Orchestre Métropolitain de Montréal

Yannick Nézet-Séguin Artistic Director and Principal Conductor

Joyce DiDonato / Mezzo-Soprano

Wednesday Evening, November 20, 2019 at 7:30 pm Hill Auditorium Ann Arbor

23rd Performance of the 141st Annual Season 141st Annual Choral Union Series This evening’s performance is supported by the Menakka & Essel Bailey Endowment Fund for International Artistic Brilliance; Martha Krehbiel, in memory of Jeffrey Krehbiel; KLA; and Peter Toogood and Hannah Song. Media partnership provided by WRCJ 90.9 FM and WGTE 91.3 FM. Special thanks to Bill King, Matt Albert, Davin Torre, Alesia Johnson, Carol Fitzgerald, Gerald Vazquez, Flint School of Performing Arts, Scarlett Middle School, and the U-M School of Music, Theatre & Dance for their participation in events surrounding this evening’s performance. Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for this evening’s performance. Special thanks to Pamela Ruiter-Feenstra, visiting university carillonist, for coordinating this evening’s pre-concert music on the Charles Baird Carillon. Orchestre Métropolitain de Montréal and Ms. DiDonato appear by arrangement with Askonas Holt. In consideration of the artists and the audience, please refrain from the use of electronic devices during the performance. The photography, sound recording, or videotaping of this performance is prohibited. PROGRAM

Wolfgang Amadeus Mozart La Clemenza di Tito, K. 621 (excerpts)

Overture Aria: Parto, parto, ma tu ben mio Aria: Non più di fiori

Ms. DiDonato

Intermission

Anton Bruckner Symphony No. 4 in E-flat Major, WAB 104

Bewegt, nicht zu schnell (With motion, not too fast) Andante quasi allegretto Scherzo: Bewegt (With motion) Finale: Bewegt, doch nicht zu schnell (With motion, not too fast)

3 LA CLEMENZA DI TITO, K. 621 (EXCERPTS) (1791)

Wolfgang Amadeus Mozart Born January 27, 1756 in Salzburg Died December 5, 1791 in

UMS premieres: “Overture”: Prague Chamber Orchestra; October 1979 in Hill Auditorium. “Parto, parto”: Elena Nikolaidi and pianist Stuart Ross; March 1954 in Hill Auditorium. “Non più di fiori”: Ernestine Schumann-Heink with the Boston Festival Orchestra conducted by Emil Mollenhauer; May 1900 in University Hall.

Snapshots of History…In 1791: · The capital of the is named after President George Washington · St. Clair’s Defeat, the worst loss suffered by the United States Army in fighting against American Indians, takes place in what is now Mercer County, Ohio · Louis XVI of France accepts the final version of the completed constitution

Emperor Leopold II was crowned other commitments. Guardasoni then King of Bohemia in Prague on turned to Mozart, who composed September 6, 1791. A new was the key parts of the score in only a commissioned for the occasion, an few weeks while also working on Die opera seria — a “serious” opera, a Zauberflöte (The Magic Flute) and his very stylized form of 17th-century Requiem. Too often overshadowed Italian opera — that was to have a by The Magic Flute, La Clemenza di castrato in the lead role and music Tito contains some of Mozart’s most written by a distinguished composer. sublime passages. The libretto was La Clemenza di Tito The remarkably concise overture (The Clemency of Titus) by Pietro begins with a slow introduction whose Metastasio (1698–1782), which solemn character recalls that of The portrays an episode in the life of the Magic Flute. This is followed by a very Roman emperor Titus, who ruled vigorous first theme with ascending from 79 to 81 AD. Written half a and descending figures and a second century earlier, the book was edited sweeter and softer theme in which the and adapted by Caterino Mazzolà flute and oboe join voices in a delicate (1745–1806). duo. After a stormy development Impresario Domenico Guardasoni, section, the earlier elements return. the director of the Prague National The conclusion is as laconic as it is Opera, was placed in charge of the effective. production. He first approached Among the opera’s highlights are Antonio Salieri, who declined due to two concertante or obbligato arias that

4 feature a solo instrument given a role with a particularly suave tone and nearly as important as the voice’s. In an even lower range than a basset Sextus’s first-act aria “Parto, parto,” clarinet. The two arias are probably the instrument is a basset clarinet, the most beautiful moments in a clarinet with a wider range than La Clemenza di Tito. modern-day versions. The other aria, “Non più di fiori,” Program note by Claudio Ricignuolo; sung in the second act by the English translation by Craig character Vitellia, spotlights the Schweickert. basset horn, a kind of alto clarinet

TEXTS AND TRANSLATIONS

Parto, parto, ma tu ben mio (Text by Caterino Mazzolà, 1745–1806)

Parto, parto, ma tu, ben mio, I go, I go, but you, my love, meco ritorna in pace. look kindly upon me again. Sarò qual più ti piace, I shall be whatever pleases you, quel che vorrai farò. I shall do whatever you want.

