HILL AUD ITOR IU M I 100 YEARS
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UMS PROGRAM BOOK W INTER 20ll I UNI VER SITY O F M I CHI GAN, A NN AR B O R A high quality of life is critical to attract talent, entrepreneurs and business growth.
We're partnering with communities to create the kind of places where workers, entrepreneurs, and businesses want to locate, invest and expand.
Find your sense of place in Pure Michigan.
PUR~ICHIGAN · Michill. Economic Oenlopment Corporation driving a brighter future
Ford M Ol or C omp a n y ~
For opening minds and engaging the co mmunity, Ford salutes the Uni versity Musical Society Edu cation and Co mmunity Engagem ent Program .
www.comml.lnity.ford.com WELCOME.
" Welcome to this UMS performance. Since 1879, the people of southeast Michigan, includinl our students, faculty, and staff, have experienced remar1table moments through UMS's presentations 01 the world's fin est perlormers of music, theater, and dance. This season. we are proud to celebrate 100 years of UMS presentations in Hill Auditorium, a historic and prized venue on our campus. Enjoy the performance." 11\.., k.... dt., • Mary Sue Coleman President, University of MicJtigan
" With ellceptional performances, the centenary of Hill Auditorium. and an amazing array 01 events that w e hope will transfOfm, elevate, and transcend. this 134th season of UMS is something truly sp ecial. Thank you for bein. present," Jf~ Kenneth C. Fischer UMS President
~ l ' m deUented to welcome you to this UMS performance as chair of the UMS Board of Directors. We thank you for being here and encoura(eyou to get even more involved with UMS throuah participation in our educational opportunities, by maleinc a elft, or by adding more UMS events to your calendar. Thank you." {Ld:~ i-id J. H'flg Chair, UMS Board of Directors Honigman is pleased to support VMS. We believe the arts bring vibrancy, growth, and culture to our community. HOnigman is a premier business law firm, working in perfect harmony with our communities and our clients in Ann Arbor and throughout the world.
For more information, please contact David Parsigian at 734.418.4250 or [email protected].
F(:I"Jl2n(\o Alberdi TomFon= T..... Mahoney Jennifer Anderson Car] Herstcin CyM_ Christopher BalWd Richard Hneg Leonard Niehoff Mourice Binlww Ann Hollenbeck David Portigian Cindy Bott J. Michael Hugel "'"S'"""" Audrey DiMarzo ...... "'" BillWin,ten Sean Etheridge Kristopher Korwn
HONIGMAN. Honigman Miller Schwam ond C<>bn LLP
DETROIT ANN ARBOR LANSING OAKLAND COUNTY KALAMAZOO CONNECTING AUDIENCES & ARTISTS IN UNCOMMON & ENGAGING EXPERIENCES. We want you to use this guide as a resource. Dig deeper. Get to know the artists. Figure out how it all comes together. We believe that the performing arts are extraordinary on their own, but we encourage you to explore, gain perspective, and understand the depth behind the experience. This book is designed to help you learn more about UMS, the community, and the artists on stage.
6 2013 WINTER SEASON CALENDAR BE PRESENT. 8 EDUCATION 10 HISTORY
LEADERSHIP. 14 UMS LEADERSHIP DONORS
25 THE EXPERIENCE ~ THE EVENT PROGRAM . THE PERFORMANCES I'"
SUPPORT. 31 GENEROUS UMS DONORS
51 HOW DO I BUY TICKETS' GENERAL INFO. 53 POLICIES 55 GETTING INVOLVED 2013 WINTER SEASON CALENDAR.
z 8-13 National Theatre o f Scotland: Th Q StrangQ Undoing of PrudQnda Hart 13 Detroit Symphony Orchestra - Leonard Slatkin. conduct or " 17- 18 Gabriel Kahane & yMusic 21 From Cess Corridor to thQ WOrld: A Tribuhl to DQtroit's Musical GoldQnAgQ 25-26 Martha Graham Dance Company 27 Mariachi Va rgas de Tecalitl
13 Arlemls Quartet 14 Anne-Sophie Mutter. violin 16 Yo-Yo Ma and The Silk Road Ensemble (Ford Honors Program) 23 Hamid AI-Saadllraql Maqam Ensemble and Amir EISaffar's Two Rivers
4 Oarius Mllhaud·s Oresleian Trilggy University Symphony Or<:he!itra UMS Choral Union & U-M School of Music. Theatre & Dance Choral Ensembles Kenneth Ki esle r. conductor 6 Esperanza Spalding Radio Music Sodety 10-14 1927: The Anlmols ond Children Took 10 Ihe Streets 12 Takacs Quartet 18 Bobby McFerrin: splrll you 011 20 Alison Balsom. trumpet. and the Scottish Ensemble 23 National Theatre Live: People 24 Ragamala O",nce: Sacred Eorth 27-28 SlTI Company: Trojon Women (ofter Euripides) zW 2J National Theatre live: This House "
Artists, programs, and dates are subject to change. Please visIt www.ums.orgforanup-to-date season calendar.
""01:0 \1f Frv\k Stow.rt. •
EDUCATION EXPERIENCES FOR EVERYONE
Learning is core to our mission, and it is our joy to provide creative educational experiences for the entire community. Each season we offer a fun and fascinating lineup of workshops, artist Q&As, screenings, conversations, and interactive experiences designed to draw you in and out of your comfort zone, connect you to interesting people and unexpected ideas, and bring you closer to the heart of the artistic experience.
Through our K-12 and university engagement programs, we are working to develop the next generation of global citizens and creative artists w ho understand and appreciate diversity, innovation, collaboration, tradition, self- expression, and craft
PI-ctoobyM.,.kGjuki"'~. EDUCATION COMMUNITY ENGAGEMENT EXISTS TO CREATE EVERYONE . WE INVITE YOU E X PERIENCE SOMETHING NEW. EXPlORE YOUR OWN CREATIVITY. AND
PERSONA ~
You'll find speCIfic EducatlOn & Commumty Engagement event mformation wIthm die Event Program sectIOn of thIS book.
VISI t www.ums.orgflearn
I
100 YEARS OF HILL AUDITORIUM
This season, we are pleased to honor 100 years of the legendary Hill Auditorium. Hill Auditorium is remarkable not only because of its rich history and incredible acoustics, but also because of the role it plays in the cultural story of the entire state. Join us for special performances and educational activities commemorating 100 years of Hill Auditorium throughout the season, including UMS's Hill Auditorium Celebration, a free day-long exploration of Ann Arbor's most beloved concert venue on Saturday, February 2.
For more information on our venues, please visit www.ums.orglvenues.
Un:v."";tyorg. ni, t Earl V.Moo", <>JllIido 01 HillAurlilorium with argan pOp<, 1913. Congratu lations, Ken Fischer.
2012 Winn er of the Thank you for your leadership Mariam C. Noland of UMS, your contributions to Award for Nonprofit the nonprofit sector and to the Leadership development of the next generat ion of leaders in our region and beyond.
communityfoundation fOIi SO\fI>lE.o\$T "ICH~
Vi.itCFSEM.<> UMS LEADERSHIP DONORS The f ol/owing individuals, corporations, and f oundations have made gift commitments of $50,000 or m ore for the 2012-2013 season. UMS is deeply grateful for these annual gifts. ANONYMOUS "UMS's presentation of Einstein on the Beach was both the most pleasurable for me and the most memorable I have experienced since I arrived in Michigan in September 1949 .. 1 can see now how a performance can be life-changing." OlE ENERGY FOUNDATION Fred She ll Vice President, Corporate and Government Affairs, DTE Energy, and President. DTE Energy Foundation 'The DlE Energy Foundation is pleased to support exemplary organizations like UMS that inspire the soul, instruct the mind, and enrich the community." FORD MOTOR COMPANY FUND AND COMMUNITY SERVICES Ja mes G. Vella Ftesident. Ford Motor Company Fund and Community Services 'Through music and the arts, we are inspired to broaden our horizons, bridge differences among cultures, and set our spirits free, We are proud to support UMS and acknowledge the important role it plays in our community," FO "We believe the arts are fundamental in educating the children of this country who will be the leaders of tomorrow. While math and science are criticaL challenging in-depth experiences in visual and performing arts are integral to who we are. encouraging the development of critical and creative thinking skills. The University of Michigan is the ideal incubator for nurturing and fostering creative thinking and collaboration. UMS is a real treasure in our community we want to ensure that students, faculty. and the community can experience world-class performances for generations to come." MICHIGAN ECONOMIC DEVELOPMENT CORPORATION Michael A. Finney President and CEO. Michigan Economic Development Corporation "The arts and economic devebpment are two sides of the same coin. MEDC is proud to support the efforts of UMS because these endea\.Ol"S greatly enrich the quaUty of place of communities where v.orkers, PU ~t'J1.!---- Clil GA N' entrepreneurs, and businesses want to locate. invest, and expand." UNIVERSITY OF MICHIGAN Mary Sue Coleman President, University 0{ Michigan "The University of Michigan is proud to support UMS. Our partnership began 133 years agoand remains as strong as ever today. We recognize the enormous value that UMS brings to our academic mission through opportunities for students and faculty to interact with performers. through student ticket discounts, and through UMS's contributions to the quaUty of Ufe in Ann Arbor that assists us in our retention and recruitment of valuable faculty and staff: UNIVERSITY OF MICHIGAN HEALTH SYSTEM Dr. Ora Hirsc h Pescovitz Executive Vice President for Medical Affairs, University 0{ Michigan, and CEO, University of Michigan Health System "When I was young. I contemplated becoming a concert pianist Though I didn·t pursue that career path, the arts have remained a prominent fixture in my life. both personally and professionally. Music and the arts feed our imaginations. heal our spirits. and 00. inspire us to evolve and grow. We are very fortunate to have UMS U. ..."il,oI Midli ••• H.. IIIoS,..... as part of our community. and the University of Michigan Health System is privileged to sponsor such a creative. vibrant part of our culture. Here·s to a great yea!"!" UMS CORPORATE, FOUNDATION, GOVERNMENT, AND UNIVERSITY SUPPORT Special thanks to the following corporations, foundations, government agencies, and University of Michigan units that made generous financial contributions to UMS between July 1, 2011, and November 1, 2012. PRODUCER, $500,000 AND ABOVE NIVERSITY OF MICHIGAN DIRECTOR, $100,000-$499,999 Association of Performing Arts Presenters Maxine and Stuart Frankel Foundation The Andrew W. Mellon Foundation ~ f""_ .. ~FunoI PUR~/1/1 ICHIG AN. lD) ~ .... ~- '- ' .\: DOl,S Du~! ---- -~--- SOLOIST, $50,000-$99,999 Anonymous The Power Foundation (f= Knight Foundation communityfoundation ~-- ...- WOIIKS.- MAESTRO, $20,000-$49,999 Charles H. Gershenson Trust THE MOSAIC FOUNDATION (of R. & P. Heydon) University of Michigan Office of the Vice President for Research University of Michigan Office of the Senior Vice Provost for Academic Affairs KeyBank<>'" MASCO Gl PNC TOYOTA VIRTUOSO, $10,000-$19,999 Cairn Foundation Mohamed and Hayat Issa/lssa Foundation University of Michigan Center for Chinese Studies _..-.... I:: i\MC3 ~-~, AllM , a .. .. , £1l-- 1 -~ - ClO UNITED UM~It:~ n BANXLnu= ~ ---0 0 -- CONCERTMASTER, $5,000-$9,999 Rosalie Edwards/Vibrant Ann Arbor Fund Pfizer Foundation GlaxoSmithKline Foundation Sarns Ann Arbor Fund Eugene and Emily Grant Family Foundation The Seattle Foundation SU BI R & MAUNI CHOWLJH URY Jowufation -:f> F~ HO:"JIGMAN. UMS BOARD OF DIRECTORS The UMS Boord of Directors Is a group of elected volunteers devoted to the performing arts and to our community. Their hard work ensures thot UMS is able to offer outstanding performances year after year. David J. Herzig Julia Donovan Oarlow Sharon Rothwell 0>0" MonlQue Deschaine Cheryl L Soper Ju nia Ooan Rick Sperling Stephen G. Palms Stephen R Forrest Karen}ones Stutz VIc" Choir Christophei' Genteel A. Douglas Rothwell, Anne Glendon PatricIa P. Green Choir. COfpotatg CounciJ Seaetory Richard F. Gutow Daniel Herwltz James C. Stanley, David N. Parslgian Past Boord Chot Treasurer Joel D. Howell Christopher Kendall Clayton E. Wilhite, Rachel Bendit S. Rani Kotha Chair. Notional Council OJ Boehm Frank Legackl Janet callaway MeMn A. Lester Eileen Thacker, David (anter Robert C. Macek Chair. AdVIsory Committee Marl< Clague Lester P. Monts Mary SUe Coleman Donald Morelock Martha Darting Agnes Moy-Sarns PhotobyMari:Gjllkich~, UMS SENATE The UMS Senate is composed of former members of the Board of Directors who dedicate time and energy to UMS and our community. Their ongoing commitment and gracious support of UMS are greatly appreciated. WadadAbed Gloria James Kerry James c. Stanley Michael C. Allemang Thomas C. Kinnear Lois U. Stegeman Carol L. Amster Marvin Krislov Edward D. Surovell Gail Davis-Barnes F. Bruce Kulp James L Telfer Kathleen Benton Leo A Legatski Susan B. Ullrich Lynda Berg Earl Lewis Michael D. VanHermert Richard S. Berger Patrick B. Long Eileen Lappin Weiser Maurice S. Binkow Helen B. Love B. Joseph White Lee C. Bollinger Cynthia MacDonald Marina v.N. Whitman Charles W. Borgsdorf judythe H. Maugh Clayton E. Wilhite Janice Stevens-Botsford Rebecca McGowan Iva M. Wilson Paul C. Boylan Barbara Meadows Karen Wolff eart A. Brauer, Jr. Joetta Mial William M. Broucek Alberto Nacif Barbara Everitt Bryant Shirley C. Neuman Robert Buckler Jan Barney Newman Letitia J. Byrd Roger Newton Kathleen G. Charla Len Niehoff Leon S. Cohan Gilbert S. Omenn JillA. Corr Joe E. O'Neal Peter B. Corr John D. Paul Ronald M. Cresswell Randall Pittman Hal Davis Phil Power Sally Stegman DiCarlo John D. Psarouthakis Robert F. DiRomualdo Rossi Ray-Taylor Al Dodds John W. Reed James J. Duderstadt Todd Roberts Aaron P. Dworkin Richard H. Rogel David Featherman Prudence L Rosenthal David J. Flowers A Douglas Rothwell George V. Fornero Judy Dow Rumelhart Maxine J. Frankel Maya Savarino Patricia M. Garcia Ann Schriber Beverley B. GeItner Edward R. Schulak William S. Hann John J.H. Schwarz Randy J. Harris Erik H. Serr Walter L Harrison EllieSerras Deborah S. Herbert Joseph A Sesi Norman G. Herbert Harold T. Shapiro Carl W. Herstein George l. Shirley Peter N. Heydon John O. Simpson Toni Hoover Herbert Sloan Kay Hunt TImothy P. Slottow Alice Davis Irani Anthony L Smith Stuart A. Isaac Carol Shalita SmokIer Thomas E. Kauper Jorge A Solis David B. Kennedy Peter Sparling UMS STAFF The VMS Staff works hard to inspire individuals and enrich communities by connecting oudiences and artists in uncommon and engaging experiences. ADMINISTRATION & EDUCATION & TICKET OFFICE FINANCE COMMUNITY ENGAGEMENT JennyQaf Kenneth C. Ascher Ticket ServIces Manager P. Leija President James Christina Bellows Director 0{ £dJcotion & fohn B. Kennard. Jr. Ticket O(ficeAssodote Community Engagement Dj-ector Administration of Suzie Davidson Mary Roeder Kathy Brown Associate TIcket S~S Assodore Manager c( Executive Assistant Me""",,, Community Engagement Beth Gilliland Kate Gorman Omari Rush Tessitllo Systems Front-or-House Education Manager Administrator Coordinatcx MARKETING & Patricia Hayes Willie Sullivan COMMUNICATIONS Rnane/ol Manager Front -of- House/Tlcket Sara Billmann Office Assistant John Peckham DirlKtor of Marketing & Information Systems Dennis Carter. Bruce Communimtions Manager Oshaben. Bnan Roddy Sophia Kruz Head Ushers DEVELOPMENT Vidro Producer & EditOf UMS CHORAL Margie McKinley Anna Prushinskaya UNION DrectOf of D""~ Manager New Media & of Jerry Blackstone Susan Bozell Craig Onlinelnitiotives COnductOf & Music Sen/Of Manager of Truly Render DirectOf Corporate Partnerships Press & MorI Clayton Wilhite Barbara Fleischman Elise Kirk Chair Maxine Frankel Wallis Klein Eugene Grant Jerry and Dale Kolins Andrew Bernstein Kathleen Charla Charles Hamlen Zarin Mehta Katherine Hein James and Patty Read Jacqueline Davis Marylene Delbourg-Delphis David Heleniak Herbert Ruben John and Betty Edman Toni Hoover James and Nancy Stanley Judy Istock Russell Willis Taylor Janet Eilber Patti Kenner Bruce Tuchman UMS CORPORATE COUNCIL The UMS Corporate Council is a group of regional business leaders who serve as advocates and advisors to UMS as we seek to broaden our base of corporate support throughout southeastern Michigan. A. Douglas Rothwell Nolan Finley Ora Pescovitz Choir Stephen R. Forrest Sharon Rothwell Michele Hodges Frederick Shell Albert Berriz E. Mary Kramer Michael B. Staebler Bruce Brownlee Maud Lyon James G. Vella Robert Buckler David Parsigian David Herzig. Robert Casalou Ex-Officio Vivian Pickard Richard L DeVore UMS STUDENTS Students in our internship and work-study program gain valuable experience in all areas of arts management while contributing greatly to UMS's continued success. Brendan Asante Molly Jeszke Dereck Seay Dylan Baker Harleen Kaur Kayla Silverstein Emily Barkakati Scott Kloosterman RhemeSloan Justin Berkowitz Emily Kloska Jason Spencer Catherine Cypert Kat Lawhead Rachel Starnes Adam Desjardins Corinn Lewis Haylie Stewart Kari Dion Meaghan Mclaughlin Rachel Stopchinski Brianne Dolce Gunnar Moll Sarah Suhadolnik Elizabeth Galafa Bryan Pansing Melanie Toney Ben Gugino Skye Payne Jocelyn Weberg TIm Hausler Anna Piotrowski Ian Williams Sigal Hemy Charlie Reischl GeorgeXue Lauren Jacob Steven Risko Kathryn Zamarron At Toyota, we celebrate differences. And the people who make them. lOj'otI io pr Our environmental reporting uses hybrid technology: intelligence and insight. The Environment Report from Michigan Radio, every Tuesday and Thursday at 8:55 a.m. and 5:45 p.m. Understand Michigan ... NEWS • POLITICS • AR TS • BU SI NESS • ENVIRONMENT "",)'1"\ UENVIIONMEHT ~ MICHIGAN 91.7 FM Ann Arbor/Detroit REPORT mlchlqanradlo.orq ---- ~RADIO Your NPR news station UMS TEACHER INSIGHT Through UMS Teacher Insight, we stay aware of trends, changing resources, and new opportunities for learning in the K-12 classroom. Robin Bailey Neha Shah Melissa Poli Jennifer Burton Cynthia Page Bogen Rebeca Pietrzak Jeff Gaynor Karen McDonald Mark Salzer UMS ADVISORY COMMITTEE The UMS Advisory Committee advances the goals of UMS, champions the UMS mission through community engagement, provides and secures financial support, and assists in countless other ways as UMS ambassadors. Eileen Thacker Jon Desenberg Christina Mooney Chair Leslie Desmond Amy). Moore Sharon Peterson Dort Benita Maria Murrel Gail Ferguson Stout Julie Dunifon Chaity Nath \lice Chair Gloria J. Edwards Sarah Nicoli Audrey Schwimmer Michaelene Farrell Kathleen Nolan Secretary Sara Fink Marjorie Oliver Barb Shoffner Laurel Fisher Liz Othman Rosamund Forrest Elizabeth Palms Treasurer Kathy Goldberg Usa Patrell Susan R. Fisher Ken Gray Anna Peterson Past Oldr Unda Grekin Ruth Petit Zakiyyah Ali Nan Griffith Susan Pollans Sandy Aquino Nicki Griffith Anne Preston Lorie Arbour jane Holland Polly Ricciardo Barbara Bach Nancy Karp Nan Richter Karen Bantel Kendra Kerr Valerie A Roedenbeck Pat Bantle Freddi Kilburn William Shell Unda Bennett Russell Larson Arlene P. Shy Francine Bomar Marci Raver Lash Ren Snyder Connie Rizzolo Brown Mary LeDuc Becki Spangler janet Callaway joan Levitsky Unda Spector Dennis j. Carter jean Long Nancy Stanley Cheryl Clarkson Melanie Mandell Louise Taylor judy Cohen Ann Martin Louise Townley Wendy Comstock Fran Martin Ebru Uras Unda Creps Robin Miesel Sarajane Winkelman Sheila Crowley Natalie Mobley THE EXPERIENCE. GETTING THE MOST OUT OF THE PERFORMANCE We know that everyone enjoys the performance experience in different ways, so we encourage you to think about making choices when you enter the theater that allow you to be present, leave the worries of the day outside, and prepare to receive what the experience holds in store. Be aware of your surroundings. Clearing your mind and connecting with what an artist or ensemble has to share is a very special gift, a gift which comes from a lifetime of training. One of the joys of attending live performances is the ability to share our experiences with one another, so revel in your opportunity to socialize, talk to your friends, discuss the performance, or simply say "hello" to someone new. Feel the energy that a room full of people creates. Look around and take in the entire picture. What goes on in this venue and in this community is truly unique and special, and we must all cherish and protect it. learn more about the evening"s PRELUDE DINNERS concert at Prelude Dinners. New York Philharmonic Park early, dine with fellow Saturday, February 23, 5:30 pm Speaker: Mark Clague, Associate patrons, and hear about the Professor of Music, U- M School of Music, artist, the performance, or the Theatre & Dance history of the work from our Alison Balsom, trumpet, and the renowned guest speakers. Each Scottish Ensemble Saturday, April 20, 5:30 pm evening begins at 5:30 pm with Speaker: TBD complimentary wine followed by For information and reservations, a catered buffet dinner provided call Rachelle Lesko at 734.764.8489. by local caterer Food Art. PLEASE CONSIDER THE FOLLOWING: ell Turn off cell phones and electronic devices. We all know how terrible it is w hen a phone rings during a performance. It breaks that special bond between a performer and the audience. Illuminated screens on phones are also a visual distraction in a darkened theater. ell Our volunteer ushers are invaluable. They will show you to your seat, give you a program, help solve any problems, answer questions, and welcome you to the experience. Please do not hesitate to ask them for help. ell Wear what you want to the performance - this is Ann Arbor, after all! If you feel inspired to dress in some way related to the show, go for it. Express your own creativity. ell Unwrapping candies and cough drops before the performance begins cuts down on disruptive noise w hile the performance is in progress. ell Think about w hether it is necessary to wear your favorite perfume tonight. Chances are that the folks sitting around you may appreciate an unscented experience. ell The Good News: most of our performance spaces - especially Hill Auditorium - have world- class acoustics. The Bad N~s: that means that w hen you cough or sneeze w ithout first covering your mouth, you make an especially clear statement to fellow audience members and performers alike. Feel free to ask an usher for cough drops w hen you arrive at a UMS Choral Union event and please consider bringing cough drops w ith you to our other events. ell Thankfully, we manage to keep last- minute changes to a minimum, but please remember that all artists and repertoires are subject to change at a moment's notice. ell Programs with larger print are available by asking an usher. ell We make every effort to begin performances on time. The actual start time of a performance always reflects a combination of considerations. If you arrive after a performance has begun, we will get you inside the theater and to your seat as soon as it is appropriate. We work together with the artists to determine late seating breaks that will not disrupt their performance or the experience of the audience. ~~ Confucius Institutee ~ at the University ~' ~ of MIChigan ~ Will!!!::!: "''II.'f"'!i\\ " The Confucius Institute at the University of Michigan is your gateway to Chinese arts and cultures. Please contact us for details of upcoming exhibitions, lectures, performances and other events. 715 N. University, Suite 201 • Ann Arbor, MI 48104 USA Phone: 734.764.8888. Fax: 734.764.0808 [email protected] • http://confucius.uffiich.edu Bringing it all together We are a local. independent. fee-only advisory firm. Learn more about our team and strategies at: www.risadvisory.com 734-769-7727 00 Retirementlncome Solutions OQ Helping to grow and preserve your wealth 455 E. Eisenhower Parkway, Suite 300 Ann Arbor, Michigan 48108 'oJ ~ums THE EVENT PROGRAM. THURSDAY, APRIL 4 THROUGH FRIDAY, APRIL 12 , 2013 03 DARIUS MILHAUO'S ORESTEIA OF AESCHYLUS Thursday, April 4, 7:30 p m Hlll Aud itorium 19 ESPERANZA SPALDING RADIO MUSIC SOCIETY Saturday, April 6, 8:00 pm Michigan Theater 25 1927 THE ANIMALS AND CHILDREN TOOK TO THE STREETS Wednesday, April 10 , 7:30 p m Thursday, Aprllll, 7:30 pm Friday, April 12, 8:00 pm Saturday, April 13, 2:00 p m Saturday, April 13, 8:00 pm Su nday, April 14, 2:00 pm Performance Network 33 TAKAcS QUARTET Friday, AprH 12, 8:00 pm Rackh am AUditorium We want this program book to engage you in a conversation that deepens your ell:perience and connection to the performance both inside the theater and after you leave it. We are always conserving resources at UMS. If you are coming to mul tiple performances within a program book edition. please keep your book and return with it. • Albert Kahn Architecture Immersion -~ ...... Saturday. April 20, 2013 Beginning at Hill Auditorium, a nd visitin g various locations Bam - 6pm This day-long immersion allows participants an in-depth exploration of the aesthetics and techniques of Hill Auditorium architect Albert Kahn. A guided bus tour takes participants throughout Hill Auditorium and other Kahn buildings across southeast Michigan. Funded in part by Michigan Humanities Council. an affiliate of the National Endowment for the Humanities. Tickets on Sale Now ~ums For more information, visit BE PRESENT www.ums.orgorcaIl734.764.2538. L'Agamemnon • Les Choephores . Les Eumenides Composed by Darius MiLhaud A co- production with the U-M School of Music, Theatre & Dance ThlXsclay Evening, Aprt14, 2013 at 7:30 Hill Auditorium' Am Arbor 57th Performance of the 134th Annual Season 134th Annual Choral Union Series Photo: Mask of Allamemnon, pnotQ8rapher: Gian Berto Varonl/CORBlS. o ARTISTIC FORCES Kenneth Kiesler, Conductor University Symphony Orchestra Kenneth Kiesler, Music Director UMS (nora! Union and U- M Chamber Choir Jerry Blackstone, Conductor U- M University Choir Eugene Rogers, Conductor U- M Orpheus Singers Graduate Student Conductors U- M Percussion EnsembLe Joseph Gramley and Jonathan OValle, Co-Directors Lori Phillips, Soprano (Clytemnestra, Ghost of Clytemnestra) Dan Kempson, Baritone(Orestes) Sidney Outlaw, Baritone (Apollo) Sophie Delphis, Speaker (Leader of the Slave Women) Brenda Rae, Soprano(Athena, A Slave Woman) Tamara Mumford, Mezzo-Soprano (Athena) Jennifer Lane, Contralto(Athena) Julianna Di Giacomo, Soprano(Pythia, Orade of Apollo's Temple at Delphi) Kristin Eder, Mezzo-Soprano(Electra) Funded in part by a grant from Michisan Counel for Arts and Cultural Affairs. Spedal thanks to the U- M Provost's Office and the Office 01 the Vice President for ResNl'ch lor their ger1('rOUS support 01 this concert. Media partnership is prOYided by W:;TE 913. Spedal thanks to Mark CIiISue. Kenneth Kiesler. WIlliam Bokom, Ruth Scodel, Ralph Williams, jerry Blad Spedal thanks to Sophie Delphis, Ruth Scodel, Arrr-; Pistone. John Posch, and Evelyn Adkins lor their wOO< on the translation used in the supertities lor this eveninG's performance. Spedal thanks to Tom Thompson 01 Tom Thompson Flowers, Ann ArOOr, lor his generous contribution 01 lobby floral art lor ttis eveninG's performance. PROGRAM Darius Milhaud Oresteia of Aeschylus L'Agamemnon Les Choephores I. Funeral Lamentation II. Libation III. Incantation IV. Omens V. Exhortation VI. Justice and Li ght VII. Conclusio n INTERMI SS I O N Les Eumenides Act I Act II Act III This evening's performance is approximately three hours in duration. Grateful thari Special thanks to Nadege Foofat and Brianne Dolce for their contributions to thi'!; evrot )ulianna Oi Giacomo and Tamara Mumford appe.ar by arranGement with Opus 3 Artists. Lori PhiWps appNrS by arrangement with Uzan International Artists. Brenda Raeand Sidney Outlaw appedI' by arranGement with Columbia Artists Mana~t, IrK. jennifer Lane appedI'S by arranGement with Guy Barzilay Artists. Dan Kempson appears by arranllement with Barrett Vantage Artists. Kristin EOOr and Sophie Delphis appedI' by d'rect arranGement with the artists. CAST OF CHARACTERS Cytamnestra/GhostafClytemnestn. Pythia. Oracle of Apollo'. Temple at Delphi (Lori Phillips. Soprano) (JuliannoDi GiOCOlIlQ Sopmno) • Wife of Agamemnon (second marriages • Oracle of Delphi who predicts the future. for both). The most prestigious and authoritative • Mother of Orestes. Jphigenia. (deceased) and oracle among the Greeks. Electra (and Chrysothemis. not present in this story). Electra (Kristin Eder, Mezzo-Sopmno) • Informally' married' toAegisthus while o Daughter of AgameIlUlon and Clytemnestra. Agamemnon is fighting the Trojan WiJI. Older sister of Orestes. oLoyal to AgameIlUlon during ClyteIlUlestra's Orestes (Dan Kempson. Baritone) ruling and affairwithAegisthus. • Son of Agamemnon and Clytemnestra. who has been exiled by his mother. Younger Elders (Men of the Ovrus) brother of Electra. oOldermenofArgoswhoservedasadvisorsto KingAgameIlUloIL Apollo (Phoebus Apollo) (Sidney Outlaw, BaritorlE') Slue womenof The Choiphori • Oracular god of Delphi God of light SIll\ (Lei ChoIiphorel) (Women of the Chorus) truth and propheq, healing. plague, music, oWomen who have been captured. born. or and poetry. forced into slavery for the royal family of Argos. Leader of the Slaw Women (Sophie DeJphis. ,_I The Assembled Paople of Athens (Ovirs) Athena (Pallas Athena) (Trio: Brenda RaE'. oAssembly of people that represent the Sopmno; Tarnam Mumford; Mezzo-Sopmno; people of Athens. Jennifer Lane. Cootmlto) • Patron Goddessand protector of Athens. Furies (Women of the Chorus) companion of heroes. Goddess of wisdom, o Female spirits/deities of vengeance. Spirits courage, law, justice, civilization, just of the undelWorld. Avengers of those who warfare, mathematics, strength. strategy, swear false oaths. the arts. crafts. and skill HOUSE OF ARGOS FAMILY TREE (Ancestors: Tantalus, Peiops, and Pleisthenes) I Atreus (BRO THERS) Thyestes I I Menelaus Agamemnon Aesisthus (marr. Helen) (marT. Clytemnestra) (··marr." Clytemnestra) I I Orestes I I Iphisenia I WIVES OF ARGOS ANCESTRY lod, lod, Tyndareus (mortal) (mortal) ~ (moflal) I , ~ (HAlF SISTERS)--c Clytemoo~ BACKGROUND bath. She traps him. using his robe as a net and kills him with a double- edged Agamemnon and his brother Menelaus axe or knife. wage war on Troy after Paris of Troy kidnaps Menelaus's wife Helen. To Agamemnon rule in his stead, Agamemnon leaves Scene: The palace-front at Argos. behind Clytemnestra (his wife whom Clytemnestra has just k illed he forced into marriage after killing Agamemnon. The Elders (Agamemnon's her first husband the King of Lydia). counselors) mourn his death and At the beginning of the battle of Troy. confront Clytemnestra. She justifies Agamemnon deceives Clytemnestra her actions by recountingAgamemnon's into sending their daughter, Iphigenia. murder of her first husband and the to him where his ships are wind-bound sacrificial slaughter of their own Instead of marrying her to Achilles as daughter, Iphigenia Qytemnestra hopes promised he slaughters her and offers that by killing Agamemnon. she has her as a sacrificial appeasement to the stopped "the curse of blood revenge" of goddess Artemis who is angry about the the HouseofTantaius. impending Trojan War. Les Cu:Iephores SYNOPSIS Scene: Tl"W? funeral tomb of Agamemnon. later moves bock to the palace-front of There is a sentiment of unease; the Argas. people of Argos are angry about the Orestes returns from exile to avenge the 10- year long Trojan War and the lives death of his father (Agamemnon). He is lost in battle for the sake of exacting greeted and supported by Electra. his revenge on Troy for the abduction youngest sister, and the slave women of Helen. In Agamemnon's absence, who support him in his efforts to Clytemnestra took his cousin Aegisthus perpetrate revenge on Clytemnestra and as her "husband" and co-ruler. to the Aegisthus. dismay of the people. King Agamemnon returns at the conclusion of thewar with Les Eumenides his war-prize Cassandra daughter of Act! Troy, who predicts her own death and Scene: The front of the temple of Apollo the impending tragedies that will befall atDelphi the House of Argos. At Agamemnon's The Prophetess finds Orestes. covered in return. Clytemnestra. furious for the blood and surrounded by sleeping furies. betrayals, dupes him into taking a at the temple of Delphi. Clytemnestra incites the furies to wake and take testify to his actions. and Apollo is a revenge for her murder. Apollo tells witness for the defense. The furies want Orestes to escape to Athena's temple in his death as vengeance for his killing Athens. The furies wake and follow in of Clytemnestra. The jury is made up pursuit. of chosen people of Athens with gods casting their votes as well. The vote is ActD a draw, but Athena casts the deciding Scene: Athens, before 0 shrine ond ballot which acquits Orestes and spares ancient imoge of Pollos Athena. him from death on the grounds that he Athena is called upon to decide the fate was justified because the mother is not a of Orestes and whether he will suffer true parent only a vessel for the seed of the wrath of the furies or be forgiven for the father. Athena then persuades the hisdeed. ancient furies to transform their fear based relationship with humankind Actm into a benevolent and constructive force Athena holds a grand trial (the first for good. of its kind) where Orestes is called to A Note from the Conductor Kenneth Kiesler In 2004. a package with three impressively O'lersized scores arrived in ITrf studio with this note from the publisher: "Sent at the request of William Bolcom: They revealed Milhaud's setting of Claudel's French translation of Aeschylus' Oresteian tragedy, packed with powerful music and words. seV"eral roles for principal singers. and multiple choruses. There were also the somewhat unusual occurrences of rhythmically notated dramatic speaking. and the distribution of one role, the goddess Athena to a trio of singers. As the three hand-delivered scores constituted the tltree acts of just the final component in the trilogy, Les Eumwdes, I could only guess at the magnitude of the entire piece. L'A9omemnon's fairly customary turn-of-the-century orchestra is expanded in Les Choephores with the quite uncustomary supplement of 15 percussionists. Les Choephores requires substantial speaking parts for the chorus and the leader of the slave women. In Les Eumenides, Milhaud enriches the palate still further by adding two quartets: one of saxophones and one of saxhorns - 19th-century valved brass instruments once common in military bands but that almost never join an orchestra or accompany achoir. The music is often as tightly woven and magnificently shaded as a tapestry. Musical threads of 3, 7, and 11 beats (or 4. 5, 3, and 9 beats) intertwine. The texture of this audible fabric is made expressive and variegated byweaving differently colored or Npitched" threads into mini or sub-tapestries that occur simultaneously in different keys. What at first sounds dissonant self-competing. and dense, over time becomes familiar language, much as a nev-.r dialect of jazz or "world music: (Milhaud and Oaudel had the transfonnative experience of a two-year visit to Brazil where they researched and transcribed folk. music.) Milhaud's bilogy after Aeschylus has. for me, reopened and broadened the rich realm of Greek mythology. The themes of passion and jealousy, violence and rE"lenge, and prudence and propriety still resound within us and in our world. Topics of sexual and gender parity, family relationships. balance of po'Ner, and influence in a world of haves and have-nots. not to mention loyalty, steadfastness, allegiance, obedience to those in power, and the economic and social stratification of society - all continue to vex us and show hO'N deeply our human nature connects us to our predecessors.They remind us hO'N far - for all ourprogress - we still have to go. It may surprise some to know that the musical preparation of this evening's performance has required many long hours of correcting engraving and printing mistakes in the scores and orchestra parts. filling in passages missing from the vocal scores. finding unusual instruments, and determining which percussion sounds Milhaud might have knovm or used at the time. We knO'N and understandmany Milhaud matters. yet there are still some enigmas and peculiarities. While the first part was written in 1913, and all the separateworks were premiered shortly after they were completed the vocal scores used by soloists and choral singers each have a statement about the first performance of the complete trilogy in 1927. HO'Never, they also state that the three pieces were performed in different venues on different dates: Les Choephores on March 8, L'Agamemnon on April 14. andLesEumerudes on November 27. Tonight's occasion is imbued with significance, as it celebrates the centennial of the great hall that has been home to hundreds, if not thousands. of performances given by the extraordinary students who have been mentored and taught by the dedicated faculty of the U-M School of Music, Theatre & Dance, and led by ITrf current conducting colleagues and our predecessors. Tonight also celebrates the benevolence, spirit and genius of William Balcom. the distinguished and brilliant composer and Professor Emeritus who studied with Darius Milhaud and invited me and others to bring his vision of a performance at U-M into realitywith tonight's concert. OnMilhaud William Balcom Istudied with Darius Milhaudat Aspen, California and Paris between 1957 and 1960. In the midst of ITrf ConseIVatoire years, he played a recording of the trilogy, L'Orestie, using the Qaudel translation from the Aeschylus. at a group lesson at his house. It blewme out of the ballpark Its po'Ner and savagery and profunditywould have a deep effect on me. L'Orestieinspired me to finish ITrf Songs of Innocenceond of Experience, which I'd been sketching since 1956; buying time to do this was a primary reason for our moving to AnnArbor. I am proud that the U-M School of Music (which was its name before the current moniker) had seen fit to undertake my magnum opus in 2004, and doubly proud that - nineyears to the day of that April 4 performance! - the U-M School of Music, Theatre & Dance is facing the enormous challenge of presenting and recording ITrf mentor and friend Darius Milhaud's magnum opus. It is a magnificent tribute to the great work it is. On!steiaofAeschylus to Bizet and even to Couperin. Among L'Agamemnon (1913) his contemporaries. Milhaud associated most strongly with the fellow members Les Choephore. ( 1 9 15 ~ 6) of Les Six (Georges Auric. Louis Durey. LesEumenicle. (19 17 ~ 23) Arthur Honegger, Milhaud. Francis Darius Milhaud Poulenc, and Germaine Tailleferre). a BornSeptember 4,1892 inMarseilles. group of composers brought together by France lean Cocteau in the 19205 in an effort to DiedJune 22.1974 in Geneva. forge a new French modernist musical Switzerland aesthetic during the intelWar period. Translated to French by Poul Claudel Despite his integration into the from the English translation by A W. French tradition. Milhaud prominently Vernill. incorporated other national styles into his own. In a life-changing experience Darius Mil haud was an important in 1917. Milhaud and Claudel traveled member of the musical avant·garde in to Brazil on a diplomatic mission. After early 20th-century Paris. Proven,al and his diplomatic service, Milhaud began Jewish by birth. he maintained t hese and to incorporate Brazilian folk music into numerous other identities in his music his compositions. most famously in the andhis life. Alifelong interest in classical 1919 ballet Le hoeuf sur le toit (The mythology and drama. a wide knowledge Ox on the Roof), but also seen here in of French music history. and his Les Eumenides. As a composer already utilization of modern theoretical trends drawn to rhythmic expression. Milhaud all played a role in the composition of his was particularly interested in the early operatic trilogy, L'Orestie. These rhythmic complexity of Brazilian music. complex works draw from Milhaud's In addition to innovative rhythmic numerous identities and interests elements. the Orestie trilogy exhibits in a dramatic. rhythmic expression of complex harmonic techniques. Aeschylus's classic story. particularly polytonality. in which Milhaud's lifelong collaboration Milhaud layered two or more harmonic with the Catholic poet Paul Claudel areas simultaneously. Milhaud's use played a critical role in the composer's of polytonality is particularly clear in operatic style. The collaboration the finale of Les Eumenides, which is resulted in many of Milhaud's best structured around repeated polytonal known works, including the Orestie patterns. Although this polytonality may trilogy and Christophe Colomb (1930) . sound dissonant Milhaud belif!Ved that it The style developed by Milhaud and gave him more varied waysof expressing Claudel was influenced prominently by sweetness in addition to violence. ClaudeJ's belief that f!Very element of a Because the three parts of the dramatic work, including music. should Orestie trilogy were written over a 10- exist to serve the poetry. The Orestie year period each work has a distinct trilogy displays this attention to the style. In L' Agamemnon. written when text through the expressive, syncopated Milhaud was only 21. the rhythm of the rhythm of the vocal parts. vocal parts is used to express t he drama Musically. Milhaud saw himself as of the poetry. while in Les Choephores part of a great French tradition which and especially in Les Eumenides, the extended back from Satie and Debussy drama is furthered by spoken sections and an increasingly complex harmonic and Opera. His stage performances language. The trilogy, taken as a whole, include Bright Sheng's The Silver River provides a glimpse into the interaction in Singapore, Peter Grimes andIl Turco in between modern and traditional. as well Italia at Opera Theatre of St. Louis with as between the French and the foreign. the St. Louis Symphony, andAppolachion which characterized the music of early Spring with t he Martha Graham 2Oth-centwy Paris. Company. He is Conductor Laureate of the Illinois Symphony Orchestra where PrqJrnrnnote by EthanAllred as music director from 1980-2000, he led debuts at lincoln Center and Carnegie ARTISTS Hall, and won several distinguished awards. He returned as Music Advisor inner of the prestigious for the 2010-11 and2011-12 seasons. American Prize in Directorof orchestrasand professor W Conducting for 2011. of conducting at U-M since 1995, his KENNETH KIESLER is one of the students have won major competitions most prominent conductors of his such as the Maazel/Vilar, Eduardo Mata generation and one of the world's most and Nicolai MaIko, and hold positions sought-after mentors of conductors. Of with major orchestras. opera companies. his debut with The Chamber Orchestra and music schools worldwide. He is of Paris. critic Roger Bouchard stated. Director of the National Arts Centre Nthere do exist great American Conductors Program (Canada) and conductors. and Kiesler is one of them! the Conductors Retreat at Medomak Standing on behalf of t he music he (Maine), as well as t he conducting SelVes. he conducts from memory with programs of International Masterclasses unaffected gestures both precise and Berlin. He has led intensive conducting passionate. Nothingis unnecessary in his courses in Paris. Berlin Leipzig. Moscow, conducting yet everything is there. Very New York. and Oxford University, forthe beautiful work!" Ministry of Culture in Mexico, and the He has conducted the National Royal Academy of Music in London. He Symphony Orchestra at the Kennedy will soon lead a class for conductors from Center, Chicago Symphony at Orchestra across Latin America in sao Paulo, Brazil. Hall and the orchestras of Utan Detroit. Maestro Kiesler was Indianapolis, San silver medalist at the 1986 Stokowski Diego, New Jersey, Competition at Avery Fisher Hall and Jerusalem, Haifa, recipient of the American Symphony Osak a , Pusan Orchestra League's Helen M. Thompson Daejon. Hang Zhou. Award for outstanding American music JaliscoPhilharmonic director under age 3S in 1988. His in Mexico, and The teachers include Carlo Maria Giulini. Chamber Orchestra of Paris, among Fiora Contino, Julius Herford. Erich many others; and at the Aspen, Leinsdorf, John Nelson, and James Meadowbrook. Skaneateles. Sewanee, Wimer. He was a selected conductor and Atlantic music festivals. He has led in the Leonard Bernstein American numerous world premieres and Conductors Program and the Carnegie recordings with the BBC. Third Angle, Hall Centenary conducting class and University of Michigan Symphony with Pierre Boulez and Ensemble and Opera Carolina; Ariane in Ariane et InterContemporain. Borbe-bleue with the Vancouver Opera Maestro Kiesler is included in L'Opera de Nice, and Opera National de Steven Sherman's book, Leonard Paris (Bastille) on tour in Japan; Gertrude Bernstein at Work: the Final Years, in Honsel und Gretel for Dallas Opera; Jeannine Wagar's book Conductors in Lady Macbeth in Macbeth with Arizona Conversation: Fifteen Contemporary Opera; Leonora in Fidelio with Portland Conductors Discuss Their Lives and Opera; Leonora in Il Trovatore with Profession. Shostokovich Reconsidered Florentine Opera; Amelia in Un Bollo in by Allan Ho, and David Saler'sServing Maschera for Opera Memphis. Seattle Genius, the biography of the great Italian Opera and Vancouver Opera; Minnie in conductor, Carlo Maria Giulini. La Fandulla del West with Utah Opera; The Indiana[X1lisNews said "Kiesler the title role of Aida at Hawaii Opera is a man with a musical mind at work. Theater; Maddalena in Andrea Chenier He reads, interprets, and conducts with the Nashville Opera; and Santuzza idiomatically, in the spirit in which a in Covolleria Rusticana with Vancouver given work was written: Opera and Opera de Quebec. DAN KEMPSON'S (Baritone) 2012-13 LORI PHILLIPS (Soprano) is widely season includes Figaro in Il borbiere di acknowledged as one of the most Siviglia with ShreV"eport Opera Anthony innovative and expressive voices in in Sweeney Todd with St. Petersburg the operatic industry. She made her Opera, soloist in Carmina Burana Metropolitan Opera debut as Senta in with Wichita Symphony Orchestra. Der Fliegende Hollander, which was and Alwan in the world premiere of broadcast live on Sirius Satellite Radio. Mohammed Fairouz's Sumeida's Song With the Metropolitan Opera she has at Prototype Festival in Nev-.r York City. returned for productions of Wozzecl<. In summer 2013 he joins the Apprentice Honsel und Gretel, Mussorgsky's Program of Santa Fe Opera for their Khovanshchina, Il Tabarro, and production of Le nezze di Figaro. Recent Turandot. Ms. Phillips also recently highlights include Belcore in L'elisir made her role debut as Briinnhilde in d'omore (Mississippi Opera), Figaro in Il Die Wolkiirewith Hawaii Opera Theater. barbiere di Siviglia (Imperial Symphony Opera News said NSoprano Lori Phillips Orchestra), a recital (Father Ryan Arts was a terrific Brilnnhilde: her voice Center, Pittsburgh), Messiah (Danbury started out in excellent form and kept Chamber Orchestra), selections from getting better, her clarion upper register Haydn's The Creation (Pittsburgh sending chills dovm one's spine: Up next Symphony), Brahms's Requiem (Erie Ms. Phillips returns to the Metropolitan Philharmonic), and Marco in Gianni Opera and Seattle Opera to cover the Schirchi and Thomas Putnam in The role of BrUnnhiide in the Ring cycle. Ms. Crucible (Chautauqua Institution). As Phillips'notedperformancesalsoinclude Resident Artist with Pittsburgh Opera her signature role of Turandot at the he sang Argante in Rinaldo, Fiorello in Seattle Opera Atlanta Opera Nev-.r York Il borbiere di Sivi91ia. Tarquinius in The City Opera at lincoIn Center, Opera Lyra Rape of Lucretia. Morales in Carmen. Ottawa Portland Opera Nashville Opera and Count Almaviva in Le nozze di Figaro. In San Francisco Opera's Merola Mezzo-Soprano SOPHIE DELPHIS Opera Program he sang Figaro from (Speaker) was born in Paris. France and Il borbiere di Siviglia, Fluth from The raised partially in the California Bay Merry Wives of Windsor, and the title Area She received her bachelors degree role in Thomas's Hamlet. He made his with honors from t he New England debut with Fort Worth Opera in Glass's Conservatory of Music in Boston and is HydrogenJukebox. currently pursuing her master's degree in voice performance at the University Lauded by The New York Times as a of Michigan. Her recent operatic roles Nterrific singer" and The Son Francisco include Zerlina (Don Giovanni), Sreur Chronicle as Nan opera powerhouse," Mathilde (Dialogues des Carmelites), SIDNEY OUTLAW (Baritone) delights Valetto (L'Incoronazione di Poppea), audiences in the US and abroad with his and Lazuli (L'Etoile). She has performed rich and versatile baritone and engaging recital programs and fundraiser concerts stage presence. A graduate of the Merola for t he French-American Cultural Opera Program and former member of Society, the Palo Alto Fortnightly t he Gerdine Young Artist Program at Music Club, and the Opera Academy Opera Theatre of Saint Louis. the rising of California. In addition, she enjoys American baritone is t he featured collaborating with young composers and recitalist with Warren Jones at Carnegie improvisers on newworks in Boston and Hall t his season, performs Elijah with Ann Arbor. She is currently a student of the New York Choral Society, and will Melody Racine. be featured in t he role of Burton in Abilene Opera Association's The Hotel BRENDA RAE (Soprano) is currently Casablanca. He travels to Guinea as a a member of t he ensemble at Oper US Arts Envoy this season, wherehewill Frankfurt. This season, she will sing the perform a program of American music role of Zerbinetta in Ariadne auf Naxos in honor of Black History Month and for her debut with the Hamburgische in remembrance of Dr. Martin Luther Staatsoper, followed by a debut at the King. He closes the season with concerts Paris Opera asAnne Trulove in The Rakes of Dallapiccola's Il Prigioniero with t he Progress. Ms. Rae makes a return to the New York Philharmonic and sings the US with two important debuts: Polissena role of Schaunard inLaBohemewith the in Rodomisto at Carnegie Hall (as part of Ash Lawn Festival. Mr. Outlaw's awards a European and American tour with The include Second Prize (20 11 Gerda Lissner English Concert and Harry Bicket) and Foundation Awards), national semi in the summer as Violetta in La Traviata finalist (Metropolitan Opera National at t he Santa Fe Opera. In Frankfurt Ms. Council Auditions), finalist (George Rae will continue her exploration of the London Foundation), and Grand Prize Baroque repertoire with her debut as in the Florida Grand Opera/yPO Vocal Cleopatra in a new production of Giulio Competition. He holds a master's degree Cesare and will sing t he title role in in vocal performance from The Juilliard Donizetti's Maria Stuorda in concert. In School and is a graduate of the University the spring. she will return to Bordeaux of North Carolina at Greensboro. for Pamina in Die Zcruberflote. Further European concert dates of Rodomisto will include London, Paris. Binningham. and Toulouse, and in the early summer Naxos, Il Trittico, Parsifal, Idomeneo, shewill make her Schubertiade debut in Cavolleria Rusticono, Nixon in Chino, Schwarzenberg, Austria. In the future, The Queen of S[Xldes, the complete Ring Ms. Rae will return to the Oper Frankfurt cycle and The Magic Bute. Other recent and the Bayerische Staatsoper in leading opera engagements have included the roles. title role in the American premiere of In 2007, Ms. Rae gave a recital at Henze'sPhaedro and the title role in The Alice Tully Hall as a winner of the Juilliard Rape of Lucretia at the Opera Company Vocal Arts Honors Recital. In January of Philadelphia, the title role in Dido 2008, she gave a recital at Carnegie and Aeneas at the Glimmerglass Opera Hall under the auspices of the Marilyn Ottavia in L'incoronozione di Poppea at Horne Foundation. Ms. Rae has been the Glyndebourne Opera Festival and awarded First Prize honors from the Ucla the EBC Proms, Isabella in L'Italiana in Albanese-Puccini Foundation, the Bel Algeri at the Palm Beach Opera the title Canto Foundation. and Wisconsin NATS. role in The Rape of Lucretia conducted She is also the recipient of a Shoshana by Lorin Maazel at the Castleton Festival; Foundation Ric hard F. Gold Grant from the title role in Carmen at the Crested Central City Opera and grants from Butte Music Festival PrincipessainSuor t he Giulio Gari Foundation and the Angelico and Ciesca in Gianni Schicchi Armenberg Foundation. Ms. Rae received with the Orchestra Sinfonica Giuseppe her Artist Diploma from the Juilliard Verdi di Milano in Italy; and the title role OperaCenterin2000hermaster'sdegree inLa Cenerentola at Utah Festival Opera. from The JuilliardSchool in 2006, and her bachelor's degree from the University of Recognized in the US and abroad for her Wisconsin-Madison in 2004. stunning interpretations of repertoire ranging from the early Baroque to that This season. TAMARA MUMFORD of today's composers, JENNIFER (Mezzo-Soprano) tours the US and LANE (Contralto) has appeared with Europe with Gustavo Dudamel and distinguished festivals and concert t h e Los Angeles Philharmonic in series worldwide in programs ranging performances of John Adams's The from recitals and chamber music to Gospel According to the Other Mary, and oratorio and opera. These include San appears in Lincoln Center's White Light Francisco Opera, the Metropolitan Festival in a performance of Mahler's Opera, Theatre du Chatelet L'Opera DasLied von der Erde.She also makes her de Monte Carlo, New York City Opera debutswith the San Francisco Symphony G6ttingen and Halle Handel Festspiels. Orchestra, Milwaukee Symph ony Aix-en-Provence, and the Palau de Orchestra Eugene Symphony, and la Musica in Barcelona. Many of her Santa Barbara Symphony. A graduate nearly 50 recordings released on the of the Metropolitan Opera's Lindemann Harmonia Mundi USA, Naxos, Opus Young Artist Development Program, 111, CBC Records, Koc h International Ms. Mumford made her debut there Newport Cassie Arabesque, VOx., PGM. as Laura in Luisa Miller, and has since Centaur, and Gaudeamus labels have appeared as Smeaton in t he new won awards, as have her two films: The production of Anno Bolena, and in Opera Lover and Dido 6- Aeneas . Now productions of Rigoletto, Ariadne auf associate professor of voice at the University of North Texas. Ms. Lane has in the Opera Orchestra of New York's held positions at Stanford University Rising Stars Series. She also appeared and the University of Kentucky. Her at lincoln Center as a featured soloist in students have won Metropolitan Opera its Puccini 150th Birthday Celebration National Council, NATS, and other gala concert, and most recently made competition prizes and awards. They her Cincinnati May Festival debut in have participated in prestigious young a performance of Elijah conducted by artist programs, served as teaching James Conlon. fellows, and won graduate fellowships. A number of them are nationally and KRISTIN EDER (Mezzo-Soprano) internationally active. enjoys an active career as a performer of operatic oratorio, and recital repertoire. Thisseason. JULIANNADI GIACOMO She has most recently appeared as a (Soprano) makes her debuts at the Los guest artist with organizations including Angeles Opera as Donna Anna in Don the Tallahassee Symphony Orchestra Giovanni, the Petruzelli e Teatri di Bari the Illinois Symphony Orchestra, as Desdemona in Otello, and the Opera t he Oa k land Choral Society, Ann National Montpellier in Les Roys dYs. Arbor Cantata Singers, the Bozeman She also returns to the Teatro Real de Symphony, and the Adrian Symphony. Madrid forthe title role inSuor Angelico She has also performed with the Arbor and appears in concert with the Israel Opera Theater, the Metropolitan Philharmonic and the Netherlands Baroque Ensemble, and the U-M Opera Radio Philharmonic Orchestra. Theater. Ms. Eder's operatic roles include Ms. Di Giacomo made her debut Jo in Little Women, the title role in at the Metropolitan Opera as Clotilde Gluck's Armide, Dido and the Sorceress in Norma and has since returned in Dido and Aeneas, Marcellina in Le for Lina in Stiffelio and Leonora in Il Nozze di Figaro, Mercedes in Carmen, Trovatore. Other recent NorthAmerican and Florence Pike in Albert Herring. engagements have included her debut In May 2011, Ms. Eder completed her with the Los Angeles Philharmonic in doctorate in vocal performance at the performancesofMahier'sSymphonyNo. University of Michigan. where she 8, conducted by Gustavo DudameL in both also received master's degrees in vocal Los Angeles and Caracas and broadcast performance and choral conducting. live to movie theaters in North and South Her concert repertoire includes Handel's America; excerpts from Don Giovanni Messiah, Durufle's Requiem, Verdi's with the New York Philharmonic; Il Requiem, Stravinsky's Pulcinella, Trovatore and Mathilde in Guillaume Mozart' sRequiem andMoss in c minor as Tell at the Caramoor International Music well as all of Bach's choral masterworks. Festival; Mme. lidoine in Dialogues des Ms. Eder resides in Ann Arbor with her Carmelites at t he Pittsburgh Opera; husband and two young daughters and Fiordiligi in Cosi fan tutte; and Donna is currently a lecturer of vocal music at Elvira in Don Giovanni at the New York U-M and an adjunct professor of vocal City Opera She made her Carnegie Hall and choral studies at Adrian College. debut as Lucrezia in I due Foscari with Eve Queler and the Opera Orchestra of New York and returned for Rossini's Staoot Moter and as a featured recitalist heUNIVERSITY SYMPHONY he U-M CHAMBER CHOIR, ORCHESTRA (USO) is conducted by Jerry Blackstone, T considered one of the world's T Director of Choral Activities, finest student orchestras. Under the perfonns a broad spectrum of repertoire auspices of the School of Music Theatre and frequently collaborates with & Dance, the usa serves as a training instrumental ensembles. Its 45 members ground for gifted young musicians, are graduate and undergraduate many of whom go on to play in major students majoring in vocal performance symphony orchestras. and for students music education, or conducting. Recent in U-Ms highly competitive and sought appearances have included performances after orchestral conducting program. at national anddivision conventions of the ranked number one in the United States. American Choral Directors Association, Conducted by KennethKieslersince 1995, an appearance by special invitation at the usa has toured to the festivals of the inaugural conference of the National Salzburg and Evian. premiered dozens of Collegiate Choral Organization, and ne'/{ works by contemporary composers. acdaimed performances with the Detroit played the American premiere of James Symphony Orchestra at Orchestra Hall in P. Johnson's The Dreamy Kid, and t he Detroit. first performance since 1940 of the same composer's De Organizer. The usa has he U-M UNIVERSITY several recordings currently available CHOIR, a 95-voice ensemble at including first-ever recordings of music T the U-M School of Music Theatre by Leslie Bassett Michael Daugherty, and & Dance, is comprised of music majors William Bolcom on the Equilibrium label. in vocal performance, music education. Four other CDs are available on the Naxos piano, organ, composition. and theory. labeL including excerpts from operas by They are conducted by Eugene Rogers. David Amram. David Schiff, Abraham Associate Director of Choirs. Ellstein. and Paul Schoenfield. In 2010, t he USO released on t he Dorian Sono Luminus label its he U-M ORPHEUS SINGERS recording of The Old Burying Ground an is a 25-voice ensemble comprised orchestral song cycle for soprano, tenor, T of upper level undergraduate and folksinger by Evan Chambers. Its students in vocal performance and music reputationasoneofthe leading orchestras education, and is led by graduate choral of its kind was affirmed in 2005 when conductors. They frequently appear with the orchestra received the Grammy instrumental ensembles and collaborate Award for kBest Oassical Album" for the with the Chamber and University Choirs premiere recording of William Balcom's in the presentation of major works for Songs of Innocence and of Experience. In chorus and orchestra 2011, the USOwas the recipient of the prestigious American Prize in Orchestral Performance. Last year the orchestra ormed by a group of local released world premiere recordings university and townspeople who of Alberto Ginastera's Three Piono Fgathered together for the study of Concertos with Barbara Nissman on the Handel's Messiah. the UMS CHORAL PierianlabeL UNION has performed with many of the world's distinguished orchestras Union remains open to all students and conductors in its 134-year history. and adults by audition. For more First led by Professor Heruy Simmons information on how to audition. please Frieze and conducted by Professor Calvin email [email protected]. call Cady, the group assumed the name The 734.763.8997, or visit www.ums.orgJ Choral Union Since its first performance about/ums-choral-union of Handel's Messiah in December 1879, the oratorio has been performed by the VMS Choral Union inAnnArbor annually. h e U-M PERCUSSION Based in Ann Arbor under the aegis of ENSEMBLE hascommissioned VMS. the 175-voice Choral Union. led by T performed and recorded works music director Jerry Blackstone, is knovm from a global array of musical cultures. for its definitive performances of large Many ofth e compositionspremieredhave scale works for chorus and orchestra. gone on to enter the standard percussion Seventeen years ago, the UMS Choral canon. and the ensemble has numerous Union further enriched that tradition recordings to its credit on a variety of when it began appearing regularly with labels. The ensemble is co-directed by the Detroit Symphony Orchestra (050). assistant professors of percussion Joseph Participation in the VMS Choral Gramley and Jonathan Ovalle. UMS ARCHIVES Tonight's performance marks Maestro Kenneth Kiesler's second appearance under VMS auspices. Maestro Kiesler made his UMSdebut in January 2004 conducting the University Symphony Orchestra in the HillAuditorium Re-Opening Celebration. This evening's performance marks the 57th appearance of the University Symphony Orchestra under VMS auspices. The Orchestra made its VMS debut in February 1880 under the baton of Calvin Cady and most recently performed under VMS auspices in April 2004 as part of the Grammy Award-winning recording and performance of William Bolcom's Songs of Innocence and of Experience at Hill Auditorium. Tonight's performance marks the 423rd performance of the UMS Choral Union under VMS auspices. The UMS Choral Union made its debut in December 1879 in its first Ann Arbor performance of Handel's Messiah. The Choral Union most recently appeared in January 2013 with the Detroit Symphony Orchestra and Maestro LeonardSlatkin in a celebration concert of the Frieze Memorial Organ at Hill Auditorium. The U-M Chamber Choir makes its third UMS appearance this evening. follO'N"ing its March 2012 performance with Mason Bates and members of the San Francisco Symphony in the American Mavericks Festival at Hill Auditorium. The U-M University Choir and Orpheus Singers make their second UMS appearances, following their most recent VMS performances in April 2004 as part of William Balcom's Songs of Innocence and of Experience at Hill Auditorium. Soprano Julianna Di Giacomo makes her second UMS appearance this evening. following her UMS debut in December 2012 in Handel's Messiah. Soprano Brenda Rae also makes her second UMS appearance this evening. following her UMS debut in February 2013 in Handel's Radamisto with The English Concert and Harty Bicket. Tonight marks contralto Jennifer Lane's second VMS appearance. follO'N"ing her April 1995 VMS debut as a soloist with the Mark Morris Dance Group and Boston Baroque Orchestra and Otorus. UMSwelcomes the U-M Percussion Ensemble and soloists Sophie Delphi$. Lori Phillips. Kristin Eder, Tamara Mumford. Dan Kempson. and Sidney Outlaw, who make their UMS debuts this evening. Please refer to your program book insert for complete rosters of all performing ensembles in this evening's performance. You're Invited. 2013-2014 Season Announcement Party Friday, April 12, 4:30-7:30 pm Michigan League ~ums BE PRESENT Espef'anza Spaidng, Double Boss, Electric Boss, and IbcoIs Radio Music Society Leo Genovese, Piano, Rhodes, and Keyboard Lyndon R<:x:helle, Drums and Backing Vocals Ricardo Vogt, Electric Guitar Jeff Galindo, Trombone Corey King, Trombone Ben MacDonald, Tnmpet Leala Cyr, Trumpet and BackIng Vocds Dan Blake, TellO( aOO Soprano Saxophones Halley Niswanger, Alto Saxophone Aaron Burnett, Baritone and Tenor Saxophones Chris 1I.Jrner, Backing Vocals Saturday Evening, April 6, 2013 at 8:00 Michigan Theater' Ann Arbor 58th Performance of the 134th Annual Season Photo; Esp«anza Spalding, photograpflQf; Carlos Pericas, courte5Y of Montuno, PROGRAM Tonight's program will be announced from the stage by the artists and will be performed without intermission. Media partnership is pra.ided by WDET 101.9 FM, WEMU B9.1 FM, and Ann AtOO's 107one. ~umslobby Scan for an artist playUst! Grammy Award winner Esperanza Spalding shares what she has been listening to lately. Download a free QR code reader app on your smart phone, point your camera at the code, and scan to see multimedia content assist. vocalist. and composer Esperanza Spalding unveils the brilliant compositions of her latest project. Radio Music Society, into a dynamic B"big band" format. Inspired by her desire to write for large ensembles, Ms. Spalding has crafted her performances to spotlight the talents of her 12-piece, world-class band Weaving high-caliber artists into the context of a big band could be a challenge, but not for her. Her ability to combine musical styles makes her writing accessible to audiences across the spectrum. Radio Music Society is a companion project. rather than a sequel to Ms. Spalding's previous internationally acclaimed Chamber Music Society, which culminated in her winning the NBest New Artist" Grarnmy Award in 2011. Radio MusicSociety isher most diverse, ambitious andrnasterfulrecital yet. Ms. Spalding's dynamic performances are nothing less than exhilarating when experienced live. As Jeff Baker of The Oregonian once wrote, "This was about art, performed at the highest level by someone with the vision. talent. and determination to make it happen: Follow the Radio Music Society online at: www.esperanzaspalding.com. ARTISTS system. On top of that she was shut in by a lengthy illness as a child. and as aresult. rom the beginning of her life to was home-schooled for a significant her current success as a creative portion of her elementary school years. Fmusician, ESPERANZA However, the one pursuit that SPALDING has charted her own made sense to Ms. Spalding from a course. The young bassist, vocalist, very early age was music. At age four, and composer was one of the biggest after watching classical cellist Yo-Yo breakout stars of 2011- not just in jazz. Ma perform on an episode of Mister but in all genres of music. Her receipt of Rogers' Neighborhood, the roadmapwas the 2011 Grammy Award for "Best New suddenly very clear. "That was when I Artist" was unprecedented - the first realized that I wanted to do something time a jazz musician had won the award musical" she says. NIt was definitely the - but Ms. Spalding continues to make thing that hipped me to the whole idea of the unprecedented the norm. music as a creative pursuit." Born in Portland. Oregon, Ms. Within a year, she had essentially Spalding grew up in a single-parent taught herself to play the violin well home and learned early lessons in the enough to land a spot in The Chamber meaning of perseverance and moral Music Society of Oregon. a community character from the role model whom orchestra that was open to both children she holds in the highest regard to this and adult musicians. She stayed with the day - her mother. But even with arock group for 10 years, and by age 15, she solid role model school did not come had been elevated to a concertmaster easy to Ms. Spalding. although not for position. By then. she hadalso discovered any lack of intellectual acumen. Shewas the bass, and all of the non-classical both blessed and cursed with a highly avenues that the instrument could open intuitive learning styIe that often put her for her. Suddenly, playing classical music at odds with the traditional education in a community orchestra wasn't enough for the young teenager anymore. Before which featured pianist Aruan Ortiz long she was playing blues. funk. hip-hop. and drummer Francisco Mela. She and a variety of other styles on the local presented the many different sides of club circuit. Her first band. Noise for her writing on Esperanzo, her 2008 Pretend expanded her musical horizons international debut recording for and presented her earliest opportunities Heads Up. a division of Concord Music to sing and write music. Group, which quickly topped Billboard's At 15. Ms. Spalding left high school Contemporary Jazz Chart and became for good. Armed with her GED and aided the year's best selling album worldwide by a generous scholarship. she enrolled by a new jazz artist. Numerous awards in the music program at Portland State and appearances followed including an University. After a move to the opposite invitation by President Barack Obama coast and three years of accelerated to appear at both the White House and study. Berklee College of Musicwas the the Nobel Peace Prize Ceremony. andan place where the pieces all came together appearance on the Late Show with David and doors started opening. She not only Letterman that found Letterman and earned a BM. but also signed on as an bandleader Paul Shaffer proclaiming instructor in 2005 at the age of 20 - an the young musician the Ncoolest" guest in appoinbnent that has made her one of the three-decade history of the program. the youngest faculty members in the Ms. Spalding continues to spread her history of the college. She was the 2005 message around the globe. In addition recipient of the prestigious Boston Jazz to over no Chamber Music Society Society scholarship for outstanding concerts. she still found time to tour musicianship. with Joe Lovano's UsFive. perform at Ms. Spalding has gone through Rock In Rio with Milton Nascimento. several phases. which have been play at Prince's Welcome 2America tour. well documented during her brief and join Wayne Shorter in celebrating recording career. Her journey as a solo Herbie Hancock's 70th birthday at the artist began with the 2006 release of HollywoodBowlinLosAngeles. Junjo. on the Spanish label Ayva Music UMS ARCHIVES This evening's concert marks Esperanza Spalding's second appearance under UMS auspices. Ms. Spalding made her UMS debut in November 2008 as a member of Joe Lovano's UsFive Quintet at the Michigan Theater. UMS welcomes all of the members of Radio Music Society. who make their UMS debuts this evening. Ragamala Dance Sacred Earth Wednesday, April 24, 7:30 pm Power Center Funded in part by Arts Midwest Tourire Fund Media Pilltner5 Between the Lines and Metro Times ...., ~ums IE PRESENT Tickets on Sale Now For more information, visit www.ums.orgorcall 734.764.2538. Written and Directed by Suzanne Andrade Film and Animation by Paul Barritt Created by 1927 Wednesday Evenng, AprlIIO, 2013 at 7:30 Thursday Evening, ~Ill , 2013 at7:30 Friday Evening, Aprl12, 2013 at 8:00 Saturday Afternoon, Aprl13, 2013 at 2:00 Saturday Evening, Aprl13, 2013 at 8:00 Sunday Afternoon, Aprl114, 2013 at 2:00 Performance Network· Ann Arbor 59th, 60th, 61st. 63rd. 64th. and 65th Performances of the 134th Annual Season International Theater Series Photo: Production pt\()(O o r 1927$ Thq Anmats ond Childrqn Took to t hq StrlllVtS. WrierandDiredor Animation Assistant Suzanne Andrade Derek Andrade Film andAnimation PfTformers Paul Barritt Sue Appleby, Lewis Barfoot, Eleanor Buchan Music Ullian Henley Voice of the Caretaker )amesAddie Costume Design EsmeAppleton, Sarah Munro Production Manager Steve Watling Costume Construction Alice Buckingham. Jenny Trent, p"",~ Imogen Walker )0 Crowley Originalfy performed tty Suzanne Andrade, Esme Appleton, and Lilian Henley. The Animalsand Children Took tothe Streets is approximate/yone ho!.r in duration and is performed wihoul: intermission. 0.) Following Wednesday evening's opening niglt performance, please feel free to remain in yOU" seats and join us for a post-performance Q&A with members of the company. The Saturday evening performance is sponsored by Susan and Richard Gutow. The School Day Performance is sponsored by David and Jo-Anna Featherman. Media partnership is pra.ided by B~ the Lines and Michigan Radio 91.7 FM. ARTISTS the beginnings of their debut show in cabaret venues. spoken word nights. 927 is a London-based and comedy clubs and supported major performance company that cabaret acts and bands. including The 1 specializes in combining Dresden Dolls at the Roundhouse performance and live music with London. In 2007. 1927 premiered its animation and film to create magical debut show Between the Devil and the filmic theater! Celebrated at home and Deep Blue $eo at the Edinburgh Festival overseas. 19Z7 was founded in 200S by Fringe. Between the Devil and the Deep writer, performer. and director Suzanne Blue Seo was immensely successfuL Andrade and animator and illustrator achieving critical acclaim. multiple sell Paul Barritt. In 2006. performer and out seasons and winning five Industry costume designer Esme Appleton and Awards (Herald AngeL Fringe First. performer, composer, and musician Arches Brick. Carol Tamber. and Total Lillian Henley joined and in 2007 Theatre Award). Following the success prooucer JoCrowJey began collaborating and unprecedented demand which with the company. All four creative followed their Edinburgh debut. over members of 1927 come from different the course of the last four years 1927 artistic backgrounds. and it is the has presented the show in two sell-out collaboration and complete integration London seasons. toured to venues and between these various disciplines that festivals in every region in the UK and has paved the way for the company to across the globe to major international create its innovative and original war k theaters and arts festivals including 1927 cut their teeth on the London PS122 and Under the Radar in New York. cabaret scene. The Company performed Sydney Opera House. Malthouse Theatre Melbourne, Adelaide Cabaret Festival Opera in Berlin. Germany to create a nE"N' Perth Festival (Australia), Spoleto production of The Magic Flute which Festival (USA~ Uijeongbu Music Theatre premiered in November 2012 and will be Festival (Korea), Singapore Festival runningin rep until July 2013. Mladi Levi Festival (Slovenia), Dublin In 2013 1927 will be growing Festival Belfast Festival Macau Festival as it begins working with a new cast Hanover Festival (Germany), and the to tour The Animals and Children NE"N' Zealand Festival.Along the way, the took to the Streets across the UK and company has steadily developed a huge internationally for an II-month tour, following of dedicated supporters and visiting Hong Kong, Jordan, France, has been garnered with critical acclaim. Switzerland the US, Spain. China. Israel sell-out runs, two NE"N' York Drama Desk Holland Russia Latvia Ireland Austria Award Nominations and won the Peter Italy, New Zealand, Azerbaijan, The Brook Empty Space Award for kBest Ukraine, Armenia Georgia and Malta. Ensemble"in 2008. In 2013, 1927will begin to developanE"N' In 2010, following over a year of production for premiere in 2014. 1927 making, buried away in their studio in is based in London and is an Associate East London and research. development Company of the Young Vic Theatre. and work-in-progress performances in London. Glasgow, Edinburgh. NE"N'bury, and Chichester, 1927 premiered SUZANNE ANDRADE (Writer and its second production The Animals Director, 1927 Co-Artistic Director) and Children Took to the Streets in writes and directs 1927's work. Australia at Sydney Opera House and Before forming 1927, Suzanne was t he Malthouse Theatre, Melbourne. commissioned by the BBC to write a The show had its UK premiere at HAC in play for the West Yorkshire Playhouse. London in December 2010 and January The results were not particularly good 2011, garnering widespread critical which encouraged Suzanne to turn acclaim. and winning the 2011 Off West away from traditional script writing EndAward for kBest Entertainment." and try her hand at comedy and In 2011 and 2012 the show toured poetry. She faired marginally better to Australia China, NE"N' Zealand Sri and won several small-scale stand-up Lanka, United Arab Emirates, France, comedy competitions before moving Nigeria Croatia Ireland France, and the to London and establishing herself as a US. In the UK it was presented at Holt performance poet. After appearing on Festival Latitude Festival was selected Radio 3 (Mixing It, The Verb) Suzanne as part of the 2011 British Council met Paul Barritt. The pair created Edinburgh showcase and in London was several small shows involving her poetry presented at the National Theatre in and his projections. They gained a cult December 2011 and January 2012. The (small but loyal) following. Suzanne has show returned to the National Theatre created all of 1927's shows and most in December 2012 and January 2013 recently collaborated with Paul as 1927 where it was presented for a second to co-conceive a nE"N' production of The month-long repertory season in t he Magic Flute at the Komische Opera larger Lyttelton Theatre. 1927 also Berlin. which she co-directed. She is recently collaborated with the Komische currently writing 1927's nE"N' show for 2014. Suzanne is mainly consumed by project, Esme's interests outside of 1927 1927 but she occasionally pops up at the are playing the musical saw and guitar, cxld storytelling gig. pixilation. voice training. and perfecting her own peculiar brand of naturalism. PAUL BARRITT (Film, Animation, Esme is with the Conway Van Gelder and Design, 1927Co-Artistic Director) agency and would give her right arm to illustrated and animated The Animals be in a Shane Meadows film. and Children took to the Streets. Before forming 1927, Paul worked as a LILLIAN HENLEY (Composer) as freelance illustrator and animator. Paul both a musician and a performer is the has exhibited his artwork in various sort of intuitive collaborator that one galleries and has also made several dreams of working with! lillian's rather stand-alone films, all of which are unique skill lies in being able to translate distributed internationally, appearing sketchy thoughts and rough ideas into in film festivals throughout the UK amazingly catchy melodies. Her piano and Europe. He won an award at the scores hold 1927's shows together, are Oarklight Film Festival for hisshort film hugely atmospheric and range in sound Shed. Paul has co-created all of 1927's from classic silent film to Kurt Weill. shows and most recently collaborated lillian not only composes the scores but with Suzanne as 1927 to co-conceive a also performs in 1927s shows. at times new production of The Magic FJute at singing, playing piano, and changing the Komische Opera Berlin. for which costumes all at once! Outside of 1927, he created full-scale animation and Wlian is currently composing an album film. Paul is currently developing visual and is a core performer of Ragroof content for 1927's nE'V{ show for 2014. Theatres tea dances. You should see Paul is also a lecturer in animation and her rhumba. She has scored a number illustration at Middlesex University. For of silent films for the Barbican Hoxton more information on PauL please visit HaU and independent filmmakers and www.paulbarritt.com. is making quite a name for herself as a silent film pianist. For more information. ESME APPLETON (Co-Creator and pleasevisitwww.Wlianhenley.com. Co-Costume Designer, 1927 Associate) is an essential part of 1927's creative )0 CROWLEY (Producer) produced process. Not only does she perform the The Animals and Children took to the main role in each 1927 show, but she Streets. 1927 would flounder without 10. is also incremental in brutally editing She came on boardafter Edinburgh 2007 scripts. neatening scenes. conceiving of and has since become indispensable ideas. adding interactive moments. being to the whole process. 10 is a rare breed an assistant director, and liaising with of producer indeed. dealing with new Suzanne on initial scripts and Paul on shows. touring. finances. funding. control aesthetic ideas. Many of the interactive of creative collaborations, dealing with motifs that have become 1927's venues. press. promotion and overseeing trademark stem from Esme, who has an and advising on every single aspect of uncanny ability to think in terms of both 1927's work. She is. simply put a bit of live action and animation. Currently a legend. She's also a bit of a ballerina. in demand to appear in many a film Outside of 1927, 10 also produces work with Ridiculusmus Theatre Company. MuchAdoAoout Nothing (UKfEuropean artist Kazuko Hohki, Australian Tour); Mephisto in The Vaudevillians performance trio The Suitcase Royale, (Les Enfants Terribles); John Godber's and supports and advises a number of adaptation of 20.000 Leagues Under the independent artists, companies, and Sea (Hull Truck); Little Women (Duchess emerging producers. Theatre, West End);Cinderelia inInto The Woods (Landor Theatre); South Pacific SARAH MUNRO (Costume Designer) UK Tour; Bobbie Ellis alongside Alison is one of t he co-founders of t he Insect Steadman in Losing Louis (Trafalgar Museum and Insect Circus, with Studios/UK tour) and Lady Macbeth whom she performs and designs. She (Shakespeare's Globe). Sue's work as a is a frighteningly creative and clever musical director includes Three Men in woman whom 1927 hope to work with a Boot (UK Tour~ 20.000 Leagues Under in the future. Sarah designed some of t he the Sea alongside director John Goober, costumes in The Animals and Children and the West End productions of Cool Took to the Streets. and helped 1927 Hand Luke (Aldwych ), Carrie's War realize its own designs and demands. (Apollo), Little Women (Duchess) and Please see www.insectcircus.co.uk for Anne of Green Gobles (Lillian Baylis). She more information. coaches many industry professionals and teaches singing at several top drama DEREK ANDRADE (Animation schools. For the past six years. she has Assistant) assisted Paul with animating led t he nationally acclaimed jazz band Zelda's gang. as well as providing limelight. valuable criticism and encouraging words throughout the process. He is a LEWIS BARFOOT (Performer) is a stop-frame animator and film maker singer, actress, and t heater maker. She who has made music videos for Emmy has been devising, co-creating. and the Great and worked for RSA films and writing songs and plays for theater since Future Shorts. For more information. 2005. She has just returned from touring please visit http://cargocollective.com/ the US as Kate in Taming of the Shrew derekandrade. with Aquila Theatre. Lewis premiered her debut solo show The History of The SUE APPLEBY (Performer) trained Pomegranate in 2011 with Arts Council at The Central School of Speech and support at Jackson's Lane. Other theater Drama. She has a first class degree in credits include: Loser (Company FZ, music and drama from The University International Mime Festival~ Richard II of Birmingham, with three years of (Old Vic~ Hamlet (Old Vic~ Hedda Gobler classical singing and piano training at (Bulandra Bucharest), When Five Years the Birmingham Conservatoire. Sue Pass (Arcola), Up TheCate De Fbris (Nev-.r worked with renowned conductor John Players), Incontinentol (Kazuko Hohki Wilson and his Orchestra in The Good Productions), Hidden Birds (Winner of Companions for Radio 3, the Rodgers Les EurotopiquesAward. Lille France) and Harrunerstein and Hollywood Proms and WOLF (Authentic Artist Collective). for BBC lV/Radio, and at Abbey Road lV credits include: Pissed On The Job, Studios. Theater credits include: Three Whitey Blighty. and Forgiven (C4) . Men in a Boat (UK Tour); Beatrice in Lewis is currently performing allover the UK as a solo singer/songwriter and embark on a career in social work Steve has previously sung with the pop. funk. returned to the world of theater in 2007 and folk bands The Fruit People. Geezer. as a technician. stage manager. and and RUn. enjoying gigs at Glastonbury. production manager and has enjoyed Lovebox. The Union Chapel Bath Pump working with some lovely people and Rooms. Southbank Centre. Edinburgh some great companies. Recent work Festival. and Folk Festivals all over the includes Monkey Bars (Chris Goode & UK. She hopes to record her debut album Company). Thirsty (The Paper Birds). soon. Ropunzel (BalletLorent). Beauty and the Beast and The Ugly Duckling (Northern ELEANOR BUCHAN (Performer) Ballet). The Giant 6- the Bear (Unlimited trained at Ecole Philippe Gautier and Theatre). and two years supporting at Central School of Speech & Drama. a number of shows at the Edinburgh Theater credits include La Fille 0: la Festival. Mode (National Theatre. BAC. V&A. Barbican. Theatre Royal Haymarket and This week's performances mark 1927s international tour); Put Up Job (Gideon UMSdebut. Reeling at Bestival); Terror 2011 (Soho Theatre); Indiscreet (BA.C~ BrokenDown (Theatre 503); Merely Players (SHUNT); Co -commissioned by BAC. Malthouse Theatre The Advice Booth (Forest Fringe at Melbourne. and The Showroom (University of Latitude); Titus Andronicus. Henry VI Otichester~ Ports L IL and III (The Scoop); Oockwork SupportedbyCorn~ Newbwy. (Cambridge ADC); Private Lives. The Development support from "The A~ Manipulate Dead of Night (Sheringham Rep); Things Visual Theatre FestivaL and Puppet Animation You Said in the Dark (BAC); The Tin Soldier (International Tour); Haozkla """""Developedwith funding frornArts Council England. (Bedlam Theatre); Your Ex-Lover is Dead (Arches Glasgow); Closer (The Roxy); 1927 would liketo thank: Shelley Hastingsandallat The Merchant of Venice. Measure for BAC Ben Franrombe. ~ Soper. Vince Field, and all at The Showroom and University of Otichester. Measure. Twelfth Night (CSSD). Film Stephen Armstrong. Michael Kantor. and the credits include The Eden Project; Me. Malthouse Theatre. Virginia Hyam. Pip Sprott. and Jane; Not Waving But Drowning; Ways Sydney Opera House. Nick Gilesarvi Com Exchange Newbury. Simon Hart and Puppet Animation of Eating; Free Time; Waking Up On Scotland LJ Dodd and the Arches. Warren Dent The Wrong Side of Bed. Eleanor is part and Bethnal Green Working Men's Cub. Richard of ArtForEating. a collective that runs Eustace. Jim Leaver. and the production team at the National Theatre. Shoreditch Town Hall. Sue performance-based pop-up restaurants Emrnas, Drnd Lan. and the Young Vic lizlittlewood and interactive dining experiences. and Arts Council England. The British Council for its continued championing of and support for presenting ourwork internationally. Special thanks STEVE WATLING (Production to Nick Rintoff. Vicki Pettifer. Steven Barritt. Manager) has been involved behind the Julian KrispeL Natasha Tonkin Lucy Brooks. Alexis scenes of theater since 1986. working Bradburn David 500]:\ Beclti Haines, Co<:o Jadson, PatriciaShaw. Jonny Aldous, and Naomi Hill. Thanks at a number of theaters before joining to e've.yorte who has helped and supported us along the stage management team at the .,."". West Yorkshire Playhouse in 1988. which he then left in the mid-1990s to For more information pleasevisitwww.19-27.co.uk. Alison Balsam and the Scottish Ensem ble Saturday, April 20, 8 pm Hill Auditorium Works by Gmlinioni,Albinon( HancM, V;.rold( and Purcell. Spons.ored by: UNITED n .....""uJ ... r SUppofted by: Renee:ade Ventures Fund. Jerry and Gloria Abrams. and Dennis and Ellie Serras Medii! partners WGTE 91.3 FM andWRq 90.9 FM (;'::ums IE PRESENT Tickets on Sale Now For more information, visit www.ums.orgorcall 734.764.2538. Edward Dusinberre, Violin Karoly Sc hranz, Violin Geraldine Walther, Viola Andras Fejer, Cello Friday Evening, April 12 , 2013 at 8:00 Rackham Auditorium' Ann Arbor 62nd Performance of the 134th Annual Season 50th Annual Chamber Arts Series Photo : