000s, displayed publicly for the first time.
Guided tours of the exhibition are available on July 20, 21, 27, and 28 at 4:00 pm, no reservation required.Sponsored by: Center for Curatorial Studies.
For more information, call 845-758-7598, e-mail ccs@bard.edu, or visit https://ccs.bard.edu/museum/exhibitions/530-acting-out-works-from-the-marieluise-hessel-collection.
Thursday, August 1, 2019
Jim Ottaway Jr. Film Center
The Ancient Law (E.A. Dupont, 1923, Germany, 133 minutes)*
*Live musical accompaniment from klezmer violinist Alicia Svigals and pianist Donald Sosin
The first in a pair of SummerScape films exploring the Viennese culture that shaped the young Korngold, The Ancient Law is a silent drama about the son of a rabbi who leaves his life on a shtetl to pursue a career as an actor. This screening of the new Deutsche Kinemathek restoration will feature an original score performed live by klezmer violinist Alicia Svigals and pianist Donald Sosin.Sponsored by: SummerScape Film.
For more information, call 845-758-6822, or visit http://fishercenter.bard.edu/events/the-ancient-law/.
Singers & Songbooks: Anita O’Day
Thursday, August 1, 2019
Fisher Center, Spiegeltent
Today’s new “babe of bebop” Veronica Swift returns to the Spiegeltent in an homage to the songbook of her idol and vocal inspiration, Anita O’Day, “a singer’s singer” (NPR). Swift, recognized around the country as one of the top young jazz singers on the scene, delivers her take on O’Day’s infamous tempo, phrasing mastery, and her effortlessly swingin’ style.
For more information, call 845-758-6822, or visit http://fishercenter.bard.edu/events/O-Day/.
Sunday, June 16, 2019 – Sunday, August 25, 2019
Montgomery Place Visitor Center
10:00am — 11:15am
All are invited to practice yoga on beautiful summer mornings at Montgomery Place. Using nature as our inspiration, we go through a flow connected with breath and hold powerful postures.
Bring a yoga mat and water and meet at the Visitor Center.
The program is free to the Bard community and general public but donations are gladly accepted.
A 2019 Bard graduate, Danielle has been practicing yoga for seven years. She enjoys it because she finds yoga to be the most welcoming, yet least intimidating form of physical activity. Her classes are meant to be all inclusive and comfortable for everyone who wants to take care of their bodies and minds.
For more information, call 845-752-5000, e-mail montgomeryplace@bard.edu, or visit http://www.bard.edu/montgomeryplace/.
The Miracle of Heliane
New Production / U.S. Premiere
Friday, August 2, 2019
Fisher Center, Sosnoff Theater
Set in an unnamed totalitarian state, The Miracle of Heliane (Das Wunder der Heliane) features an intricate, erotic triangle between a ruthless despot, The Ruler; his beautiful and neglected wife, Heliane; and a young, messianic Stranger. An allegorical tale, about the destruction of a dictatorship by a woman, Heliane premiered to great acclaim in Hamburg in 1927, and remains extraordinarily relevant today. This new production is directed by Christian Räth, with sets and costumes by Esther Bialas, both making their SummerScape debuts. The consistently excellent cast includes the stunning Lithuanian soprano Ausrine Stundyte in an all-too-rare U.S. appearance alongside rising star tenor Daniel Brenna, and the heralded bass-baritone Alfred Walker.
Estimated run time is 3 hrs 15 minutes, plus two 20-minute intermissions.
Sponsored by: SummerScape Opera
July 26 – August 4.
For more information, call 845-758-7900, or visit https://fishercenter.bard.edu/events/Heliane/.
Mx. Justin Vivian Bond:
Friday, August 2, 2019
Fisher Center, Spiegeltent
The “immortal angel of cabaret” (Time Out New York) returns home to the Spiegeltent for a weekend of new performances, beginning with Criminal Intent: An Evening of Songs for People Who Should Know Better. With sharp-tongued observations from the underground and the gorgeous virtuosity of art song, Mx. Viv invites you to discover that crime always pays.
For more information, call 845-758-6822, or visit http://fishercenter.bard.edu/events/Criminal-Intent/.
Mx. Justin Vivian Bond:
Saturday, August 3, 2019
Fisher Center, Spiegeltent
Judy, Barbra, and Gaga! Three Icons! One Role! Generations of Love Through the Non-Binary Eyes of Tweeny V, aka Mx. Justin “Chipra” Bond! A Star is Borned plumbs the depths of the over-the-top classic Hollywood melodrama A Star is Born, and the careers of the three queer icons who have made the role their own . . . until now . . .
For more information, call 845-758-6822, or visit http://fishercenter.bard.edu/events/A-Star-Is-Borned/.
The Miracle of Heliane
New Production / U.S. Premiere
Sunday, August 4, 2019
Fisher Center, Sosnoff Theater
Set in an unnamed totalitarian state, The Miracle of Heliane (Das Wunder der Heliane) features an intricate, erotic triangle between a ruthless despot, The Ruler; his beautiful and neglected wife, Heliane; and a young, messianic Stranger. An allegorical tale, about the destruction of a dictatorship by a woman, Heliane premiered to great acclaim in Hamburg in 1927, and remains extraordinarily relevant today. This new production is directed by Christian Räth, with sets and costumes by Esther Bialas, both making their SummerScape debuts. The consistently excellent cast includes the stunning Lithuanian soprano Ausrine Stundyte in an all-too-rare U.S. appearance alongside rising star tenor Daniel Brenna, and the heralded bass-baritone Alfred Walker.
Estimated run time is 3 hrs 15 minutes, plus two 20-minute intermissions.
Sponsored by: SummerScape Opera
July 26 – August 4.
For more information, call 845-758-7900, or visit https://fishercenter.bard.edu/events/Heliane/.
Summertime Swing
Sunday, August 4, 2019
Fisher Center, Spiegeltent
Spiegeltent favorites Linda and Chester Freeman of Got2Lindy Dance Studios return for a second night of swing dancing to the fabulous music of Pittsburgh’s Boilermaker Jazz Band.
Doors at 6 pm, dance instruction at 6:30 pm, dancing until 10 pm
For more information, call 845-758-6822, or visit http://fishercenter.bard.edu/events/Summertime-Swing-8-4-19/.
Sunday, August 4, 2019
Jim Ottaway Jr. Film Center
Letter from an Unknown Woman (Max Ophuls, 1948, USA, 86 minutes)*
* 35mm restored print courtesy of the UCLA Film & Television Archive. Restoration funding provided by The Film Foundation.
The second in a pair of SummerScape films exploring the Viennese culture that shaped the young Korngold, Letter from an Unknown Woman, based on the Stefan Zweig novella, is one of Hollywood’s greatest romantic melodramas. The German expatriate director Max Ophuls injects a remarkable degree of sophistication and nuance into his reconstruction of a lost fin-de-siècle world.Sponsored by: SummerScape Film.
For more information, call 845-758-6822, or visit http://fishercenter.bard.edu/events/letter-from-an-unknown-woman/ .
Singers & Songbooks: Joni Mitchell and Friends
Thursday, August 8, 2019
Fisher Center, Spiegeltent
Jazz-pianist-turned-roots-musician Sam Reider teams up with modern day songstress Kéren Tayár for a vivaciously youthful, 21st -century twist on the inspired yet turbulent Swinging Sixties. Tune in to this innovative musical reflection on songstresses including Joni Mitchell, Joan Baez, Patsy Cline, Janis Joplin, Carole King, Mavis Staples, and Emmylou Harris.
For more information, call 845-758-6822, or visit http://fishercenter.bard.edu/events/Mitchell/.
Sponsored by: Registrar's Office.
For more information, call 845-758-6822.
Friday, August 9, 2019
Saw Kill
As a member of one of our four sampling teams, you’ll collect water samples (from stream bank or bridges) from 3–4 sites on the Saw Kill and record the results.
Sampling is done on the second Friday of the month starting at 10:30 a.m. From start to finish, it takes about 2 hours.
Sampling is fun and easy—and you’re contributing to the science that helps keep your drinking water safe. If you wish, you can also help process the samples in the Bard Water Lab after collection.
Open to everyone. Free training is available.
If interested, please contact:
Lindsey Drew
Bard Water Lab Manager
ldrew@bard.eduSponsored by: Bard Center for the Study of Land, Air, and Water; Environmental and Urban Studies Program.
For more information, call 845-758-6822.
Friday, August 9, 2019
Fisher Center, Spiegeltent
5 pm Dinner
Spiegeltent
7:30 pm Preconcert Talk
Leon Botstein
8 pm Performance
Stephanie Blythe, mezzo-soprano; Marjorie Owens, mezzo-soprano; Erica Petrocelli, soprano; Nicholas Canellakis, cello; Piers Lane, piano; Parker String Quartet; Bard Festival Chorale, James Bagwell, choral director; The Orchestra Now, conducted by Leon Botstein, music directorSponsored by: Bard Music Festival.
For more information, call 845-758-6822, or visit https://fishercenter.bard.edu/events/BMF-Opening-Night-Dinner/.
Friday, August 9, 2019
Fisher Center, Sosnoff Theater
7:30 pm Preconcert Talk: Leon Botstein
8 pm Performance: Stephanie Blythe, mezzo-soprano; Marjorie Owens, mezzo-soprano; Erica Petrocelli, soprano; Nicholas Canellakis, cello; Piers Lane, piano; Parker String Quartet; Bard Festival Chorale, James Bagwell, choral director; The Orchestra Now, conducted by Leon Botstein, music director
Erich Wolfgang Korngold (1897–1957)
All-Korngold program, works to include:
Selections from Der Schneemann (1908–9)
Piano Quintet in E Major, Op. 15 (1921–22)
Overture to The Sea Hawk (1940)
The Passover Psalm, Op. 30 (1941)
Tomorrow, Op. 33 (1944)
Cello Concerto in C Major, Op. 37 (1946)
Anchored by The Orchestra Now, and exploiting Bard’s unusual ability to integrate orchestral, choral, solo, and chamber works within a single event, this opening concert offers a broad overview of the composer’s multi-faceted career. It was Korngold’s ballet-pantomime, Der Schneemann, that first made him a sensation; completed when the composer was just eleven, the work is already a masterly marriage of tight construction and Viennese charm. Excerpts will be heard alongside a selection of songs; the virtuosic Piano Quintet in E, one of his early-adult successes; the Overture to The Sea Hawk, the last and best of his wartime Errol Flynn swashbucklers; Tomorrow, the tone poem he wrote for The Constant Nymph; and his Cello Concerto, an uncharacteristically modern work that began life as the climax of the Bette Davis vehicle Deception, before being expanded for concert performance in the composer’s final decade.Sponsored by: Bard Music Festival.
For more information, call 845-758-7900, e-mail fishercenter@bard.edu, or visit https://fishercenter.bard.edu/events/bmf-2019-Program-One/.
Saturday, August 10, 2019
Olin Hall
Christopher H. Gibbs, moderator; Leon Botstein; Jessica Duchen; Michael Haas
The panel discussion includes a short Q&A. Sponsored by: Bard Music Festival.
For more information, call 845-758-7900, e-mail fishercenter@bard.edu, or visit https://fishercenter.bard.edu/events/BMF-2019-Panel-One/.
Saturday, August 10, 2019
Olin Hall
1 pm Preconcert Talk: David Brodbeck
1:30 pm Performance: Jonathon Comfort, baritone; Elaine Daiber, soprano; Kayo Iwama, piano; Piers Lane, piano; Parker String Quartet and guests
Erich Wolfgang Korngold (1897–1957)
Passacaglia, from Piano Sonata No. 1 in D Minor (1908–9)
From Sieben Märchenbilder, Op. 3 (1910)
Sextet in D Major, Op. 10 (1914–16)
Max Reger (1873–1916)
Clarinet Quintet in A, Op. 146 (1915–16)
Hans Gál (1890–1987)
From Three Sketches, Op. 7 (1910)
Songs by Robert Fuchs (1847–1927); Alma Mahler (1879–1964); Joseph Marx (1882–1964); Alexander Zemlinsky (1871–1942); Wilhelm Kienzl (1857–1941); and Karl Weigl (1881–1949)
Although better known for his large-scale works, Korngold also made invaluable contributions to the chamber genre. Program Two pairs early examples, like the superlative Sextet in D he wrote at 17, with chamber and vocal music by some of the composers most prominent in the Vienna of his youth. These include such leading lights as Max Reger and Hans Gál; Korngold’s great friend and colleague Joseph Marx; the legendary pedagogue Robert Fuchs, with whom he briefly took lessons as a child; and Alexander von Zemlinsky, under whose longer-term instruction the young prodigy wrote his exquisite Märchenbilder and Passacaglia for solo piano. Zemlinsky also taught Karl Weigl and Alma Mahler, who would – decades later, and on another continent – become the dedicatee of Korngold’s Violin Concerto.Sponsored by: Bard Music Festival.
