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 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 This evening’s performance is supported by the Menakka & Essel Bailey Endowment Fund for Scherzo: Bewegt (With motion) International Artistic Brilliance; Martha Krehbiel, in memory of Jeffrey Krehbiel; KLA; and Peter Toogood Finale: Bewegt, doch nicht zu schnell (With motion, not too fast) 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.

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

Wolfgang Amadeus Mozart feature a solo instrument given a role with a particularly suave tone and Born January 27, 1756 in Salzburg nearly as important as the voice’s. In an even lower range than a basset Died December 5, 1791 in Sextus’s first-act aria “Parto, parto,” clarinet. The two arias are probably the instrument is a basset clarinet, the most beautiful moments in UMS premieres: a clarinet with a wider range than La Clemenza di Tito. “Overture”: Prague Chamber Orchestra; October 1979 in Hill Auditorium. modern-day versions. “Parto, Parto”: Elena Nikolaidi and pianist Stuart Ross; March 1954 in Hill The other aria, “Non più di fiori,” Program note by Claudio Ricignuolo; Auditorium. sung in the second act by the English translation by Craig “Non più di fiori”: Ernestine Schumann-Heink with the Boston Festival character Vitellia, spotlights the Schweickert. Orchestra conducted by Emil Mollenhauer; May 1900 in University Hall. basset horn, a kind of alto clarinet

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 TEXTS AND TRANSLATIONS 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 Parto, Parto, ma tu ben mio commissioned for the occasion, an few weeks while also working on Die (Text by Caterino Mazzolà, 1745–1806) opera seria — a “serious” opera, a Zauberflöte (The Magic Flute) and his very stylized form of 17th-century Requiem. Too often overshadowed Parto, parto, ma tu, ben mio, I go, I go, but you, my love, Italian opera — that was to have a by The Magic Flute, La Clemenza di meco ritorna in pace. look kindly upon me again. castrato in the lead role and music Tito contains some of Mozart’s most Sarò qual più ti piace, I shall be whatever pleases you, written by a distinguished composer. sublime passages. quel che vorrai farò. I shall do whatever you want. The libretto was La Clemenza di Tito The remarkably concise overture (The Clemency of Titus) by Pietro begins with a slow introduction whose Guardami e tutto oblio, Look at me, and, oblivious to all else, Metastasio (1698–1782), which solemn character recalls that of The e a vendicarti io volo. I shall hasten to avenge you. portrays an episode in the life of the Magic Flute. This is followed by a very A questo sguardo solo I shall think of nothing Roman emperor Titus, who ruled vigorous first theme with ascending da me si penserà. but your glance. from 79 to 81 AD. Written half a and descending figures and a second Ah qual poter, o Dei! Ah, what power you gave, o Gods, century earlier, the book was edited sweeter and softer theme in which the donaste alla beltà. to beauty! 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 5 Non più di fiori SYMPHONY NO. 4 IN E-FLAT MAJOR, WAB 104, “ROMANTIC” (Text by Caterino Mazzolà) (1874, REV. 1880–81)

Non più di fiori, vaghe catene No longer let Hymen descend Anton Bruckner Discenda Imene ad intrecciar. to weave lovely garlands of flowers. Born September 4, 1824 in Ansfelden, Upper Austria Stretta fra barbare aspre ritorte Bound in cruel, severe chains, Died October 11, 1896 in Vienna Veggo la morte ver me avanzar. I see death coming towards me. UMS premiere: Los Angeles Philharmonic conducted by Zubin Mehta; Infelice! qual orrore! Woe is me! What horror! November 1970 in Hill Auditorium. 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 Snapshots of History…In 1874: Pur avria di me pietà. would have pity on me. · 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 English translations by Charles Johnston (Chandos Records). 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 Optimism “hedgehog” types “relate everything concrete and specific than Bruckner’s to a single central vision, one system transcendent mysticism. Silicon Valley Career, less or more coherent or articulate, The cornerstone of Bruckner’s life in terms of which they understand, was his strong, unwavering Catholic Great Lakes Style 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 KLA is hiring and Shakespeare, Goethe, Balzac, and the grandiosity of St. Florian had a Joyce as foxes. direct impact on the development of in Ann Arbor! There is no doubt that among Bruckner’s artistic outlook. But the composers, Anton Bruckner was the vast spaces in Bruckner’s musical KLA.com/Michigan 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:

6 7 echoes of Austrian folk music and which contains a breathtaking final been inspired to expand scherzo form opted for a more circuitous route the works of (himself crescendo. At the end, the opening this way by the example of Schubert’s here. He allowed himself to voice deeply influenced by folk music) mystical horn theme reappears as a “Great” C-Major symphony.) The what sometimes sound like doubts account for more than a few building glorious fanfare. grandiosity of the scherzo contrasts or uncertainties, especially in one blocks in Bruckner’s expansive The mood of the second-movement with the rustic simplicity of the trio, particular, strangely fragmented cathedrals in sound. “Andante quasi Allegretto” was best a Ländler in the best Schubertian slower section about two-thirds To listen to a Bruckner symphony is characterized by Robert Simpson, in tradition (albeit with a few modulatory through the movement. Simpson, to experience the composer putting his influential bookThe Essence of quirks à la Bruckner in the middle). otherwise a great admirer of those blocks on top of one another Bruckner, first published in 1967: “The Following tradition, the “Scherzo” is Bruckner’s, found that something was until the building stands before us in ‘Andante’ has something of the veiled subsequently repeated in its entirety. “seriously wrong” here, even though all its splendor. A master of gradual, funeral march about it, as if it were Bruckner’s symphonic scheme he admitted at the same time that almost imperceptible changes, dreamt; sometimes we seem close to placed almost superhuman demands this was an “extraordinary passage.” Bruckner moves slowly toward his it, even involved, sometimes we seem on the finale: it had to serve as We may choose to see these appointed goal, which makes the to see it from so great a distance summation and culmination, the moments of doubt as structural triumph all the greater, once the goal that it appears almost to stand still.” capstone to a magnificent symphonic weaknesses; or we may see them has been reached. Michael Steinberg, in a program note edifice. It had to surpass in import and as portrayals of a human weakness; Like many Bruckner symphonies, for the San Francisco Symphony, complexity three earlier movements there may be bumps on the road to No. 4 begins with soft string tremolos added: “The sounds are articulate which were already quite substantial. salvation. In any event, though the (very rapid note repeats) before and clearly defined; nevertheless, No wonder the finale presented edifice does threaten to crumble at a theme emerges from the mist. we perceive the music as though Bruckner with extremely difficult a certain point, Bruckner manages to But in this particular instance, the through a scrim.” Long-breathed problems; at the end of his life, he put the pieces back together so the theme, played softly by the solo horn, singing melodies, often featuring the was unable to write a finale to his glorious conclusion of the symphony proceeds much more directly than cellos and violas, are the “essence Ninth Symphony which thus remained is not in jeopardy. At the very end, usual to the first entrance of the full of Bruckner” in this movement, incomplete. the horn call that opened the first orchestra. The gentle inequality of accompanied by a steady pulse. The In the Fourth, Bruckner was still movement returns one final time to the so-called “Bruckner rhythm” (in winds amplify the string melodies but grappling with the finale problem remind us of the journey we have just which the first half of the measure do not actually come into their own that he was to solve so brilliantly in completed. is divided into two and the second until the final repeat of the themes, the Fifth Symphony. The “Finale” The “bumpy road to salvation” in half into three) ensures continuity at which point the “veil” comes off of the Fourth proceeds by fits and the last movement of the symphony and coherence through much of the and the melodies receive the “royal” starts as it retraces the symphonic seems to parallel the road Bruckner movement, except during the graceful treatment from the entire orchestra. journey of the earlier movements, himself had to travel before the second theme, which represents the Then, a sudden diminuendo (decrease from the mysterious opening through work found its way to an audience. Schubertian/folk-like moment. in volume) brings back the mystery in grandioso and rustico episodes to Many Bruckner symphonies exist in The opening motif and the idea with a brief and subdued coda. the concluding climax. Occasionally, multiple versions, an often-confusing the “Bruckner rhythm” have a built- The third movement is the the musical process nearly grinds to situation; but in no other instance in potential for massive crescendos celebrated “hunting” “Scherzo,” so a halt in what seem like temporary are the differences between the leading to structural high points of called because of the vigorous horn losses of momentum. But if we can extant versions greater than in the great dramatic power. The folk-like calls that open it. (Even the hunters avoid the pitfall of superimposing our case of the Fourth. The first version theme, by contrast, brings much- use the duple/triple combination own expectations on what Bruckner (1874), which was never performed needed relief. Together they provide of the “Bruckner rhythm!”) The chose to write, we may discover or published until 1875, is a vastly the musical material of the entire brass clearly dominates this some deeper sense in what some different work from the one we are movement through an elaborate, movement which, like other Bruckner commentators have dismissed as hearing tonight. In the place of the constantly modulating development scherzos, approaches sonata form flaws. In fact, instead of moving “hunting” scherzo, it contains an section, a considerably tightened in the complexity of its thematic ahead slowly but inexorably toward entirely different movement. The slow recapitulation, and a masterful coda development. (Bruckner may have a goal as he often did, Bruckner movement — and especially the finale

8 9 — though sharing the same basic The most obvious “Romantic” quality ARTISTS 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 Artistic director and principal conductor Maestro Nézet-Séguin records recognizable. The first movement is of the nature so dear to the hearts of the Orchestre Métropolitain (OM) since exclusively for the Deutsche Grammophon closest to the familiar version, but of the Romantics; other “Romantic” 2000, Yannick Nézet-Séguin became, in label while continuing his role in the even there, one finds many changes, moments, such as the mysterious September 2018, the third music director collaborative partnership between ATMA large and small. tremolos or the mighty crescendos of the (MET), New Classique and the Orchestre Métropolitain. It is in the version of 1881 that the are by no means peculiar to this work. York; adding this to his music directorship His honors include “Artist of the Year” by work is most often performed today In the end, Robert Simpson may have of the Philadelphia Orchestra where the prestigious magazine Musical America, (including this evening), but what been right to dismiss the nickname he has served since 2012. In 2016–17, a Royal Philharmonic Society Award (RPS, Bruckner himself heard performed as irrelevant. As he wrote: “the music he joined Harnoncourt and Haitink London), Canada’s National Arts Centre during the last years of his life was an is so much more than this! …We had to become the third-ever honorary Award (Ottawa), the Prix Denise-Pelletier even later revision, dating from 1888 better forget the title of No. 4; it leads member of the Chamber Orchestra of awarded by the Quebec government, the and published the following year. This us away from the music.” Europe. After his 10-year tenure with Medal of Honor of the National Assembly version amounts to a completely new the Rotterdam Philharmonic Orchestra, of Quebec, and the Oskar Morawetz Award. orchestration of the symphony; the Program note by Peter Laki. he was named honorary conductor. Maestro Nézet-Séguin holds six notes themselves were not changed He has worked regularly with many honorary doctorates (Université du Québec although a few cuts were made. This leading European ensembles and has à Montréal, 2011; Curtis Institute of Music, version has for many years been enjoyed many close collaborations with Philadelphia, 2014; Rider University, rejected as inauthentic because it the Berliner Philharmoniker, the Wiener Princeton, 2015; McGill University, was thought to have been prepared Philharmoniker, Sinfonieorchester des Montreal, 2017; Université de Montréal, by Bruckner’s pupils Ferdinand Löwe Bayerischen Rundfunk, and Chamber 2017; University of Pennsylvania, 2018); and the brothers Franz and Joseph Orchestra of Europe, as well as with and has been made a Companion of the Schalk, without much input from the the London Philharmonic Orchestra, of Order of Canada (2012), Companion of the composer. (In recent years, it has which he was principal guest conductor Quebec Order for the Arts and Literature found some champions again.) from 2008–14. His opera interpretations (2015), Officer of the National Order of In all its versions, the Fourth have been acclaimed in many of the Quebec (2015), and Officer of the Ordre Symphony bears the subtitle world’s most famous houses, such as de Montréal (2017). For more information, “Romantic.” The nickname, the only the Metropolitan Opera (New York), the please visit yannicknezetseguin.com. one ever attached to a Bruckner Salzburg Festival, La Scala (Milan), and symphony (by the composer, no the Royal Opera House (Covent Garden, Since its founding in 1981, the Orchestre less*), has understandably invited a London), as well as in such renowned Métropolitain de Montréal (OM) has had lot of speculation. Bruckner himself concert halls as the Musikverein (Vienna), but one mission: to share its passion for explained the title to his friends by the Concertgebouw (Amsterdam), and symphonic music and make it accessible alluding to medieval towns, knights, Carnegie Hall (New York) where, as to all. Building on its special relationship hunting scenes, and the like. He may Perspectives Artist, he will present a nine- with audiences, the quality of its concerts, well have been haunted by images of concert series this year. and its many recordings, the OM has far away and long ago, all those times In September 2019, on the cusp of made a place for itself, in the process and places the Romantic poets used his 20th season with the Orchestre becoming one of Quebec’s leading to long for; but he himself was hardly Métropolitain, Maestro Nézet-Séguin cultural ambassadors and acquiring an a Romantic in an emotional sense. 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

*Bruckner occasionally referred to his Fifth Symphony as his “Fantastic,” but that name was never trust. Yannick Nézet-Séguin has developed an used at a performance or on a printed score. exceptional rapport with his musicians. In

10 11 September 2019, the OM announced the Arbor, New York, and Philadelphia — with d’Oro under Maxim Emelyanchev; Sister Favorite Things. Other highlights include lifetime extension of his contract, a rare its conductor Yannick Nézet-Séguin and Helen in Dead Man Walking at the Teatro a tour with the Orchestre Métropolitain commitment for such a young conductor one of the world’s most acclaimed singers, Real Madrid and London’s Barbican under Nézet-Séguin; touring her latest and an orchestra not founded by him. mezzo-soprano Joyce DiDonato. In the fall Centre; Semiramide at the Bavarian album release Songplay in Europe, and Each year, the Orchestre Métropolitain of 2020, the Orchestre will celebrate the State Opera and Royal Opera House, and recorded concerts of Berlioz’s Roméo performs around 50 concerts that fill the start of its 40th season. Charlotte in Werther at the Royal Opera. & Juliette with John Nelson and the Maison symphonique de Montréal with The current season sees her staged Orchestre Philharmonique de Strasbourg. sound and resonate in a dozen of the Multi-Grammy Award-winner and 2018 debut as Agrippina in a new production An exclusive recording artist with Erato/ city’s boroughs through the Conseil des Olivier Award-winner for “Outstanding at the Royal Opera House, returns to the Warner Classics, her award-winning arts de Montréal on Tour program. In the Achievement in Opera,” Kansas-born Metropolitan Opera as Agrippina and discography includes Les Troyens which summer of 2019, more than 35,000 music Joyce DiDonato entrances audiences Charlotte in Werther, and performances in 2018 won the Recording (Complete lovers attended the free outdoor concert across the globe, and has been proclaimed as Semiramide at the Liceu Barcelona. Opera) category at the International performed at the foot of Mount Royal, “perhaps the most potent female singer She is a Carnegie Hall Perspectives Artist Opera Awards, the Opera Award at while more than double that number were of her generation” by the New Yorker. With with appearances alongside the Chicago the BBC Music Magazine Awards, and welcomed during the OM’s entire summer a voice “nothing less than 24-carat gold” Symphony Orchestra under Riccardo Gramophone’s “Recording of the Year.” season. according to the Times, she has soared to Muti, with Yannick Nézet-Séguin in recital An extensive recording artist, other The Orchestre also stands apart though the top of the industry both as a performer performing Schubert’s Winterreise, a Joyce recent albums include Songplay, In War & the vitality of its The OM for Schools and a fierce advocate for the arts, gaining & Friends chamber music concert joined Peace (which won the 2017 Gramophone and The OM for Young Talent programs. international prominence in by by the Brentano Quartet and pianist Byran “Best Recital” award), Stella di Napoli, In addition, it works closely with other Handel and Mozart, as well as through her Wagorn, a baroque-inspired program My her Grammy Award-winning Diva Divo, performing arts organizations, most wide-ranging, acclaimed discography. She Favorite Things with Il Pomo d’Oro, as well and Drama Queens. Other honors include notably as the Opéra de Montréal’s main is also widely acclaimed for the bel canto as live-streamed master classes. Also with the Gramophone “Artist of the Year” and orchestra. roles of Rossini and Donizetti. Il Pomo d’Oro, the season holds the final “Recital of the Year” awards, and an The recipient of numerous national Much in demand on the concert tour of her album In War & Peace to South induction into the Gramophone Hall of awards, the Orchestre Métropolitain owes and recital circuit, she has recently America, culminating in Washington, DC, Fame. its international reputation largely to the held residencies at Carnegie Hall and as well as a European and US tour of My 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 UMS ARCHIVES 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, Tonight’s concert marks the Orchestre Métropolitain de Montréal’s UMS debut. The OM is also the subject of Ensemble, and the Accademia Santa Cecilia Yannick Nézet-Séguin makes his fourth UMS appearance tonight following his a 2018 documentary film by Jean-Nicolas Orchestra and the National Youth UMS debut in February 2015 conducting the Rotterdam Philharmonic in Hill Orhon that has been screened at many Orchestra USA under Sir Antonio Pappano. Auditorium. Tonight’s performance marks Joyce DiDonato’s third appearance festivals. In opera, Ms. DiDonato’s recent roles under UMS auspices, following her UMS debut in April 2017 with the English In November 2019, encouraged by include Didon in Les Troyens at the Vienna Concert and Harry Bicket in an opera-in-concert performance of Handel’s the success of its highly lauded 2017 State Opera; Sesto in Cendrillon and Ariodante in Hill Auditorium. Ms. DiDonato and Maestro Nézet-Séguin most European tour, the OM will embark on Adalgisa in Norma at the Metropolitan recently appeared under UMS auspices together in December 2018 in a a tour of four US cities — Chicago, Ann Opera; Agrippina in concert with Il Pomo performance of Schubert’s Winterreise in Hill Auditorium.

12 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

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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.