Guardami e tutto oblio, Look at me, and, oblivious to all else, e a vendicarti io volo. I shall hasten to avenge you. A questo sguardo solo I shall think of nothing da me si penserà. but your glance. Ah qual poter, o Dei! Ah, what power you gave, o Gods, donaste alla beltà. to beauty!

5 Non più di fiori (Text by Caterino Mazzolà)

Non più di fiori, vaghe catene No longer let Hymen descend Discenda Imene ad intrecciar. to weave lovely garlands of flowers. Stretta fra barbare aspre ritorte Bound in cruel, severe chains, Veggo la morte ver me avanzar. I see death coming towards me.

Infelice! qual orrore! Woe is me! What horror! Ah, di me che si dirà? Ah, what will be said of me? Chi vedesse il mio dolore, Yet anyone who could see my grief Pur avria di me pietà. would have pity on me.

English translations by Charles Johnston (Chandos Records).

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6 SYMPHONY NO. 4 IN E-FLAT MAJOR, WAB 104, “ROMANTIC” (1874, REV. 1880–81)

Anton Bruckner Born September 4, 1824 in Ansfelden, Upper Austria Died October 11, 1896 in Vienna

UMS premiere: Los Angeles Philharmonic conducted by Zubin Mehta; November 1970 in Hill Auditorium.

Snapshots of History…In 1874: · Levi Strauss and Jacob Davis receive a US patent for blue jeans · annexes The Bronx · The Sholes and Glidden typewriter, with a QWERTY keyboard, is first marketed in the US

The philosopher Sir Isaiah Berlin programmatic in the strict sense (1909–97) entitled one of his most of the world, strove to convey the celebrated essays The Hedgehog composer’s spiritual world view. That and the Fox, taking his cue from the was quite an ambitious proposition, following ancient Greek fragment: and one that hardly had a precedent “The fox knows many things, but the in Western music. Beethoven’s Ninth hedgehog knows one big thing.” is often cited as Bruckner’s principal Berlin applied this distinction to the source of inspiration, but its tragedy- history of literature, positing that the to-joy program was much more “hedgehog” types “relate everything concrete and specific than Bruckner’s to a single central vision, one system transcendent mysticism. less or more coherent or articulate, The cornerstone of Bruckner’s life in terms of which they understand, was his strong, unwavering Catholic think, and feel.” Foxes, on the other faith, which determined the direction hand, “pursue many ends, often of his evolution as a composer. He unrelated and even contradictory… spent his formative years in the seizing upon the essence of a vast monastery of St. Florian in Upper variety of experiences and objects for Austria, a sumptuous architectural what they are in themselves.” Berlin complex that is one of the glories classified Dante, Plato, Dostoyevsky, of Austrian Baroque architecture. Nietzsche, and Proust as hedgehogs, It has often been suggested that and Shakespeare, Goethe, Balzac, and the grandiosity of St. Florian had a Joyce as foxes. direct impact on the development of There is no doubt that among Bruckner’s artistic outlook. But the composers, Anton Bruckner was the vast spaces in Bruckner’s musical quintessential hedgehog. His “one edifices are often filled out with big thing” was to write large-scale ornamental elements evoking the symphonies that, without being countryside around the monastery:

7 echoes of Austrian folk music and which contains a breathtaking final the works of (himself crescendo. At the end, the opening deeply influenced by folk music) mystical horn theme reappears as a account for more than a few building glorious fanfare. blocks in Bruckner’s expansive The mood of the second-movement cathedrals in sound. “Andante quasi Allegretto” was best To listen to a Bruckner symphony is characterized by Robert Simpson, in to experience the composer putting his influential bookThe Essence of those blocks on top of one another Bruckner, first published in 1967: “The until the building stands before us in ‘Andante’ has something of the veiled all its splendor. A master of gradual, funeral march about it, as if it were almost imperceptible changes, dreamt; sometimes we seem close to Bruckner moves slowly toward his it, even involved, sometimes we seem appointed goal, which makes the to see it from so great a distance triumph all the greater, once the goal that it appears almost to stand still.” has been reached. Michael Steinberg, in a program note Like many Bruckner symphonies, for the San Francisco Symphony, No. 4 begins with soft string tremolos added: “The sounds are articulate (very rapid note repeats) before and clearly defined; nevertheless, a theme emerges from the mist. we perceive the music as though But in this particular instance, the through a scrim.” Long-breathed theme, played softly by the solo horn, singing melodies, often featuring the proceeds much more directly than cellos and violas, are the “essence usual to the first entrance of the full of Bruckner” in this movement, orchestra. The gentle inequality of accompanied by a steady pulse. The the so-called “Bruckner rhythm” (in winds amplify the string melodies but which the first half of the measure do not actually come into their own is divided into two and the second until the final repeat of the themes, half into three) ensures continuity at which point the “veil” comes off and coherence through much of the and the melodies receive the “royal” movement, except during the graceful treatment from the entire orchestra. second theme, which represents the Then, a sudden diminuendo (decrease Schubertian/folk-like moment. in volume) brings back the mystery in The opening motif and the idea with a brief and subdued coda. the “Bruckner rhythm” have a built- The third movement is the in potential for massive crescendos celebrated “hunting” “Scherzo,” so leading to structural high points of called because of the vigorous horn great dramatic power. The folk-like calls that open it. (Even the hunters theme, by contrast, brings much- use the duple/triple combination needed relief. Together they provide of the “Bruckner rhythm!”) The the musical material of the entire brass clearly dominates this movement through an elaborate, movement which, like other Bruckner constantly modulating development scherzos, approaches sonata form section, a considerably tightened in the complexity of its thematic recapitulation, and a masterful coda development. (Bruckner may have

8 been inspired to expand scherzo form opted for a more circuitous route this way by the example of Schubert’s here. He allowed himself to voice “Great” C-Major symphony.) The what sometimes sound like doubts grandiosity of the scherzo contrasts or uncertainties, especially in one with the rustic simplicity of the trio, particular, strangely fragmented a Ländler in the best Schubertian slower section about two-thirds tradition (albeit with a few modulatory through the movement. Simpson, quirks à la Bruckner in the middle). otherwise a great admirer of Following tradition, the “Scherzo” is Bruckner’s, found that something was subsequently repeated in its entirety. “seriously wrong” here, even though Bruckner’s symphonic scheme he admitted at the same time that placed almost superhuman demands this was an “extraordinary passage.” on the finale: it had to serve as We may choose to see these summation and culmination, the moments of doubt as structural capstone to a magnificent symphonic weaknesses; or we may see them edifice. It had to surpass in import and as portrayals of a human weakness; complexity three earlier movements there may be bumps on the road to which were already quite substantial. salvation. In any event, though the No wonder the finale presented edifice does threaten to crumble at Bruckner with extremely difficult a certain point, Bruckner manages to problems; at the end of his life, he put the pieces back together so the was unable to write a finale to his glorious conclusion of the symphony Ninth Symphony which thus remained is not in jeopardy. At the very end, incomplete. the horn call that opened the first In the Fourth, Bruckner was still movement returns one final time to grappling with the finale problem remind us of the journey we have just that he was to solve so brilliantly in completed. the Fifth Symphony. The “Finale” The “bumpy road to salvation” in of the Fourth proceeds by fits and the last movement of the symphony starts as it retraces the symphonic seems to parallel the road Bruckner journey of the earlier movements, himself had to travel before the from the mysterious opening through work found its way to an audience. grandioso and rustico episodes to Many Bruckner symphonies exist in the concluding climax. Occasionally, multiple versions, an often-confusing the musical process nearly grinds to situation; but in no other instance a halt in what seem like temporary are the differences between the losses of momentum. But if we can extant versions greater than in the avoid the pitfall of superimposing our case of the Fourth. The first version own expectations on what Bruckner (1874), which was never performed chose to write, we may discover or published until 1875, is a vastly some deeper sense in what some different work from the one we are commentators have dismissed as hearing tonight. In the place of the flaws. In fact, instead of moving “hunting” scherzo, it contains an ahead slowly but inexorably toward entirely different movement. The slow a goal as he often did, Bruckner movement — and especially the finale

