Chapter Seventeen: 1999–2000 295
Mandinka Epic,” a spectacle of music, song, and dance from the heart of West
Africa, came to the University in February. The last performance in the series was
the female a cappella ensemble Anonymous 4, who focused on music from the
11th century.
Music researcher Elizabeth Jordan presented “The Holocaust: Musicians and
Choices” on September 9. Her lecture focused on the Third Reich’s effect on music
and musicians. It specifically examined songs that were composed in concentration
camps and ghettos, and other songs that had psychological importance among pris-
oners and survivors. In April, playwright Claudia Stevens performed a one-woman
musical drama, “An Evening with Madame F,” a mixture of music, song, and drama,
to depict the experience of Fania Fenelon, an Auschwitz inmate forced to provide
musical entertainment to the Nazis.
In October, mezzo-soprano Grace Johnson and classical guitarist Michael
Nicolella gave separate performances in Brendle Recital Hall, and the Wake
Forest Concert Choir premiered “Shepherds Rejoice,” two Christmas anthems by ­
composer-in-residence Dan Locklair.
The Scales Fine Arts Gallery displayed “New Acquisitions to the Wake Forest
University Print Collection” on March 13–29. A slide lecture by one of the artists,
Warrington Colescott, was held on March 17. (Every four years, starting in the mid-
1960s, the University sponsored an art-buying trip to New York City, where selected
students used University money to buy original art works that were then brought
back to campus and usually displayed in campus buildings. The new acquisitions
were usually first displayed as a group such as the one mentioned at the opening of
this paragraph.)
The production of H.M.S. Pinafore was very popular
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