For more information, call 845-758-7900, e-mail fishercenter@bard.edu, or visit https://fishercenter.bard.edu/events/bmf-2019-Program-Two/.
Saturday, August 10, 2019
Fisher Center, Sosnoff Theater
7 pm Preconcert Talk: Christopher Hailey
8 pm Performance: Erica Petrocelli, soprano; Michael J. Hawk, baritone; Orion Weiss, piano; American Symphony Orchestra, conducted by Leon Botstein, music director
Erich Wolfgang Korngold (1897–1957)
Piano Concerto in C-sharp Major, for the left hand, Op. 17 (1923)
Julius Bittner (1874–1939)
Prelude to Der Musikant (1909)
Alexander von Zemlinsky (1871–1942)
Lyric Symphony, Op. 18 (1922–23)
Franz Schreker (1878–1934)
Vom ewigen Leben (1923/1927)
Alongside its more radical developments, the first quarter of the 20th century saw a final flourishing of tonal writing for full orchestra. Marking the American Symphony Orchestra’s first concert of the festival’s 30th anniversary season, Program Three presents four relative rarities. The atmospheric Overture to Der Musikant is by Julius Bittner, then one of Austria’s most-performed opera composers and something of a second father to Korngold (who later supported him when diabetes left the older composer a double amputee). Paying tribute to Mahler’s Das Lied von der Erde, Zemlinsky’s Lyric Symphony is a monumental orchestral song cycle set to Eastern texts. A close contemporary of Bittner and Zemlinsky, Franz Schreker stretched tonality to its limits in Vom ewigen Leben, a lyrical pair of Walt Whitman settings for soprano and orchestra. Though of a younger generation, Korngold shared his colleagues’ post-Wagnerian orchestral soundscape. His Piano Concerto for the left-hand – written, like Ravel’s, for one-handed pianist Paul Wittgenstein, brother of the famous philosopher – is a stirring and melodically inventive tour de force.Sponsored by: Bard Music Festival.
For more information, call 845-758-7900, e-mail fishercenter@bard.edu, or visit https://fishercenter.bard.edu/events/bmf-2019-Program-Three/.
Double Troubles
Saturday, August 10, 2019
Fisher Center, Spiegeltent
“The most luminous performer in NYC’s comedy scene.”—Time Out New York on Peter Smith
“Erin Markey defies expectations you don’t even know you have.”—New York Post
Erin Markey and Peter Smith (from SummerScape 2018’s Peter Pan) invite you into their fantastically weird worlds with a double bill evening of story-driven stand-up and song. Markey’s Wet Food is an intimate musical conversation tackling all the issues. Alone, at last draws on Smith’s flirty, delicious deadpan.
For more information, call 845-758-7900, e-mail boxoffice@bard.edu, or visit https://fishercenter.bard.edu/events/double-troubles/.
Sunday, August 11, 2019
Olin Hall
10 am Performance with Commentary by Derek Scott; with So Young Park, soprano; Joshua Wheeker, tenor; and others
Popular songs and songs from film and stage by Johann Strauss II (1825–99); Leon Jessel (1871–1942); Arnold Schoenberg (1874–1951); Robert Stolz (1880–1975); Ralph Benatzky (1884–1957); Friedrich Hollaender (1896–1976); Erich Wolfgang Korngold (1897–1957); Ernst Krenek (1900–91); and others
The interwar period saw a number of classical compositions find more mainstream success, as Program Four – a performance with commentary – discovers. Frühlingsstimmen was one of several works by “Waltz King” Johann Strauss II to be popularized through recordings by beloved coloratura sopranos, and the concert aria found further fame when performed onscreen in two of The Three Stooges’ slapstick shorts. Similarly, “Mariettas Lied” from Korngold’s Die tote Stadt reached a wider audience through the recording by Lotte Lehmann and Richard Tauber. Before being denounced by the Nazis as the epitome of artistic degeneracy, Ernst Krenek’s arietta “Leb’ wohl mein Schatz,” from his jazz-themed opera, Jonny spielt auf, was successfully marketed and recorded in multiple arrangements as "Jonny’s Blues." And Marlene Dietrich’s recordings brought the songs of Friedrich Hollaender, whose score for The Blue Angel featured her signature hit, “Falling in Love Again (Can’t Help It),” to a vast and adoring international audience.Sponsored by: Bard Music Festival.
For more information, call 845-758-7900, e-mail fishercenter@bard.edu, or visit https://fishercenter.bard.edu/events/bmf-2019-Program-Four/.
Sunday, August 11, 2019
Olin Hall
1 pm Preconcert Talk: Kevin C. Karnes
1:30 pm Performance: Danny Driver, piano; Tyler Duncan, baritone; Horszowski Trio and guests; Erika Switzer, piano; Orion Weiss, piano; Gilles Vonsattel, piano
Erich Wolfgang Korngold (1897–1957)
Much Ado About Nothing Suite, Op. 11 (1918–19)
Suite, for two violins, cello, and piano left hand, Op. 23 (1930)
Franz Schmidt (1874–1939)
Toccata, for piano left hand (1938)
Walter Braunfels (1882–1954)
From 14 Preludes, Op. 33 (1921)
Josef Labor (1842–1924)
Piano Quintet in D, Op. 11 (1900)
Ernst von Dohnányi (1877–1960)
Pastorale on a Hungarian Christmas Tune (1920)
Songs by Othmar Schoeck (1886–1957)
Korngold was not alone in his continued adherence to the language of late-Romanticism.Program Five presents chamber music written by the composer and some of his less revolutionary contemporaries in the decades between the wars. Based on his incidental music to the Shakespeare comedy, Korngold’s exuberant Much Ado About Nothing Suite was an instant success. Less well-known, though more tonally adventurous, is his unusually scored Suite for two violins, cello and piano left-hand. This was commissioned by Paul Wittgenstein, as was the Toccata for piano left-hand by Franz Schmidt, under whose direction Korngold briefly taught at Vienna’s Imperial Academy of Music. Schmidt’s sound world owed more to Brahms, Mahler, and Reger than to the innovations of the Second Viennese School, as did those of Walter Braunfels and Josef Labor, a composer held in high regard by the Wittgensteins. By contrast, the music of Ernst von Dohnányi infused this German Romanticism with a distinctly Hungarian flavor, and tonality was stretched still further by Switzerland’s Othmar Schoeck, in whose songs it sometimes comes close to breaking point.Sponsored by: Bard Music Festival.
For more information, call 845-758-7900, e-mail fishercenter@bard.edu, or visit https://fishercenter.bard.edu/events/bmf-2019-Program-Five/.
Sunday, August 11, 2019
Fisher Center, Sosnoff Theater
4:30 pm Preconcert Talk: Micaela Baranello
5:00 pm Performance: Rebecca Ringle Kamarei, mezzo-soprano; So Young Park, soprano; Frederick Ballantine, tenor; Will Ferguson, tenor; Tyler Duncan, baritone; Erika Switzer, piano; Bard Festival Chorale, James Bagwell, choral director; The Orchestra Now, conducted by Zachary Schwartzman
Selections from:
Leo Fall (1873–1925/Erich Wolfgang Korngold (1897–1957), Rosen aus Florida (1929)
Leo Fall/Jerome Kern (1885–1945), The Dollar Princess (1909)
Oscar Straus (1870–1954), Hochzeit in Hollywood (1929)
Emmerich Kálmán (1882–1953), Die Herzogin von Chicago (1928)
Paul Abraham (1892–1960), Die Blume von Hawaii (1931)
Bruno Granichstaedten (1874–1944), Reklame! (1930)
Korngold enjoyed a second, more lucrative career as an expert adapter and expander of classic Viennese operetta, and it was he who spearheaded the Johann Strauss II revival of the 1920s. Working with famed director and producer Max Reinhardt, he achieved his greatest success with Rosalinda, a restructured version of Die Fledermaus that – with choreography by George Balanchine and initially with Korngold himself conducting from the piano – ran for more than 600 performances on Broadway. As the works excerpted in Program Six reveal, the New World provided both new audiences and new inspiration for operetta. These include such rarities as Leo Fall’s Rosen aus Florida, which Korngold recreated from incomplete sketches provided by the composer’s widow; The Dollar Princess, also by Fall, and adapted by musical theater legend Jerome Kern; Emmerich Kálmán’s Die Herzogin von Chicago, which mingles Viennese waltz with jazz; and Oscar Straus’s Hochzeit in Hollywood, the basis for a subsequent musical film.Sponsored by: Bard Music Festival.
For more information, call 845-758-7900, e-mail fishercenter@bard.edu, or visit https://fishercenter.bard.edu/events/bmf-2019-Program-Six/.
Presented by the John Cage Trust and the Merce Cunningham Trust
Sunday, August 11, 2019
Fisher Center, Spiegeltent
In commemoration of the 100th birthday of renowned American choreographer Merce Cunningham, musicians and dancers come together for a celebratory performance of John Cage’s historically gloriously anarchic work, Musicircus — with a twist. Featuring chance-determined performances by more than 40 musicians and dancers—it is often simultaneous, always surprising, and, befitting the Spiegeltent, happens both inside and outdoors. A family-friendly event!
For more information, call 845-758-6822, or visit https://fishercenter.bard.edu/events/Cage-Cunningham/.
Sunday, August 11, 2019
Jim Ottaway Jr. Film Center
The Man Who Knew Too Much
(Alfred Hitchcock, 1956, USA, 120 minutes)
Alfred Hitchcock’s remake of his own 1934 British film is one of the best explorations of Americans abroad. Bernard Herrmann wrote the score and can be seen conducting the London Symphony Orchestra in the justly famous Royal Albert Hall finale.Sponsored by: SummerScape Film.
For more information, call 845-758-6822, or visit http://fishercenter.bard.edu/events/the-man-who-knew-too-much/ .
Sponsored by: Registrar's Office.
For more information, call 845-758-6822.
Tuesday, August 13, 2019
Jim Ottaway Jr. Film Center
Treasures of the Sierra Madre
(John Huston, 1948, USA, 126 minutes)
Humphrey Bogart stars in this classic adventure film, which was shot on location in Mexico and features an innovative score by Korngold’s contemporary (and fellow Warner Brothers contract composer) Max Steiner.Sponsored by: SummerScape Film.
For more information, call 845-758-6822, or visit http://fishercenter.bard.edu/events/Treasures-of-the-Sierra-Madre/ .
Wednesday, August 14, 2019
Center for Civic Engagement
Enjoy a fun BBQ with the CCE staff, local leaders, and your peers! We will have a vegetarian and Gluten Free options as well as meat lovers options (plus local fruit and vegetables!) Sponsored by: Center for Civic Engagement.
For more information, call 845-758-6822, or e-mail civic@bard.edu.
Wednesday, August 14, 2019
Olin Hall
Of this summer's many commemorations of the 50th anniversary of the first Moon landing, the Los Angeles Times deemed the Robert Stone's 6-hour PBS documentary Chasing the Moon to be the "most all-encompassing . . . deep and thorough, detailed but never dull." Chasing the Moon reveals the unknown stories of the fascinating individuals whose imaginative work across several decades culminated in America’s momentous achievement. More than a story of engineers and astronauts, the Moon landing grew out of the dreams of science fiction writers, filmmakers, military geniuses and rule-breaking scientists. After screening excerpts of the documentary, writer-producer-director Stone will be interviewed by historian of exploration and podcaster Michael Robinson, followed by a question and answer session with the audience. Weather permitting after the event, the Bard Physics Program and members of the Mid-Hudson Astronomical Association will have telescopes set up outside the auditorium to view the rising full moon and other celestial objects. The event is free and open to the public.
Note that the full documentary can currently be streamed here through the end of August.
Robert Stone is an Oscar and Emmy-nominated documentary filmmaker, who's works such as Radio Bikini, Guerrilla: The Taking of Patty Hearst, Oswald’s Ghost, and Pandora's Promise, have appeared in theatrical release, CNN, PBS, and the Sundance Film Festival. He wrote, produced, and directed the 6-hour Chasing the Moon documentary, which premiered on PBS's American Experience this summer, and co-authored a companion book of the same title.
Michael Robinson is a professor of history at Hillyer College, University of Hartford who studies the role of exploration in science and culture, both through his award-winning academic books (The Coldest Crucible: Arctic Exploration and American Culture, The Lost White Tribe: Scientists, Explorers, and the Theory that Changed a Continent) and his popular weekly podcast Time to Eat the Dogs (named for certain eventualities in many Arctic expeditions).Sponsored by: Physics Program.
For more information, call 845-758-7584, or e-mail pzimansk@bard.edu.
Thursday, August 15, 2019
Jim Ottaway Jr. Film Center
The Sea Wolf
(Michael Curtiz, 1941, USA, 100 minutes)
Kings Row
(Sam Wood, 1942, USA, 127 minutes)
Both of these Warner Brothers classics—the richly atmospheric Jack London adaptation The Sea Wolf and the midwestern romance Kings Row—feature iconic Korngold scores. Taken together, they demonstrate the range of his achievement in the 1940s.Sponsored by: SummerScape Film.
For more information, call 845-758-6822, or visit http://fishercenter.bard.edu/events/The-Sea-Wolf/ .
Singers & Songbooks: Horace Silver
Thursday, August 15, 2019
Fisher Center, Spiegeltent
Camille Thurman’s tenor saxophone recalls the mastery of legends like Joe Henderson and Dexter Gordon, while her scintillating singing and “remarkable prowess” (Downbeat Magazine) has been compared to Ella Fitzgerald and Betty Carter.
Thurman, one of the most astonishing young artists in jazz today, honors and celebrates the enduring legacy of exalted pianist Horace Silver by offering an original take on his music and exploring his soulful 1970's jazz-funk through exciting new arrangements.
For more information, call 845-758-6822, or visit http://fishercenter.bard.edu/events/Silver/.
Friday, August 16, 2019
Fisher Center, LUMA Theater
The Constant Nymph (1943)
Directed by Edmund Goulding
With Charles Boyer, Joan Fontaine, Alexis Smith, and others
Score by Erich Wolfgang Korngold (1897–1957)
Panel discussion to follow the film screening.Sponsored by: Bard Music Festival.
For more information, call 845-758-7900, e-mail fishercenter@bard.edu, or visit https://fishercenter.bard.edu/events/bmf-2019-special-showing/.
Friday, August 16, 2019
Fisher Center, Sosnoff Theater
6:30 pm Pre-concert reception on the portico; open to all ticket holders.
7:30 pm Preconcert Talk: Daniel Goldmark
8 pm Performance: The Orchestra Now, conducted by James Bagwell
Selections from The Adventures of Robin Hood (1938)
Directed by Michael Curtiz and William Keighley
With Errol Flynn, Olivia de Havilland, Basil Rathbone, Claude Rains, and others
Score by Erich Wolfgang Korngold (1897–1957)
Max Steiner (1888–1971)
Suite from Casablanca (1943)
Dimitri Tiomkin (1894–1979)
Suite from The Old Man and the Sea (1958)
Alfred Newman (1901–70)
Overture and Scherzo from The Song of Bernadette (1943)
Franz Waxman (1906–67)
Suite from Rebecca (1940)
Bernard Herrmann (1911–75)
Suite from Vertigo (1958)
It was through Max Reinhardt that Korngold first started writing for Hollywood, where he and his family joined the growing exodus of émigrés from Europe. Korngold believed that “music is music, whether it is for the stage, rostrum, or cinema,” and his background in concert music, opera, operetta, and musical comedy proved invaluable in writing for film. His Academy Award-winning score for The Adventures of Robin Hood – an epic Technicolor swashbuckler starring Errol Flynn and Olivia de Havilland – integrated music from both his Sursum Corda and his original material for Rosen aus Florida into a taut, genre-defining masterpiece. Performed with screened excerpts from the film, selections from this score will be heard alongside music by other leading lights of Hollywood’s Golden Age, including Korngold’s compatriot and colleague Max Steiner, whose extensive output includes such classics as King Kong, Casablanca, and Gone with the Wind; Bernard Herrmann, whose iconic scores include Citizen Kane, Psycho, Vertigo, and Taxi Driver; Franz Waxman, of Bride of Frankenstein, Rebecca, and Sunset Boulevard fame; the Russian-born Dimitri Tiomkin, best-known for archetypically American Westerns like Duel in the Sun, High Noon, and Gunfight at the O.K. Corral; and Alfred Newman, whose work includes Wuthering Heights, All About Eve, and the famous fanfare that accompanies the 20th Century Fox logo. To launch Weekend Two, TŌN performs excerpts from these composers’ seminal scores in Program Seven, “Robin Hood and Beyond.”Sponsored by: Bard Music Festival.
For more information, call 845-758-7900, e-mail fishercenter@bard.edu, or visit https://fishercenter.bard.edu/events/bmf-2019-program-seven/.
Ryan Landry presents
Friday, August 16, 2019
Fisher Center, Spiegeltent
Ryan Landry, Provincetown’s infamous icon of revelry, holds court for the final weekend of Spiegeltent, starting with an evening of stories and songs from Tony Award–nominated performer and playwright Charles Busch. Rounding out the bill is returning Spiegeltent darlings Angela Di Carlo and Amber Martin, among others.
For more information, call 845-758-7900, e-mail boxoffice@bard.edu, or visit https://fishercenter.bard.edu/events/a-night-of-song/.
Saturday, August 17, 2019
Olin Hall
Daniel Goldmark, moderator; Julie Hubbert; Neil Lerner; Jeff Smith
This panel discussion includes a short Q&A. Sponsored by: Bard Music Festival.
For more information, call 845-758-7900, e-mail fishercenter@bard.edu, or visit https://fishercenter.bard.edu/events/bmf-2019-panel-two/.
Saturday, August 17, 2019
Olin Hall
1 pm Preconcert Talk: Byron Adams
1:30 pm Performance: Danny Driver, piano; Tyler Duncan, baritone; Jasper String Quartet and guest; Rebecca Ringle Kamarei, mezzo-soprano; Piers Lane, piano; Anna Polonsky, piano; Arnaud Sussmann, violin; Erika Switzer, piano; Orion Weiss, piano
Erich Wolfgang Korngold (1897–1957)
Piano Sonata No. 3 in C Major, Op. 25 (1931)
Four Shakespeare Songs, Op. 31 (1937–41)
Alexandre Tansman (1897–1986)
From 24 Intermezzi (1940–41)
George Antheil (1900–59)
Toccata No. 2 (1948)
Bernard Herrmann (1911–75)
From Souvenirs de voyage (1967)
Mario Castelnuovo-Tedesco (1895–1968)
Serenatella on the Name of Jascha Heifetz, Op. 170, No. 2 (1954)
Miklós Rózsa (1907–95)
String Quartet No. 1, Op. 22 (1950)
Songs by Richard Hageman (1881–1966)
Like other film composers who shared his classical background, Korngold continued to write concert music during his Hollywood years. Program Eight offers a sampling of some of their mid-century chamber works. These include selections for solo piano by Korngold, Alexandre Tansman, and George Antheil, and the Bartókian First String Quartet by Miklós Rózsa, better-known for Spellbound and Ben-Hur. Herrmann is represented by his final concert work, the clarinet quintet Souvenirs de Voyage, and Mario Castelnuovo-Tedesco by his rhapsodic Serenatella on the Name of Jascha Heifetz, written in tribute to the great violinist who helped him as a new arrival in Los Angeles. Rounding out the program are concert works by Richard Hageman, who combined careers in film and opera, and by Ernst Toch, known in Hollywood for scoring the chase scene in Shirley Temple’s Heidi but in the concert world for his Third Symphony, winner of the Pulitzer Prize.Sponsored by: Bard Music Festival.
For more information, call 845-758-7900, e-mail fishercenter@bard.edu, or visit https://fishercenter.bard.edu/events/bmf-2019-program-eight/.
Saturday, August 17, 2019
Fisher Center, Sosnoff Theater
7 pm Preconcert Talk: Christopher H. Gibbs
8 pm Performance: Marjorie Owens, soprano; American Symphony Orchestra, conducted by Leon Botstein, music director
Erich Wolfgang Korngold (1897–1957)
Symphony in F-sharp, Op. 40 (1949–52)
Paul Hindemith (1895–1963)
Symphonia Serena (1946)
Richard Strauss (1864–1949)
Four Last Songs (1948)
Korngold did not write large-scale concert works during the war, but once peace was restored he composed the Symphony in F-sharp that opens this program. Dedicated to the memory of Franklin D. Roosevelt, in gratitude to the nation that gave his family refuge, Korngold’s sole symphony is one of the most demanding orchestral works in the repertoire, and only received its live concert premiere some 15 years after his death. Yet, as Bruno Walter wrote to Dimitri Mitropoulos in 1956, it is “an important work of original thematic substance, of a rare emotional power in a masterly symphonic form.” Other composers shared Korngold’s compulsion to write ambitious art music immediately after the war. Paul Hindemith combined wry humor with intensely chromatic counterpoint in his Symphonia Serena, while the Four Last Songs for soprano and orchestra crowned the creative flowering of Richard Strauss’s final years.Sponsored by: Bard Music Festival.
For more information, call 845-758-7900, e-mail fishercenter@bard.edu, or visit https://fishercenter.bard.edu/events/bmf-2019-program-nine/.
Sunday, August 18, 2019
Olin Hall
10 am Performance with Commentary by Daniel Goldmark; with singers Joan Ellison and Chris Vettel and pianists Shane Schag and Chun-Wei Kang
Works by Erich Wolfgang Korngold (1897–1957); Jerome Kern (1885–1945); George Gershwin (1898–1937); Kurt Weill (1900–1950); Leonard Bernstein (1918–90); and others.
Korngold’s only movie musical was Give Us This Night, set to lyrics by Oscar Hammerstein II and featuring Metropolitan Opera mezzo-soprano Gladys Swarthout and Polish tenor Jan Kiepura, who had previously starred in European productions of the composer’s operas. Bard’s second performance with commentary, Program Ten combines excerpts from this seldom-heard score with selections by other great 20th-century masters of the movie musical and Broadway. These include Jerome Kern, whose many Hammerstein collaborations included Show Boat, and George Gershwin, whose contributions to musical comedy include Girl Crazy and Of Thee I Sing, the first example of the genre to win the Pulitzer Prize for Drama. The Threepenny Opera was the only one of Kurt Weill’s numerous theater works to be adapted for the cinema, whereas all three of Leonard Bernstein’s musicals –West Side Story, Wonderful Town, and On the Town – were successes on both stage and screen.Sponsored by: Bard Music Festival.
For more information, call 845-758-7900, e-mail fishercenter@bard.edu, or visit https://fishercenter.bard.edu/events/bmf-2019-program-ten/.
Sunday, August 18, 2019
Olin Hall
1 pm Preconcert Talk: Richard Wilson
1:30 pm Performance: Tyler Duncan, baritone; William Ferguson, tenor; Jasper String Quartet; Rebecca Ringle Kamarei, mezzo-soprano; So Young Park, soprano; Anna Polonsky, piano; Erika Switzer, piano; Orion Weiss, piano
Erich Wolfgang Korngold (1897–1957)
Narrenlieder, Op. 29 (1937)
String Quartet No. 3 in D Major, Op. 34 (1945)
Sonett für Wien, Op. 41 (1953)
From Die Kathrin, Op. 28 (1939)
Arnold Schoenberg (1874–1951)
Fantasy, Op. 47 (1949)
Ernst Toch (1887–1964)
From Profiles, Op. 68 (1948)
Hanns Eisler (1898–1962)
From Hollywood Songbook (1942)
Erich Zeisl (1905–59)
Komm süsser Tod (1938)
Program Eleven turns once again to Korngold’s frustrated attempts to re-establish himself as a composer of opera and concert music. The eventual postwar Viennese production of his final opera, Die Kathrin, was panned as anachronistic escapism. An excerpt from the work, which he dubbed his “folk opera,” will be heard alongside the Narrenlieder, his setting of the songs from Twelfth Night; the Third String Quartet, which he intended as a return to “serious” composition; and his final song, the posthumously published Sonett für Wien, which may be heard as his farewell to the city that no longer welcomed him. These share the program with concert music by Korngold’s fellow Hollywood exiles: Komm süsser Tod, an elegiac chorale setting by Erich Zeisl; excerpts from Ernst Toch’s improvisatory Profiles for piano; selections from the Hollywood Songbook, with which Hanns Eisler secured his reputation as one of the century’s great lieder writers; and the poignant yet rigorously serial Fantasy for violin and piano by Schoenberg, who was then teaching at UCLA and had become, musical differences notwithstanding, one of Korngold’s good friends.Sponsored by: Bard Music Festival.
For more information, call 845-758-7900, e-mail fishercenter@bard.edu, or visit https://fishercenter.bard.edu/events/bmf-2019-program-eleven/.
Sunday, August 18, 2019
Fisher Center, Sosnoff Theater
4 pm Preconcert Talk: Sherry Lee
5 pm Performance: Sara Jakubiak, soprano; Clay Hilley, tenor; Alexander Elliott, baritone; Deborah Nansteel, mezzo-soprano; Rebecca Ringle Kamarei, mezzo-soprano; So Young Park, soprano; Richard Troxell, tenor; William Ferguson, tenor; Bard Festival Chorale, James Bagwell, choral director; The Orchestra Now, conducted by Leon Botstein, music director; directed by Jordan Fein; set design by Stephan Moravski; lighting design by Mark Barton; costume design by Terese Wadden
Erich Wolfgang Korngold (1897–1957)
Die tote Stadt, Op. 12 (1920)
Based on a novel by Belgian Symbolist poet Georges Rodenbach, Die tote Stadt is a heady, haunting story of love and obsession. It is set in a surreal version of Bruges, where protagonist Paul is mourning the death of his saintly young wife, Marie. When he meets Marietta, a seductive dancer bearing an uncanny resemblance to Marie, Paul develops an unhealthy fixation with her, and finds himself torn between temptation and the memory of his wife. This internal struggle and the story’s eerie, hallucinatory setting inspired some of Korngold’s most intoxicating music. Highlighted by such beloved arias as “Mariettas Lied” and “Pierrots Tanzlied,” and suffusing the idioms of Mahler’s Vienna with the lyricism of Italian verismo, Die tote Stadt is “sumptuously lyrical, theatrically vivid and glitteringly orchestrated” (New York Times). Program 12 presents the Bard Festival Chorale, The Orchestra Now, and a strong cast of soloists in a semi-staged performance of the opera, drawing Bard’s probing and far-reaching festival to a ravishing close.Sponsored by: Bard Music Festival.
For more information, call 845-758-7900, e-mail fishercenter@bard.edu, or visit https://fishercenter.bard.edu/events/bmf-2019-program-twelve/.
Sunday, August 18, 2019
Jim Ottaway Jr. Film Center
2001: A Space Odyssey
(Stanley Kubrick, 1968, USA, 142 minutes)
Universally recognized as one of the greatest films ever made, Stanley Kubrick’s masterpiece features the most ambitious soundtrack of its era. It gave iconic significance not only to celebrated pieces like Johann Strauss’s The Blue Danube and Richard Strauss’s Thus Spoke Zarathustra, but also introduced the contemporary compositions of György Ligeti and Aram Khachaturian to a wide audience.Sponsored by: SummerScape Film.
For more information, call 845-758-6822, or visit http://fishercenter.bard.edu/events/2001-A-Space-Odyssey/ .
Thursday, August 22, 2019
Reem-Kayden Center Laszlo Z. Bito '60 Auditorium
One of the most fundamental tropes of digital game design is state-tracking: The player picks up the Blue Key, so they are now able to open the Blue Door. This is endemic to games’ emphasis on Progress, of a colonialist mastery of the world and mastery of game systems. How does digital storytelling transform when you take away or limit the author’s ability to track state, as with a tool like Twine or Bitsy? What other models of stateless interactive literature exist? What does this all have to do with queerness and nonlinear time? Let’s dismantle the state as a tool for hegemonic game design. Anna Anthropy is a game designer, educator, and thirtysomething teen witch. She is the Game Designer in Residence at DePaul University and the author of Make Your Own Twine Games! and Make Your Own Scratch Games! She lives in Chicago with her familiar, a little black cat named Encyclopedia Frown.Sponsored by: Computer Science Program; Experimental Humanities Program.
For more information, call 845-758-6822, or e-mail ccape@bard.edu.
Sunday, August 25, 2019
Lorenzo Ferrari Soccer Complex
Sponsored by: Office of Development and Alumni/ae Affairs.
For more information, call 845-758-7360, or e-mail events@bard.edu.
Sponsored by: Registrar's Office.
For more information, call 845-758-6822.
Sponsored by: Registrar's Office.
For more information, call 845-758-6822.
Sponsored by: Registrar's Office.
For more information, call 845-758-6822.
Matriculation Days
Sponsored by: Registrar's Office.
For more information, call 845-758-6822.
Matriculation Days
Sponsored by: Registrar's Office.
For more information, call 845-758-6822.
Friday, August 30, 2019
The women's soccer team opens the season with a game against Elmira College. Come out and cheer!Sponsored by: Department of Athletics and Recreation.
For more information, call 845-752-4929, e-mail jsheahan@bard.edu, or visit https://www.bardathletics.com.
Arrival Day for All Returning Students
Sponsored by: Registrar's Office.
For more information, call 845-758-6822.
Saturday, August 31, 2019
The men's soccer team opens the season with a game against Nazareth College. Come out and cheer!Sponsored by: Department of Athletics and Recreation.
For more information, call 845-752-4929, e-mail jsheahan@bard.edu, or visit https://www.bardathletics.com.
Saturday, August 31, 2019
Montgomery Place, Mansion
Brooklyn-born singer-songwriter James Mongan brings his well-crafted and refined collection of energetic, smart, and socially conscious pop-rock songs that will invigorate and inspire.
James Mongan and Star Children, “Modern pop for vintage tastes, Catskill style.”
Bring a picnic, lawn chair, or blanket and enjoy the show. Free admission.
For more information, call 845-758-7250, or e-mail mongan@bard.edu.
The Gilded Garden: Historic Ornament in the Landscape at Montgomery Place
An exhibit of decorative garden ornaments from the extensive Montgomery Place collection
Friday, May 24, 2019 – Saturday, October 12, 2019
Montgomery Place GroundsThe gardens at Montgomery Place once featured decorative garden ornaments and furniture, displaying a wide mix of styles, alongside the plants. Examples of statuary, furniture, potted plants, and hanging baskets that have been documented in early photographs of Montgomery Place will be presented in the exhibition.
Exhibition produced in partnership with and curated by Barbara Israel and her staff from Barbara Israel Garden Antiques. Funding provided by the A. C. Israel Foundation and Plymouth Hill Foundation.
For more information, call 845-752-5000, e-mail montgomeryplace@bard.edu, or visit http://bard.edu/montgomeryplace.
Save this event: Montgomery Place Mansion Tours
Saturday, June 1, 2019 – Saturday, October 12, 2019
Bard College: The Montgomery Place Campus offers regular mansion tours on Saturdays from June 1 through October 12, with tours at 10:30, 11:30, 1:30, and 2:30. The cost is $10 per person and no reservations are required. Depending on availability, private tours will be offered for groups of five or more at $20 per person.Visit the Montgomery Place website to learn more about special tours, events, and upcoming exhibitions.
Please note: On June 8, the mansion will be closed for private tours at 1:30 and 2:30.
For more information, call 845-752-5000, e-mail montgomeryplace@bard.edu, or visit https://www.bard.edu/montgomeryplace/.
CCS Exhibition: Leidy Churchman: Crocodile
Saturday, June 22, 2019 – Sunday, October 13, 2019
12–6 pm
Hessel Museum of ArtCrocodile, the first U.S. exhibition of work by Leidy Churchman (b. 1979, Villanova, Penn.), illustrates the ideas and drive toward reinvention and experimentation at play in this emerging artist’s work. Including over 60 paintings, it focuses on Churchman’s recent work while situating his practice within a longer trajectory through the presentation of projects such as Snakes (2011), a performance on video, and the “hardbacks” (2010), a series of intricately painted book covers. Crocodile also features a newly commissioned large-scale floor painting by Churchman.
Guided tours of the exhibition are available on July 20, 21, 27, and 28 at 4:00 pm, no reservation required.Sponsored by: Center for Curatorial Studies.
For more information, call 845-758-7598, e-mail ccs@bard.edu, or visit https://ccs.bard.edu/museum/exhibitions/528-leidy-churchman-crocodile.
CCS Exhibition: Nil Yalter: Exile Is a Hard Job
Saturday, June 22, 2019 – Sunday, October 13, 2019
12–6 pm
Hessel Museum of ArtExile Is a Hard Job is the first solo U.S. museum exhibition of work by Nil Yalter (b. 1938), who has been a pioneer of socially engaged art since the 1970s. She was one of the first artists in France to use video, when it first emerged as a new artistic medium. Born in Cairo, the artist grew up in Istanbul and has been living in Paris since 1965. Exile Is a Hard Job presents the diversity of her work, from previously little-known paintings to her early videos and multimedia installations, in which she combines photography, video, drawings, and sculpture into collages. Exile Is a Hard Job originated at the Museum Ludwig in Cologne as Yalter’s first major retrospective, opening March 8, 2019. The exhibition at the Hessel Museum of Art focuses on her prolific period from the late ’60s to the early ’80s, and includes more than 20 of her most significant projects from this time.
Guided tours of the exhibition are available on July 20, 21, 27, and 28 at 4:00 pm, no reservation required.Sponsored by: Center for Curatorial Studies.
For more information, call 845-758-7598, e-mail ccs@bard.edu, or visit https://ccs.bard.edu/museum/exhibitions/529-nil-yalter-exile-is-a-hard-job.
CCS Exhibition: Acting Out: Works from the Marieluise Hessel Collection
Saturday, June 22, 2019 – Sunday, October 13, 2019
12–6 pm
CCS Bard GalleriesActing Out: Works from the Marieluise Hessel Collection takes its prompt from Leigh Ledare’s The Task, a single-channel film of a three-day Group Relations Conference—a social psychology method developed by London’s Tavistock Institute—that the artist organized in Chicago in 2017. In addition to directing the film crew, Ledare assembled the 28 participants and secured the collaboration of 10 psychologists trained in the method. During a sequence of small and large group meetings, the group studies its own self-made social structure—an abstract “task” that allows participants to examine the identities, roles, desires, and biases individuals import into the group, as well as conscious and unconscious group dynamics. Building upon this gripping portrait of current social dynamics and discontents, the exhibition includes works by artists in the Marieluise Hessel Collection at CCS Bard, including Larry Clark, Lyle Ashton Harris, Nan Goldin, Boris Mikhailov, Lorraine O'Grady, Cindy Sherman, and Jo Spence, historical works that reverberate with themes raised by Ledare’s film and its participants. The exhibition also includes a selection of journals, diaries, and planners that the artist Lyle Ashton Harris kept between the mid 1980s until the early 2000s, displayed publicly for the first time.
Guided tours of the exhibition are available on July 20, 21, 27, and 28 at 4:00 pm, no reservation required.Sponsored by: Center for Curatorial Studies.
For more information, call 845-758-7598, e-mail ccs@bard.edu, or visit https://ccs.bard.edu/museum/exhibitions/530-acting-out-works-from-the-marieluise-hessel-collection.
The Ancient Law
Thursday, August 1, 2019
7 pm
Jim Ottaway Jr. Film CenterThe Ancient Law (E.A. Dupont, 1923, Germany, 133 minutes)*
*Live musical accompaniment from klezmer violinist Alicia Svigals and pianist Donald Sosin
The first in a pair of SummerScape films exploring the Viennese culture that shaped the young Korngold, The Ancient Law is a silent drama about the son of a rabbi who leaves his life on a shtetl to pursue a career as an actor. This screening of the new Deutsche Kinemathek restoration will feature an original score performed live by klezmer violinist Alicia Svigals and pianist Donald Sosin.Sponsored by: SummerScape Film.
For more information, call 845-758-6822, or visit http://fishercenter.bard.edu/events/the-ancient-law/.
Singers & Songbooks: Anita O’Day
Led by Veronica Swift
Thursday, August 1, 2019
8 pm
Fisher Center, SpiegeltentToday’s new “babe of bebop” Veronica Swift returns to the Spiegeltent in an homage to the songbook of her idol and vocal inspiration, Anita O’Day, “a singer’s singer” (NPR). Swift, recognized around the country as one of the top young jazz singers on the scene, delivers her take on O’Day’s infamous tempo, phrasing mastery, and her effortlessly swingin’ style.
For more information, call 845-758-6822, or visit http://fishercenter.bard.edu/events/O-Day/.
Outdoor Yoga at Montgomery Place
Sunday, June 16, 2019 – Sunday, August 25, 2019
10–11:15 am
Montgomery Place Visitor CenterAll levels yoga with Danielle Degutz '19
Sundays, June 16 — August 2510:00am — 11:15am
All are invited to practice yoga on beautiful summer mornings at Montgomery Place. Using nature as our inspiration, we go through a flow connected with breath and hold powerful postures.
Bring a yoga mat and water and meet at the Visitor Center.
The program is free to the Bard community and general public but donations are gladly accepted.
A 2019 Bard graduate, Danielle has been practicing yoga for seven years. She enjoys it because she finds yoga to be the most welcoming, yet least intimidating form of physical activity. Her classes are meant to be all inclusive and comfortable for everyone who wants to take care of their bodies and minds.
For more information, call 845-752-5000, e-mail montgomeryplace@bard.edu, or visit http://www.bard.edu/montgomeryplace/.
The Miracle of Heliane
By Erich Wolfgang Korngold
New Production / U.S. Premiere
The American Symphony Orchestra
Conducted by Leon Botstein
Directed by Christian Räth
Friday, August 2, 2019
4 pm
Fisher Center, Sosnoff Theater
A dark mystery play, an intimate psychodrama, and an epic dystopian political thriller all at once.
Set in an unnamed totalitarian state, The Miracle of Heliane (Das Wunder der Heliane) features an intricate, erotic triangle between a ruthless despot, The Ruler; his beautiful and neglected wife, Heliane; and a young, messianic Stranger. An allegorical tale, about the destruction of a dictatorship by a woman, Heliane premiered to great acclaim in Hamburg in 1927, and remains extraordinarily relevant today. This new production is directed by Christian Räth, with sets and costumes by Esther Bialas, both making their SummerScape debuts. The consistently excellent cast includes the stunning Lithuanian soprano Ausrine Stundyte in an all-too-rare U.S. appearance alongside rising star tenor Daniel Brenna, and the heralded bass-baritone Alfred Walker.
Estimated run time is 3 hrs 15 minutes, plus two 20-minute intermissions.
Sponsored by: SummerScape Opera
July 26 – August 4.
For more information, call 845-758-7900, or visit https://fishercenter.bard.edu/events/Heliane/.
Mx. Justin Vivian Bond:
Criminal Intent
Friday, August 2, 2019
8:30 pm
Fisher Center, SpiegeltentThe “immortal angel of cabaret” (Time Out New York) returns home to the Spiegeltent for a weekend of new performances, beginning with Criminal Intent: An Evening of Songs for People Who Should Know Better. With sharp-tongued observations from the underground and the gorgeous virtuosity of art song, Mx. Viv invites you to discover that crime always pays.
For more information, call 845-758-6822, or visit http://fishercenter.bard.edu/events/Criminal-Intent/.
Mx. Justin Vivian Bond:
A Star is Borned
Saturday, August 3, 2019
8:30 pm
Fisher Center, SpiegeltentJudy, Barbra, and Gaga! Three Icons! One Role! Generations of Love Through the Non-Binary Eyes of Tweeny V, aka Mx. Justin “Chipra” Bond! A Star is Borned plumbs the depths of the over-the-top classic Hollywood melodrama A Star is Born, and the careers of the three queer icons who have made the role their own . . . until now . . .
For more information, call 845-758-6822, or visit http://fishercenter.bard.edu/events/A-Star-Is-Borned/.
The Miracle of Heliane
By Erich Wolfgang Korngold
New Production / U.S. Premiere
The American Symphony Orchestra
Conducted by Leon Botstein
Directed by Christian Räth
Sunday, August 4, 2019
2 pm
Fisher Center, Sosnoff Theater
A dark mystery play, an intimate psychodrama, and an epic dystopian political thriller all at once.
Set in an unnamed totalitarian state, The Miracle of Heliane (Das Wunder der Heliane) features an intricate, erotic triangle between a ruthless despot, The Ruler; his beautiful and neglected wife, Heliane; and a young, messianic Stranger. An allegorical tale, about the destruction of a dictatorship by a woman, Heliane premiered to great acclaim in Hamburg in 1927, and remains extraordinarily relevant today. This new production is directed by Christian Räth, with sets and costumes by Esther Bialas, both making their SummerScape debuts. The consistently excellent cast includes the stunning Lithuanian soprano Ausrine Stundyte in an all-too-rare U.S. appearance alongside rising star tenor Daniel Brenna, and the heralded bass-baritone Alfred Walker.
Estimated run time is 3 hrs 15 minutes, plus two 20-minute intermissions.
Sponsored by: SummerScape Opera
July 26 – August 4.
For more information, call 845-758-7900, or visit https://fishercenter.bard.edu/events/Heliane/.
Summertime Swing
with the Boilermaker Jazz Band
Sunday, August 4, 2019
6 pm
Fisher Center, SpiegeltentSpiegeltent favorites Linda and Chester Freeman of Got2Lindy Dance Studios return for a second night of swing dancing to the fabulous music of Pittsburgh’s Boilermaker Jazz Band.
Doors at 6 pm, dance instruction at 6:30 pm, dancing until 10 pm
For more information, call 845-758-6822, or visit http://fishercenter.bard.edu/events/Summertime-Swing-8-4-19/.
Letter from an Unknown Woman
Sunday, August 4, 2019
7 pm
Jim Ottaway Jr. Film CenterLetter from an Unknown Woman (Max Ophuls, 1948, USA, 86 minutes)*
* 35mm restored print courtesy of the UCLA Film & Television Archive. Restoration funding provided by The Film Foundation.
The second in a pair of SummerScape films exploring the Viennese culture that shaped the young Korngold, Letter from an Unknown Woman, based on the Stefan Zweig novella, is one of Hollywood’s greatest romantic melodramas. The German expatriate director Max Ophuls injects a remarkable degree of sophistication and nuance into his reconstruction of a lost fin-de-siècle world.Sponsored by: SummerScape Film.
For more information, call 845-758-6822, or visit http://fishercenter.bard.edu/events/letter-from-an-unknown-woman/ .
Singers & Songbooks: Joni Mitchell and Friends
Led by Sam Reider and the Human Hands with Kéren Tayár
Thursday, August 8, 2019
8 pm
Fisher Center, SpiegeltentJazz-pianist-turned-roots-musician Sam Reider teams up with modern day songstress Kéren Tayár for a vivaciously youthful, 21st -century twist on the inspired yet turbulent Swinging Sixties. Tune in to this innovative musical reflection on songstresses including Joni Mitchell, Joan Baez, Patsy Cline, Janis Joplin, Carole King, Mavis Staples, and Emmylou Harris.
For more information, call 845-758-6822, or visit http://fishercenter.bard.edu/events/Mitchell/.
Arrival Day, Check-in, and Financial Clearance for All First-Year Students
Friday, August 9, 2019
Bard College CampusSponsored by: Registrar's Office.
For more information, call 845-758-6822.
Saw Kill Water Sampling
Friday, August 9, 2019
10:30 am – 12:30 pm
Saw KillAs a member of one of our four sampling teams, you’ll collect water samples (from stream bank or bridges) from 3–4 sites on the Saw Kill and record the results.
Sampling is done on the second Friday of the month starting at 10:30 a.m. From start to finish, it takes about 2 hours.
Sampling is fun and easy—and you’re contributing to the science that helps keep your drinking water safe. If you wish, you can also help process the samples in the Bard Water Lab after collection.
Open to everyone. Free training is available.
If interested, please contact:
Lindsey Drew
Bard Water Lab Manager
ldrew@bard.eduSponsored by: Bard Center for the Study of Land, Air, and Water; Environmental and Urban Studies Program.
For more information, call 845-758-6822.
2019 Bard Music Festival Opening Night Dinner
Friday, August 9, 2019
5 pm
Fisher Center, Spiegeltent5 pm Dinner
Spiegeltent
7:30 pm Preconcert Talk
Leon Botstein
8 pm Performance
Stephanie Blythe, mezzo-soprano; Marjorie Owens, mezzo-soprano; Erica Petrocelli, soprano; Nicholas Canellakis, cello; Piers Lane, piano; Parker String Quartet; Bard Festival Chorale, James Bagwell, choral director; The Orchestra Now, conducted by Leon Botstein, music directorSponsored by: Bard Music Festival.
For more information, call 845-758-6822, or visit https://fishercenter.bard.edu/events/BMF-Opening-Night-Dinner/.
Program One: Erich Wolfgang Korngold: From Viennese Prodigy to Hollywood Master
Friday, August 9, 2019
8 pm
Fisher Center, Sosnoff Theater7:30 pm Preconcert Talk: Leon Botstein
8 pm Performance: Stephanie Blythe, mezzo-soprano; Marjorie Owens, mezzo-soprano; Erica Petrocelli, soprano; Nicholas Canellakis, cello; Piers Lane, piano; Parker String Quartet; Bard Festival Chorale, James Bagwell, choral director; The Orchestra Now, conducted by Leon Botstein, music director
Erich Wolfgang Korngold (1897–1957)
All-Korngold program, works to include:
Selections from Der Schneemann (1908–9)
Piano Quintet in E Major, Op. 15 (1921–22)
Overture to The Sea Hawk (1940)
The Passover Psalm, Op. 30 (1941)
Tomorrow, Op. 33 (1944)
Cello Concerto in C Major, Op. 37 (1946)
Anchored by The Orchestra Now, and exploiting Bard’s unusual ability to integrate orchestral, choral, solo, and chamber works within a single event, this opening concert offers a broad overview of the composer’s multi-faceted career. It was Korngold’s ballet-pantomime, Der Schneemann, that first made him a sensation; completed when the composer was just eleven, the work is already a masterly marriage of tight construction and Viennese charm. Excerpts will be heard alongside a selection of songs; the virtuosic Piano Quintet in E, one of his early-adult successes; the Overture to The Sea Hawk, the last and best of his wartime Errol Flynn swashbucklers; Tomorrow, the tone poem he wrote for The Constant Nymph; and his Cello Concerto, an uncharacteristically modern work that began life as the climax of the Bette Davis vehicle Deception, before being expanded for concert performance in the composer’s final decade.Sponsored by: Bard Music Festival.
For more information, call 845-758-7900, e-mail fishercenter@bard.edu, or visit https://fishercenter.bard.edu/events/bmf-2019-Program-One/.
Panel One: Korngold and the Phenomenon of the Child Prodigy
Saturday, August 10, 2019
10 am
Olin HallChristopher H. Gibbs, moderator; Leon Botstein; Jessica Duchen; Michael Haas
The panel discussion includes a short Q&A. Sponsored by: Bard Music Festival.
For more information, call 845-758-7900, e-mail fishercenter@bard.edu, or visit https://fishercenter.bard.edu/events/BMF-2019-Panel-One/.
Program Two: Teachers, Admirers, and Influences
Saturday, August 10, 2019
1:30 pm
Olin Hall1 pm Preconcert Talk: David Brodbeck
1:30 pm Performance: Jonathon Comfort, baritone; Elaine Daiber, soprano; Kayo Iwama, piano; Piers Lane, piano; Parker String Quartet and guests
Erich Wolfgang Korngold (1897–1957)
Passacaglia, from Piano Sonata No. 1 in D Minor (1908–9)
From Sieben Märchenbilder, Op. 3 (1910)
Sextet in D Major, Op. 10 (1914–16)
Max Reger (1873–1916)
Clarinet Quintet in A, Op. 146 (1915–16)
Hans Gál (1890–1987)
From Three Sketches, Op. 7 (1910)
Songs by Robert Fuchs (1847–1927); Alma Mahler (1879–1964); Joseph Marx (1882–1964); Alexander Zemlinsky (1871–1942); Wilhelm Kienzl (1857–1941); and Karl Weigl (1881–1949)
Although better known for his large-scale works, Korngold also made invaluable contributions to the chamber genre. Program Two pairs early examples, like the superlative Sextet in D he wrote at 17, with chamber and vocal music by some of the composers most prominent in the Vienna of his youth. These include such leading lights as Max Reger and Hans Gál; Korngold’s great friend and colleague Joseph Marx; the legendary pedagogue Robert Fuchs, with whom he briefly took lessons as a child; and Alexander von Zemlinsky, under whose longer-term instruction the young prodigy wrote his exquisite Märchenbilder and Passacaglia for solo piano. Zemlinsky also taught Karl Weigl and Alma Mahler, who would – decades later, and on another continent – become the dedicatee of Korngold’s Violin Concerto.Sponsored by: Bard Music Festival.
For more information, call 845-758-7900, e-mail fishercenter@bard.edu, or visit https://fishercenter.bard.edu/events/bmf-2019-Program-Two/.
Program Three: The Orchestral Imagination
Saturday, August 10, 2019
8 pm
Fisher Center, Sosnoff Theater7 pm Preconcert Talk: Christopher Hailey
8 pm Performance: Erica Petrocelli, soprano; Michael J. Hawk, baritone; Orion Weiss, piano; American Symphony Orchestra, conducted by Leon Botstein, music director
Erich Wolfgang Korngold (1897–1957)
Piano Concerto in C-sharp Major, for the left hand, Op. 17 (1923)
Julius Bittner (1874–1939)
Prelude to Der Musikant (1909)
Alexander von Zemlinsky (1871–1942)
Lyric Symphony, Op. 18 (1922–23)
Franz Schreker (1878–1934)
Vom ewigen Leben (1923/1927)
Alongside its more radical developments, the first quarter of the 20th century saw a final flourishing of tonal writing for full orchestra. Marking the American Symphony Orchestra’s first concert of the festival’s 30th anniversary season, Program Three presents four relative rarities. The atmospheric Overture to Der Musikant is by Julius Bittner, then one of Austria’s most-performed opera composers and something of a second father to Korngold (who later supported him when diabetes left the older composer a double amputee). Paying tribute to Mahler’s Das Lied von der Erde, Zemlinsky’s Lyric Symphony is a monumental orchestral song cycle set to Eastern texts. A close contemporary of Bittner and Zemlinsky, Franz Schreker stretched tonality to its limits in Vom ewigen Leben, a lyrical pair of Walt Whitman settings for soprano and orchestra. Though of a younger generation, Korngold shared his colleagues’ post-Wagnerian orchestral soundscape. His Piano Concerto for the left-hand – written, like Ravel’s, for one-handed pianist Paul Wittgenstein, brother of the famous philosopher – is a stirring and melodically inventive tour de force.Sponsored by: Bard Music Festival.
For more information, call 845-758-7900, e-mail fishercenter@bard.edu, or visit https://fishercenter.bard.edu/events/bmf-2019-Program-Three/.
Double Troubles
Erin Markey: Wet Food
and Peter Smith: Alone, at last
Saturday, August 10, 2019
8:30 pm
Fisher Center, Spiegeltent“The most luminous performer in NYC’s comedy scene.”—Time Out New York on Peter Smith
“Erin Markey defies expectations you don’t even know you have.”—New York Post
Erin Markey and Peter Smith (from SummerScape 2018’s Peter Pan) invite you into their fantastically weird worlds with a double bill evening of story-driven stand-up and song. Markey’s Wet Food is an intimate musical conversation tackling all the issues. Alone, at last draws on Smith’s flirty, delicious deadpan.
For more information, call 845-758-7900, e-mail boxoffice@bard.edu, or visit https://fishercenter.bard.edu/events/double-troubles/.
Program Four: Popular Music from the Cabarets, Taverns, and Salons of Korngold's Vienna
Sunday, August 11, 2019
10 am
Olin Hall10 am Performance with Commentary by Derek Scott; with So Young Park, soprano; Joshua Wheeker, tenor; and others
Popular songs and songs from film and stage by Johann Strauss II (1825–99); Leon Jessel (1871–1942); Arnold Schoenberg (1874–1951); Robert Stolz (1880–1975); Ralph Benatzky (1884–1957); Friedrich Hollaender (1896–1976); Erich Wolfgang Korngold (1897–1957); Ernst Krenek (1900–91); and others
The interwar period saw a number of classical compositions find more mainstream success, as Program Four – a performance with commentary – discovers. Frühlingsstimmen was one of several works by “Waltz King” Johann Strauss II to be popularized through recordings by beloved coloratura sopranos, and the concert aria found further fame when performed onscreen in two of The Three Stooges’ slapstick shorts. Similarly, “Mariettas Lied” from Korngold’s Die tote Stadt reached a wider audience through the recording by Lotte Lehmann and Richard Tauber. Before being denounced by the Nazis as the epitome of artistic degeneracy, Ernst Krenek’s arietta “Leb’ wohl mein Schatz,” from his jazz-themed opera, Jonny spielt auf, was successfully marketed and recorded in multiple arrangements as "Jonny’s Blues." And Marlene Dietrich’s recordings brought the songs of Friedrich Hollaender, whose score for The Blue Angel featured her signature hit, “Falling in Love Again (Can’t Help It),” to a vast and adoring international audience.Sponsored by: Bard Music Festival.
For more information, call 845-758-7900, e-mail fishercenter@bard.edu, or visit https://fishercenter.bard.edu/events/bmf-2019-Program-Four/.
Program Five: Before the Reich: Korngold and Fellow Conservatives
Sunday, August 11, 2019
1:30 pm
Olin Hall1 pm Preconcert Talk: Kevin C. Karnes
1:30 pm Performance: Danny Driver, piano; Tyler Duncan, baritone; Horszowski Trio and guests; Erika Switzer, piano; Orion Weiss, piano; Gilles Vonsattel, piano
Erich Wolfgang Korngold (1897–1957)
Much Ado About Nothing Suite, Op. 11 (1918–19)
Suite, for two violins, cello, and piano left hand, Op. 23 (1930)
Franz Schmidt (1874–1939)
Toccata, for piano left hand (1938)
Walter Braunfels (1882–1954)
From 14 Preludes, Op. 33 (1921)
Josef Labor (1842–1924)
Piano Quintet in D, Op. 11 (1900)
Ernst von Dohnányi (1877–1960)
Pastorale on a Hungarian Christmas Tune (1920)
Songs by Othmar Schoeck (1886–1957)
Korngold was not alone in his continued adherence to the language of late-Romanticism.Program Five presents chamber music written by the composer and some of his less revolutionary contemporaries in the decades between the wars. Based on his incidental music to the Shakespeare comedy, Korngold’s exuberant Much Ado About Nothing Suite was an instant success. Less well-known, though more tonally adventurous, is his unusually scored Suite for two violins, cello and piano left-hand. This was commissioned by Paul Wittgenstein, as was the Toccata for piano left-hand by Franz Schmidt, under whose direction Korngold briefly taught at Vienna’s Imperial Academy of Music. Schmidt’s sound world owed more to Brahms, Mahler, and Reger than to the innovations of the Second Viennese School, as did those of Walter Braunfels and Josef Labor, a composer held in high regard by the Wittgensteins. By contrast, the music of Ernst von Dohnányi infused this German Romanticism with a distinctly Hungarian flavor, and tonality was stretched still further by Switzerland’s Othmar Schoeck, in whose songs it sometimes comes close to breaking point.Sponsored by: Bard Music Festival.
For more information, call 845-758-7900, e-mail fishercenter@bard.edu, or visit https://fishercenter.bard.edu/events/bmf-2019-Program-Five/.
Program Six: Operetta’s America
Sunday, August 11, 2019
5 pm
Fisher Center, Sosnoff Theater4:30 pm Preconcert Talk: Micaela Baranello
5:00 pm Performance: Rebecca Ringle Kamarei, mezzo-soprano; So Young Park, soprano; Frederick Ballantine, tenor; Will Ferguson, tenor; Tyler Duncan, baritone; Erika Switzer, piano; Bard Festival Chorale, James Bagwell, choral director; The Orchestra Now, conducted by Zachary Schwartzman
Selections from:
Leo Fall (1873–1925/Erich Wolfgang Korngold (1897–1957), Rosen aus Florida (1929)
Leo Fall/Jerome Kern (1885–1945), The Dollar Princess (1909)
Oscar Straus (1870–1954), Hochzeit in Hollywood (1929)
Emmerich Kálmán (1882–1953), Die Herzogin von Chicago (1928)
Paul Abraham (1892–1960), Die Blume von Hawaii (1931)
Bruno Granichstaedten (1874–1944), Reklame! (1930)
Korngold enjoyed a second, more lucrative career as an expert adapter and expander of classic Viennese operetta, and it was he who spearheaded the Johann Strauss II revival of the 1920s. Working with famed director and producer Max Reinhardt, he achieved his greatest success with Rosalinda, a restructured version of Die Fledermaus that – with choreography by George Balanchine and initially with Korngold himself conducting from the piano – ran for more than 600 performances on Broadway. As the works excerpted in Program Six reveal, the New World provided both new audiences and new inspiration for operetta. These include such rarities as Leo Fall’s Rosen aus Florida, which Korngold recreated from incomplete sketches provided by the composer’s widow; The Dollar Princess, also by Fall, and adapted by musical theater legend Jerome Kern; Emmerich Kálmán’s Die Herzogin von Chicago, which mingles Viennese waltz with jazz; and Oscar Straus’s Hochzeit in Hollywood, the basis for a subsequent musical film.Sponsored by: Bard Music Festival.
For more information, call 845-758-7900, e-mail fishercenter@bard.edu, or visit https://fishercenter.bard.edu/events/bmf-2019-Program-Six/.
Cage/Cunningham Music and Dance Circus
Presented by the John Cage Trust and the Merce Cunningham Trust
Sunday, August 11, 2019
6–9:30 pm
Fisher Center, SpiegeltentIn commemoration of the 100th birthday of renowned American choreographer Merce Cunningham, musicians and dancers come together for a celebratory performance of John Cage’s historically gloriously anarchic work, Musicircus — with a twist. Featuring chance-determined performances by more than 40 musicians and dancers—it is often simultaneous, always surprising, and, befitting the Spiegeltent, happens both inside and outdoors. A family-friendly event!
For more information, call 845-758-6822, or visit https://fishercenter.bard.edu/events/Cage-Cunningham/.
The Man Who Knew Too Much
Sunday, August 11, 2019
7 pm
Jim Ottaway Jr. Film CenterThe Man Who Knew Too Much
(Alfred Hitchcock, 1956, USA, 120 minutes)
Alfred Hitchcock’s remake of his own 1934 British film is one of the best explorations of Americans abroad. Bernard Herrmann wrote the score and can be seen conducting the London Symphony Orchestra in the justly famous Royal Albert Hall finale.Sponsored by: SummerScape Film.
For more information, call 845-758-6822, or visit http://fishercenter.bard.edu/events/the-man-who-knew-too-much/ .
Language and Thinking Program
Monday, August 12, 2019 – Wednesday, August 28, 2019
Bard College CampusSponsored by: Registrar's Office.
For more information, call 845-758-6822.
Treasures of the Sierra Madre
Tuesday, August 13, 2019
7 pm
Jim Ottaway Jr. Film CenterTreasures of the Sierra Madre
(John Huston, 1948, USA, 126 minutes)
Humphrey Bogart stars in this classic adventure film, which was shot on location in Mexico and features an innovative score by Korngold’s contemporary (and fellow Warner Brothers contract composer) Max Steiner.Sponsored by: SummerScape Film.
For more information, call 845-758-6822, or visit http://fishercenter.bard.edu/events/Treasures-of-the-Sierra-Madre/ .
Center For Civic Engagement Annual Barbecue
Wednesday, August 14, 2019
5–7 pm
Center for Civic EngagementEnjoy a fun BBQ with the CCE staff, local leaders, and your peers! We will have a vegetarian and Gluten Free options as well as meat lovers options (plus local fruit and vegetables!) Sponsored by: Center for Civic Engagement.
For more information, call 845-758-6822, or e-mail civic@bard.edu.
Chasing the Moon
A Film Screening and Discussion with Robert Stone and Michael Robinson
Wednesday, August 14, 2019
8–9:30 pm
Olin HallOf this summer's many commemorations of the 50th anniversary of the first Moon landing, the Los Angeles Times deemed the Robert Stone's 6-hour PBS documentary Chasing the Moon to be the "most all-encompassing . . . deep and thorough, detailed but never dull." Chasing the Moon reveals the unknown stories of the fascinating individuals whose imaginative work across several decades culminated in America’s momentous achievement. More than a story of engineers and astronauts, the Moon landing grew out of the dreams of science fiction writers, filmmakers, military geniuses and rule-breaking scientists. After screening excerpts of the documentary, writer-producer-director Stone will be interviewed by historian of exploration and podcaster Michael Robinson, followed by a question and answer session with the audience. Weather permitting after the event, the Bard Physics Program and members of the Mid-Hudson Astronomical Association will have telescopes set up outside the auditorium to view the rising full moon and other celestial objects. The event is free and open to the public.
Note that the full documentary can currently be streamed here through the end of August.
Robert Stone is an Oscar and Emmy-nominated documentary filmmaker, who's works such as Radio Bikini, Guerrilla: The Taking of Patty Hearst, Oswald’s Ghost, and Pandora's Promise, have appeared in theatrical release, CNN, PBS, and the Sundance Film Festival. He wrote, produced, and directed the 6-hour Chasing the Moon documentary, which premiered on PBS's American Experience this summer, and co-authored a companion book of the same title.
Michael Robinson is a professor of history at Hillyer College, University of Hartford who studies the role of exploration in science and culture, both through his award-winning academic books (The Coldest Crucible: Arctic Exploration and American Culture, The Lost White Tribe: Scientists, Explorers, and the Theory that Changed a Continent) and his popular weekly podcast Time to Eat the Dogs (named for certain eventualities in many Arctic expeditions).Sponsored by: Physics Program.
For more information, call 845-758-7584, or e-mail pzimansk@bard.edu.
The Sea Wolf & Kings Row
Thursday, August 15, 2019
7 pm
Jim Ottaway Jr. Film CenterThe Sea Wolf
(Michael Curtiz, 1941, USA, 100 minutes)
Kings Row
(Sam Wood, 1942, USA, 127 minutes)
Both of these Warner Brothers classics—the richly atmospheric Jack London adaptation The Sea Wolf and the midwestern romance Kings Row—feature iconic Korngold scores. Taken together, they demonstrate the range of his achievement in the 1940s.Sponsored by: SummerScape Film.
For more information, call 845-758-6822, or visit http://fishercenter.bard.edu/events/The-Sea-Wolf/ .
Singers & Songbooks: Horace Silver
Led by Camille Thurman and the Darrell Green Trio
Thursday, August 15, 2019
8 pm
Fisher Center, SpiegeltentCamille Thurman’s tenor saxophone recalls the mastery of legends like Joe Henderson and Dexter Gordon, while her scintillating singing and “remarkable prowess” (Downbeat Magazine) has been compared to Ella Fitzgerald and Betty Carter.
Thurman, one of the most astonishing young artists in jazz today, honors and celebrates the enduring legacy of exalted pianist Horace Silver by offering an original take on his music and exploring his soulful 1970's jazz-funk through exciting new arrangements.
For more information, call 845-758-6822, or visit http://fishercenter.bard.edu/events/Silver/.
Special Showing
Friday, August 16, 2019
3 pm
Fisher Center, LUMA TheaterThe Constant Nymph (1943)
Directed by Edmund Goulding
With Charles Boyer, Joan Fontaine, Alexis Smith, and others
Score by Erich Wolfgang Korngold (1897–1957)
Panel discussion to follow the film screening.Sponsored by: Bard Music Festival.
For more information, call 845-758-7900, e-mail fishercenter@bard.edu, or visit https://fishercenter.bard.edu/events/bmf-2019-special-showing/.
Program Seven: Robin Hood and Beyond
Friday, August 16, 2019
8 pm
Fisher Center, Sosnoff Theater6:30 pm Pre-concert reception on the portico; open to all ticket holders.
7:30 pm Preconcert Talk: Daniel Goldmark
8 pm Performance: The Orchestra Now, conducted by James Bagwell
Selections from The Adventures of Robin Hood (1938)
Directed by Michael Curtiz and William Keighley
With Errol Flynn, Olivia de Havilland, Basil Rathbone, Claude Rains, and others
Score by Erich Wolfgang Korngold (1897–1957)
Max Steiner (1888–1971)
Suite from Casablanca (1943)
Dimitri Tiomkin (1894–1979)
Suite from The Old Man and the Sea (1958)
Alfred Newman (1901–70)
Overture and Scherzo from The Song of Bernadette (1943)
Franz Waxman (1906–67)
Suite from Rebecca (1940)
Bernard Herrmann (1911–75)
Suite from Vertigo (1958)
It was through Max Reinhardt that Korngold first started writing for Hollywood, where he and his family joined the growing exodus of émigrés from Europe. Korngold believed that “music is music, whether it is for the stage, rostrum, or cinema,” and his background in concert music, opera, operetta, and musical comedy proved invaluable in writing for film. His Academy Award-winning score for The Adventures of Robin Hood – an epic Technicolor swashbuckler starring Errol Flynn and Olivia de Havilland – integrated music from both his Sursum Corda and his original material for Rosen aus Florida into a taut, genre-defining masterpiece. Performed with screened excerpts from the film, selections from this score will be heard alongside music by other leading lights of Hollywood’s Golden Age, including Korngold’s compatriot and colleague Max Steiner, whose extensive output includes such classics as King Kong, Casablanca, and Gone with the Wind; Bernard Herrmann, whose iconic scores include Citizen Kane, Psycho, Vertigo, and Taxi Driver; Franz Waxman, of Bride of Frankenstein, Rebecca, and Sunset Boulevard fame; the Russian-born Dimitri Tiomkin, best-known for archetypically American Westerns like Duel in the Sun, High Noon, and Gunfight at the O.K. Corral; and Alfred Newman, whose work includes Wuthering Heights, All About Eve, and the famous fanfare that accompanies the 20th Century Fox logo. To launch Weekend Two, TŌN performs excerpts from these composers’ seminal scores in Program Seven, “Robin Hood and Beyond.”Sponsored by: Bard Music Festival.
For more information, call 845-758-7900, e-mail fishercenter@bard.edu, or visit https://fishercenter.bard.edu/events/bmf-2019-program-seven/.
Ryan Landry presents
A Night of Song
Featuring Charles Busch and more!
Friday, August 16, 2019
8:30 pm
Fisher Center, SpiegeltentRyan Landry, Provincetown’s infamous icon of revelry, holds court for the final weekend of Spiegeltent, starting with an evening of stories and songs from Tony Award–nominated performer and playwright Charles Busch. Rounding out the bill is returning Spiegeltent darlings Angela Di Carlo and Amber Martin, among others.
For more information, call 845-758-7900, e-mail boxoffice@bard.edu, or visit https://fishercenter.bard.edu/events/a-night-of-song/.
Panel Two: Out of Hollywood: Sound Film and the 20th Century
Saturday, August 17, 2019
10 am
Olin HallDaniel Goldmark, moderator; Julie Hubbert; Neil Lerner; Jeff Smith
This panel discussion includes a short Q&A. Sponsored by: Bard Music Festival.
For more information, call 845-758-7900, e-mail fishercenter@bard.edu, or visit https://fishercenter.bard.edu/events/bmf-2019-panel-two/.
Program Eight: Classics in Hollywood: Film Composers in the Concert Hall
Saturday, August 17, 2019
1:30 pm
Olin Hall1 pm Preconcert Talk: Byron Adams
1:30 pm Performance: Danny Driver, piano; Tyler Duncan, baritone; Jasper String Quartet and guest; Rebecca Ringle Kamarei, mezzo-soprano; Piers Lane, piano; Anna Polonsky, piano; Arnaud Sussmann, violin; Erika Switzer, piano; Orion Weiss, piano
Erich Wolfgang Korngold (1897–1957)
Piano Sonata No. 3 in C Major, Op. 25 (1931)
Four Shakespeare Songs, Op. 31 (1937–41)
Alexandre Tansman (1897–1986)
From 24 Intermezzi (1940–41)
George Antheil (1900–59)
Toccata No. 2 (1948)
Bernard Herrmann (1911–75)
From Souvenirs de voyage (1967)
Mario Castelnuovo-Tedesco (1895–1968)
Serenatella on the Name of Jascha Heifetz, Op. 170, No. 2 (1954)
Miklós Rózsa (1907–95)
String Quartet No. 1, Op. 22 (1950)
Songs by Richard Hageman (1881–1966)
Like other film composers who shared his classical background, Korngold continued to write concert music during his Hollywood years. Program Eight offers a sampling of some of their mid-century chamber works. These include selections for solo piano by Korngold, Alexandre Tansman, and George Antheil, and the Bartókian First String Quartet by Miklós Rózsa, better-known for Spellbound and Ben-Hur. Herrmann is represented by his final concert work, the clarinet quintet Souvenirs de Voyage, and Mario Castelnuovo-Tedesco by his rhapsodic Serenatella on the Name of Jascha Heifetz, written in tribute to the great violinist who helped him as a new arrival in Los Angeles. Rounding out the program are concert works by Richard Hageman, who combined careers in film and opera, and by Ernst Toch, known in Hollywood for scoring the chase scene in Shirley Temple’s Heidi but in the concert world for his Third Symphony, winner of the Pulitzer Prize.Sponsored by: Bard Music Festival.
For more information, call 845-758-7900, e-mail fishercenter@bard.edu, or visit https://fishercenter.bard.edu/events/bmf-2019-program-eight/.
Program Nine: Art after the Catastrophe
Saturday, August 17, 2019
8 pm
Fisher Center, Sosnoff Theater7 pm Preconcert Talk: Christopher H. Gibbs
8 pm Performance: Marjorie Owens, soprano; American Symphony Orchestra, conducted by Leon Botstein, music director
Erich Wolfgang Korngold (1897–1957)
Symphony in F-sharp, Op. 40 (1949–52)
Paul Hindemith (1895–1963)
Symphonia Serena (1946)
Richard Strauss (1864–1949)
Four Last Songs (1948)
Korngold did not write large-scale concert works during the war, but once peace was restored he composed the Symphony in F-sharp that opens this program. Dedicated to the memory of Franklin D. Roosevelt, in gratitude to the nation that gave his family refuge, Korngold’s sole symphony is one of the most demanding orchestral works in the repertoire, and only received its live concert premiere some 15 years after his death. Yet, as Bruno Walter wrote to Dimitri Mitropoulos in 1956, it is “an important work of original thematic substance, of a rare emotional power in a masterly symphonic form.” Other composers shared Korngold’s compulsion to write ambitious art music immediately after the war. Paul Hindemith combined wry humor with intensely chromatic counterpoint in his Symphonia Serena, while the Four Last Songs for soprano and orchestra crowned the creative flowering of Richard Strauss’s final years.Sponsored by: Bard Music Festival.
For more information, call 845-758-7900, e-mail fishercenter@bard.edu, or visit https://fishercenter.bard.edu/events/bmf-2019-program-nine/.
Program Ten: The American Musical on Stage and Screen
Sunday, August 18, 2019
10 am
Olin Hall10 am Performance with Commentary by Daniel Goldmark; with singers Joan Ellison and Chris Vettel and pianists Shane Schag and Chun-Wei Kang
Works by Erich Wolfgang Korngold (1897–1957); Jerome Kern (1885–1945); George Gershwin (1898–1937); Kurt Weill (1900–1950); Leonard Bernstein (1918–90); and others.
Korngold’s only movie musical was Give Us This Night, set to lyrics by Oscar Hammerstein II and featuring Metropolitan Opera mezzo-soprano Gladys Swarthout and Polish tenor Jan Kiepura, who had previously starred in European productions of the composer’s operas. Bard’s second performance with commentary, Program Ten combines excerpts from this seldom-heard score with selections by other great 20th-century masters of the movie musical and Broadway. These include Jerome Kern, whose many Hammerstein collaborations included Show Boat, and George Gershwin, whose contributions to musical comedy include Girl Crazy and Of Thee I Sing, the first example of the genre to win the Pulitzer Prize for Drama. The Threepenny Opera was the only one of Kurt Weill’s numerous theater works to be adapted for the cinema, whereas all three of Leonard Bernstein’s musicals –West Side Story, Wonderful Town, and On the Town – were successes on both stage and screen.Sponsored by: Bard Music Festival.
For more information, call 845-758-7900, e-mail fishercenter@bard.edu, or visit https://fishercenter.bard.edu/events/bmf-2019-program-ten/.
Program Eleven: Hollywood Babylon: No Escape
Sunday, August 18, 2019
1:30 pm
Olin Hall1 pm Preconcert Talk: Richard Wilson
1:30 pm Performance: Tyler Duncan, baritone; William Ferguson, tenor; Jasper String Quartet; Rebecca Ringle Kamarei, mezzo-soprano; So Young Park, soprano; Anna Polonsky, piano; Erika Switzer, piano; Orion Weiss, piano
Erich Wolfgang Korngold (1897–1957)
Narrenlieder, Op. 29 (1937)
String Quartet No. 3 in D Major, Op. 34 (1945)
Sonett für Wien, Op. 41 (1953)
From Die Kathrin, Op. 28 (1939)
Arnold Schoenberg (1874–1951)
Fantasy, Op. 47 (1949)
Ernst Toch (1887–1964)
From Profiles, Op. 68 (1948)
Hanns Eisler (1898–1962)
From Hollywood Songbook (1942)
Erich Zeisl (1905–59)
Komm süsser Tod (1938)
Program Eleven turns once again to Korngold’s frustrated attempts to re-establish himself as a composer of opera and concert music. The eventual postwar Viennese production of his final opera, Die Kathrin, was panned as anachronistic escapism. An excerpt from the work, which he dubbed his “folk opera,” will be heard alongside the Narrenlieder, his setting of the songs from Twelfth Night; the Third String Quartet, which he intended as a return to “serious” composition; and his final song, the posthumously published Sonett für Wien, which may be heard as his farewell to the city that no longer welcomed him. These share the program with concert music by Korngold’s fellow Hollywood exiles: Komm süsser Tod, an elegiac chorale setting by Erich Zeisl; excerpts from Ernst Toch’s improvisatory Profiles for piano; selections from the Hollywood Songbook, with which Hanns Eisler secured his reputation as one of the century’s great lieder writers; and the poignant yet rigorously serial Fantasy for violin and piano by Schoenberg, who was then teaching at UCLA and had become, musical differences notwithstanding, one of Korngold’s good friends.Sponsored by: Bard Music Festival.
For more information, call 845-758-7900, e-mail fishercenter@bard.edu, or visit https://fishercenter.bard.edu/events/bmf-2019-program-eleven/.
Program Twelve: Die tote Stadt
Sunday, August 18, 2019
5 pm
Fisher Center, Sosnoff Theater4 pm Preconcert Talk: Sherry Lee
5 pm Performance: Sara Jakubiak, soprano; Clay Hilley, tenor; Alexander Elliott, baritone; Deborah Nansteel, mezzo-soprano; Rebecca Ringle Kamarei, mezzo-soprano; So Young Park, soprano; Richard Troxell, tenor; William Ferguson, tenor; Bard Festival Chorale, James Bagwell, choral director; The Orchestra Now, conducted by Leon Botstein, music director; directed by Jordan Fein; set design by Stephan Moravski; lighting design by Mark Barton; costume design by Terese Wadden
Erich Wolfgang Korngold (1897–1957)
Die tote Stadt, Op. 12 (1920)
Based on a novel by Belgian Symbolist poet Georges Rodenbach, Die tote Stadt is a heady, haunting story of love and obsession. It is set in a surreal version of Bruges, where protagonist Paul is mourning the death of his saintly young wife, Marie. When he meets Marietta, a seductive dancer bearing an uncanny resemblance to Marie, Paul develops an unhealthy fixation with her, and finds himself torn between temptation and the memory of his wife. This internal struggle and the story’s eerie, hallucinatory setting inspired some of Korngold’s most intoxicating music. Highlighted by such beloved arias as “Mariettas Lied” and “Pierrots Tanzlied,” and suffusing the idioms of Mahler’s Vienna with the lyricism of Italian verismo, Die tote Stadt is “sumptuously lyrical, theatrically vivid and glitteringly orchestrated” (New York Times). Program 12 presents the Bard Festival Chorale, The Orchestra Now, and a strong cast of soloists in a semi-staged performance of the opera, drawing Bard’s probing and far-reaching festival to a ravishing close.Sponsored by: Bard Music Festival.
For more information, call 845-758-7900, e-mail fishercenter@bard.edu, or visit https://fishercenter.bard.edu/events/bmf-2019-program-twelve/.
2001: A Space Odyssey
Sunday, August 18, 2019
7 pm
Jim Ottaway Jr. Film Center2001: A Space Odyssey
(Stanley Kubrick, 1968, USA, 142 minutes)
Universally recognized as one of the greatest films ever made, Stanley Kubrick’s masterpiece features the most ambitious soundtrack of its era. It gave iconic significance not only to celebrated pieces like Johann Strauss’s The Blue Danube and Richard Strauss’s Thus Spoke Zarathustra, but also introduced the contemporary compositions of György Ligeti and Aram Khachaturian to a wide audience.Sponsored by: SummerScape Film.
For more information, call 845-758-6822, or visit http://fishercenter.bard.edu/events/2001-A-Space-Odyssey/ .
Smash the State: A Lecture and Discussion with Anna Anthropy
Thursday, August 22, 2019
11 am – 12:30 pm
Reem-Kayden Center Laszlo Z. Bito '60 AuditoriumOne of the most fundamental tropes of digital game design is state-tracking: The player picks up the Blue Key, so they are now able to open the Blue Door. This is endemic to games’ emphasis on Progress, of a colonialist mastery of the world and mastery of game systems. How does digital storytelling transform when you take away or limit the author’s ability to track state, as with a tool like Twine or Bitsy? What other models of stateless interactive literature exist? What does this all have to do with queerness and nonlinear time? Let’s dismantle the state as a tool for hegemonic game design. Anna Anthropy is a game designer, educator, and thirtysomething teen witch. She is the Game Designer in Residence at DePaul University and the author of Make Your Own Twine Games! and Make Your Own Scratch Games! She lives in Chicago with her familiar, a little black cat named Encyclopedia Frown.Sponsored by: Computer Science Program; Experimental Humanities Program.
For more information, call 845-758-6822, or e-mail ccape@bard.edu.
Reichel '65 Family Press Box Dedication
Sunday, August 25, 2019
1:45–2:30 pm
Lorenzo Ferrari Soccer ComplexSponsored by: Office of Development and Alumni/ae Affairs.
For more information, call 845-758-7360, or e-mail events@bard.edu.
Academic Orientation for Transfer Students
Tuesday, August 27, 2019 – Wednesday, August 28, 2019
Bard College CampusSponsored by: Registrar's Office.
For more information, call 845-758-6822.
Arrival Day, Check-in, and Financial Clearance for Transfer Students
Tuesday, August 27, 2019
Bard College CampusSponsored by: Registrar's Office.
For more information, call 845-758-6822.
Academic Orientation for Transfer Students
Tuesday, August 27, 2019 – Wednesday, August 28, 2019
Bard College CampusSponsored by: Registrar's Office.
For more information, call 845-758-6822.
Matriculation Days
Advising and Registration for New First-Year and Transfer Students
Thursday, August 29, 2019 – Friday, August 30, 2019
Bard College CampusSponsored by: Registrar's Office.
For more information, call 845-758-6822.
Matriculation Days
Advising and Registration for New First-Year and Transfer Students
Thursday, August 29, 2019 – Friday, August 30, 2019
Bard College CampusSponsored by: Registrar's Office.
For more information, call 845-758-6822.
Women’s Soccer Season Opener
Friday, August 30, 2019
5–7 pm
The women's soccer team opens the season with a game against Elmira College. Come out and cheer!Sponsored by: Department of Athletics and Recreation.For more information, call 845-752-4929, e-mail jsheahan@bard.edu, or visit https://www.bardathletics.com.
Arrival Day for All Returning Students
Check-in and Financial Clearance for All Returning Students
Saturday, August 31, 2019
Bard College CampusSponsored by: Registrar's Office.
For more information, call 845-758-6822.
Men's Soccer Season Opener
Saturday, August 31, 2019
1–3 pm
The men's soccer team opens the season with a game against Nazareth College. Come out and cheer!Sponsored by: Department of Athletics and Recreation.For more information, call 845-752-4929, e-mail jsheahan@bard.edu, or visit https://www.bardathletics.com.
James Mongan Solo Acoustic-Electric
“Modern pop for vintage tastes, Catskill style.”
Saturday, August 31, 2019
4–5 pm
Montgomery Place, MansionBrooklyn-born singer-songwriter James Mongan brings his well-crafted and refined collection of energetic, smart, and socially conscious pop-rock songs that will invigorate and inspire.
James Mongan and Star Children, “Modern pop for vintage tastes, Catskill style.”
Bring a picnic, lawn chair, or blanket and enjoy the show. Free admission.
For more information, call 845-758-7250, or e-mail mongan@bard.edu.
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Friday, August 23, 2019
- 12–6 pm CCS Exhibition: Leidy Churchman: Crocodile
- 12–6 pm CCS Exhibition: Nil Yalter: Exile Is a Hard Job
- 12–6 pm CCS Exhibition: Acting Out: Works from the Marieluise Hessel Collection
- Language and Thinking Program
- Montgomery Place Mansion Tours
- The Gilded Garden: Historic Ornament in the Landscape at Montgomery Place
Saturday, August 24, 2019
- 12–6 pm CCS Exhibition: Leidy Churchman: Crocodile
- 12–6 pm CCS Exhibition: Nil Yalter: Exile Is a Hard Job
- 12–6 pm CCS Exhibition: Acting Out: Works from the Marieluise Hessel Collection
- Language and Thinking Program
- Montgomery Place Mansion Tours
- The Gilded Garden: Historic Ornament in the Landscape at Montgomery Place
Sunday, August 25, 2019
- 10–11:15 am Outdoor Yoga at Montgomery Place
- 12–6 pm CCS Exhibition: Leidy Churchman: Crocodile
- 12–6 pm CCS Exhibition: Nil Yalter: Exile Is a Hard Job
- 12–6 pm CCS Exhibition: Acting Out: Works from the Marieluise Hessel Collection
- 1:45–2:30 pm Reichel '65 Family Press Box Dedication
- Language and Thinking Program
- Montgomery Place Mansion Tours
- The Gilded Garden: Historic Ornament in the Landscape at Montgomery Place
Monday, August 26, 2019
- 12–6 pm CCS Exhibition: Leidy Churchman: Crocodile
- 12–6 pm CCS Exhibition: Nil Yalter: Exile Is a Hard Job
- 12–6 pm CCS Exhibition: Acting Out: Works from the Marieluise Hessel Collection
- Language and Thinking Program
- Montgomery Place Mansion Tours
- The Gilded Garden: Historic Ornament in the Landscape at Montgomery Place
Tuesday, August 27, 2019
Wednesday, August 28, 2019
Thursday, August 29, 2019
- 12–6 pm CCS Exhibition: Leidy Churchman: Crocodile
- 12–6 pm CCS Exhibition: Nil Yalter: Exile Is a Hard Job
- 12–6 pm CCS Exhibition: Acting Out: Works from the Marieluise Hessel Collection
- Matriculation Days
Advising and Registration for New First-Year and Transfer Students - Montgomery Place Mansion Tours
- The Gilded Garden: Historic Ornament in the Landscape at Montgomery Place
Friday, August 30, 2019
- 12–6 pm CCS Exhibition: Leidy Churchman: Crocodile
- 12–6 pm CCS Exhibition: Nil Yalter: Exile Is a Hard Job
- 12–6 pm CCS Exhibition: Acting Out: Works from the Marieluise Hessel Collection
- 5–7 pm Women’s Soccer Season Opener
- Matriculation Days
Advising and Registration for New First-Year and Transfer Students - Montgomery Place Mansion Tours
- The Gilded Garden: Historic Ornament in the Landscape at Montgomery Place
Saturday, August 31, 2019
- 12–6 pm CCS Exhibition: Leidy Churchman: Crocodile
- 12–6 pm CCS Exhibition: Nil Yalter: Exile Is a Hard Job
- 12–6 pm CCS Exhibition: Acting Out: Works from the Marieluise Hessel Collection
- 1–3 pm Men's Soccer Season Opener
- 4–5 pm James Mongan Solo Acoustic-Electric
- Arrival Day for All Returning Students
Check-in and Financial Clearance for All Returning Students - Montgomery Place Mansion Tours
- The Gilded Garden: Historic Ornament in the Landscape at Montgomery Place