9 — though sharing the same basic The most obvious “Romantic” quality thematic material, were so thoroughly of the symphony is its prominent use reworked in 1880–81 as to be barely of the horns, an instrument evocative recognizable. The first movement is of the nature so dear to the hearts closest to the familiar version, but of the Romantics; other “Romantic” even there, one finds many changes, moments, such as the mysterious large and small. tremolos or the mighty crescendos It is in the version of 1881 that the are by no means peculiar to this work. work is most often performed today In the end, Robert Simpson may have (including this evening), but what been right to dismiss the nickname Bruckner himself heard performed as irrelevant. As he wrote: “the music during the last years of his life was an is so much more than this! …We had even later revision, dating from 1888 better forget the title of No. 4; it leads and published the following year. This us away from the music.” version amounts to a completely new orchestration of the symphony; the Program note by Peter Laki. notes themselves were not changed although a few cuts were made. This version has for many years been rejected as inauthentic because it was thought to have been prepared by Bruckner’s pupils Ferdinand Löwe and the brothers Franz and Joseph Schalk, without much input from the composer. (In recent years, it has found some champions again.) In all its versions, the Fourth Symphony bears the subtitle “Romantic.” The nickname, the only one ever attached to a Bruckner symphony (by the composer, no less*), has understandably invited a lot of speculation. Bruckner himself explained the title to his friends by alluding to medieval towns, knights, hunting scenes, and the like. He may well have been haunted by images of far away and long ago, all those times and places the Romantic poets used to long for; but he himself was hardly a Romantic in an emotional sense.

*Bruckner occasionally referred to his Fifth Symphony as his “Fantastic,” but that name was never used at a performance or on a printed score.

10 ARTISTS

Artistic director and principal conductor Maestro Nézet-Séguin records of the Orchestre Métropolitain (OM) since exclusively for the Deutsche Grammophon 2000, Yannick Nézet-Séguin became, in label while continuing his role in the September 2018, the third music director collaborative partnership between ATMA of the (MET), New Classique and the Orchestre Métropolitain. York; adding this to his music directorship His honors include “Artist of the Year” by of the Philadelphia Orchestra where the prestigious magazine Musical America, he has served since 2012. In 2016–17, a Royal Philharmonic Society Award (RPS, he joined Harnoncourt and Haitink London), Canada’s National Arts Centre to become the third-ever honorary Award (Ottawa), the Prix Denise-Pelletier member of the Chamber Orchestra of awarded by the Quebec government, the Europe. After his 10-year tenure with Medal of Honor of the National Assembly the Rotterdam Philharmonic Orchestra, of Quebec, and the Oskar Morawetz Award. he was named honorary conductor. Maestro Nézet-Séguin holds six He has worked regularly with many honorary doctorates (Université du Québec leading European ensembles and has à Montréal, 2011; Curtis Institute of Music, enjoyed many close collaborations with Philadelphia, 2014; Rider University, the Berliner Philharmoniker, the Wiener Princeton, 2015; McGill University, Philharmoniker, Sinfonieorchester des Montreal, 2017; Université de Montréal, Bayerischen Rundfunk, and Chamber 2017; University of Pennsylvania, 2018); Orchestra of Europe, as well as with and has been made a Companion of the the London Philharmonic Orchestra, of Order of Canada (2012), Companion of the which he was principal guest conductor Quebec Order for the Arts and Literature from 2008–14. His opera interpretations (2015), Officer of the National Order of have been acclaimed in many of the Quebec (2015), and Officer of the Ordre world’s most famous houses, such as de Montréal (2017). For more information, the Metropolitan Opera (New York), the please visit yannicknezetseguin.com. Salzburg Festival, La Scala (Milan), and the Royal Opera House (Covent Garden, Since its founding in 1981, the Orchestre London), as well as in such renowned Métropolitain de Montréal (OM) has had concert halls as the Musikverein (Vienna), but one mission: to share its passion for the Concertgebouw (Amsterdam), and symphonic music and make it accessible Carnegie Hall (New York) where, as to all. Building on its special relationship Perspectives Artist, he will present a nine- with audiences, the quality of its concerts, concert series this year. and its many recordings, the OM has In September 2019, on the cusp of made a place for itself, in the process his 20th season with the Orchestre becoming one of Quebec’s leading Métropolitain, Maestro Nézet-Séguin cultural ambassadors and acquiring an announced the renewal for life of enviable international reputation. At the his contract with the OM. This open- Orchestre’s helm for the last two decades, ended commitment is based on mutual artistic director and principal conductor trust. Yannick Nézet-Séguin has developed an exceptional rapport with his musicians. In

11 September 2019, the OM announced the Arbor, New York, and Philadelphia — with lifetime extension of his contract, a rare its conductor Yannick Nézet-Séguin and commitment for such a young conductor one of the world’s most acclaimed singers, and an orchestra not founded by him. mezzo-soprano Joyce DiDonato. In the fall Each year, the Orchestre Métropolitain of 2020, the Orchestre will celebrate the performs around 50 concerts that fill the start of its 40th season. Maison symphonique de Montréal with sound and resonate in a dozen of the Multi-Grammy Award-winner and 2018 city’s boroughs through the Conseil des Olivier Award-winner for “Outstanding arts de Montréal on Tour program. In the Achievement in Opera,” Kansas-born summer of 2019, more than 35,000 music Joyce DiDonato entrances audiences lovers attended the free outdoor concert across the globe, and has been proclaimed performed at the foot of Mount Royal, “perhaps the most potent female singer while more than double that number were of her generation” by the New Yorker. With welcomed during the OM’s entire summer a voice “nothing less than 24-carat gold” season. according to the Times, she has soared to The Orchestre also stands apart though the top of the industry both as a performer the vitality of its The OM for Schools and a fierce advocate for the arts, gaining and The OM for Young Talent programs. international prominence in by In addition, it works closely with other Handel and Mozart, as well as through her performing arts organizations, most wide-ranging, acclaimed discography. She notably as the Opéra de Montréal’s main is also widely acclaimed for the bel canto orchestra. roles of Rossini and Donizetti. The recipient of numerous national Much in demand on the concert awards, the Orchestre Métropolitain owes and recital circuit, she has recently its international reputation largely to the held residencies at Carnegie Hall and nearly 20 recordings it has made for the at London’s Barbican Centre, toured Canadian ATMA Classique label. Published extensively in the US, South America, in the spring of 2018 and showered with Europe, and Asia, and appeared as guest critical praise, its complete Bruckner soloist at the BBC’s Last Night of the symphony cycle is proof of the Orchestre’s Proms. Recent concert highlights include daring as well as its excellence. The OM’s the Chicago Symphony Orchestra under collaboration with the famous Deutsche Ricardo Muti, the Berlin Philharmonic Grammophon label began in 2017, first under Sir Simon Rattle, Orchestre with tenor Rolando Villazón and bass Ildar Révolutionnaire et Romantique under Abdrazakov on a disc titled Duets, then for Sir John Eliot Gardiner, the Philadelphia Verdi, a solo album with the latter artist. Orchestra under Yannick Nézet-Séguin, The OM is also the subject of Ensemble, and the Accademia Santa Cecilia a 2018 documentary film by Jean-Nicolas Orchestra and the National Youth Orhon that has been screened at many Orchestra USA under Sir Antonio Pappano. festivals. In opera, Ms. DiDonato’s recent roles In November 2019, encouraged by include Didon in Les Troyens at the Vienna the success of its highly lauded 2017 State Opera; Sesto in Cendrillon and European tour, the OM will embark on Adalgisa in Norma at the Metropolitan a tour of four US cities — Chicago, Ann Opera; Agrippina in concert with Il Pomo

12 d’Oro under Maxim Emelyanchev; Sister Favorite Things. Other highlights include Helen in Dead Man Walking at the Teatro a tour with the Orchestre Métropolitain Real Madrid and London’s Barbican under Nézet-Séguin; touring her latest Centre; Semiramide at the Bavarian album release Songplay in Europe, and State Opera and Royal Opera House, and recorded concerts of Berlioz’s Roméo Charlotte in Werther at the Royal Opera. & Juliette with John Nelson and the The current season sees her staged Orchestre Philharmonique de Strasbourg. debut as Agrippina in a new production An exclusive recording artist with Erato/ at the Royal Opera House, returns to the Warner Classics, her award-winning Metropolitan Opera as Agrippina and discography includes Les Troyens which Charlotte in Werther, and performances in 2018 won the Recording (Complete as Semiramide at the Liceu Barcelona. Opera) category at the International She is a Carnegie Hall Perspectives Artist Opera Awards, the Opera Award at with appearances alongside the Chicago the BBC Music Magazine Awards, and Symphony Orchestra under Riccardo Gramophone’s “Recording of the Year.” Muti, with Yannick Nézet-Séguin in recital An extensive recording artist, other performing Schubert’s Winterreise, a Joyce recent albums include Songplay, In War & & Friends chamber music concert joined Peace (which won the 2017 Gramophone by the Brentano Quartet and pianist Byran “Best Recital” award), Stella di Napoli, Wagorn, a baroque-inspired program My her Grammy Award-winning Diva Divo, Favorite Things with Il Pomo d’Oro, as well and Drama Queens. Other honors include as live-streamed master classes. Also with the Gramophone “Artist of the Year” and Il Pomo d’Oro, the season holds the final “Recital of the Year” awards, and an tour of her album In War & Peace to South induction into the Gramophone Hall of America, culminating in Washington, DC, Fame. as well as a European and US tour of My

UMS ARCHIVES

Tonight’s concert marks the Orchestre Métropolitain de Montréal’s UMS debut. Yannick Nézet-Séguin makes his fourth UMS appearance tonight following his UMS debut in February 2015 conducting the Rotterdam Philharmonic in Hill Auditorium. Tonight’s performance marks Joyce DiDonato’s third appearance under UMS auspices, following her UMS debut in April 2017 with the English Concert and Harry Bicket in an opera-in-concert performance of Handel’s Ariodante in Hill Auditorium. Ms. DiDonato and Maestro Nézet-Séguin most recently appeared under UMS auspices together in December 2018 in a performance of Schubert’s Winterreise in Hill Auditorium.

13

ORCHESTRE MÉTROPOLITAIN DE MONTRÉAL

Yannick Nézet-Séguin / Artistic Director and Principal Conductor

First Violins Christine Giguère Yukari Cousineau / Concertmaster Sheila Hannigan Marcelle Mallette / Associate Veronika Ronkos Concertmaster Johanne Morin / Assistant Concertmaster Basses Alain Giguère / Second Assistant René Gosselin / Principal Concertmaster Marc Denis / Associate Monica Duschênes Principal Carolyn Klause Réal Montminy Alexander Lozowski Gilbert Fleury Florence Mallette Yannick Chênevert Linda Poirier Catherine Lefebvre Ryan Truby Ariane Bresse Flutes Mary-Elizabeth Brown Marie-Andrée Benny / Principal Chloé Chabanole Jocelyne Roy Caroline Chéhadé Julien Oberson Oboes Lise Beauchamp / Principal Second Violins Marjorie Tremblay Lyne Allard / Principal Dominic Guilbault / Associate Clarinets Principal Simon Aldrich / Principal Lucie Ménard / Assistant Principal François Martel Lizann Gervais Sylvie Harvey Monique Lagacé Bassoons Claudio Ricignuolo Michel Bettez / Principal Céline Arcand Gabrièle Dostie-Poirier Marie-Claire Cousineau Helga Dathe French Horns Daniel Godin Louis-Philippe Marsolais / Principal Myriam Pelletier Simon Bourget Pierre Savoie Violas Jean Paquin Brian Bacon / Principal Jocelyn Veilleux / Assistant Principal Elvira Misbakhova / Associate Principal Trumpets Pierre Tourville / Assistant Principal Stéphane Beaulac / Principal Gérald Daigle Lise Bouchard Julie Dupras Benjamin Raymond Pierre Lupien Élisa Boudreau Trombones Suzanne Careau Patrice Richer / Principal Jean René Michael Wilson François Vallières Trevor Dix / Principal Bass Trombone

Cellos Tuba Christopher Best / Principal Alain Cazes / Principal Caroline Milot / Associate Principal Thérèse Ryan / Assistant Principal Timpani Louise Trudel Julien Bélanger / Principal Vincent Bergeron Iona Corber

15 THANK YOU TO SUPPORTERS OF TONIGHT’S PERFORMANCE

Exclusive Presenting Sponsor of Maestro Yannick Nézet-Séguin The Menakka & Essel Bailey Endowment Fund for International Artistic Brilliance

Presenting Sponsors Martha Krehbiel, in memory of Jeffrey Krehbiel KLA

Supporting Sponsors Peter Toogood and Hannah Song

MAY WE ALSO RECOMMEND...

1/10 & 1/12 What’s in a Song: ’s Complete Mörike Songs 1/25 Minnesota Orchestra 2/20 Budapest Festival Orchestra

Tickets available at www.ums.org.

ON THE EDUCATION HORIZON...

11/22 Post-Performance Artist Q&A: Stew & The Negro Problem (Lydia Mendelssohn Theatre) Must have a ticket to that evening’s performance to attend. 12/1 Keeping it Jazzy: A Family Holiday Jazz Experience (Hill Auditorium Mezzanine Lobby, 2:00 pm) Must have a ticket to the Jazz at Lincoln Center performance to attend. 12/7 Handel’s Messiah Pre-Performance Talk: Fortunate the Eyes That See and the Ears That Hear (Michigan League, 911 N. University Avenue, 6:00 pm)

Educational events are free and open to the public unless otherwise noted.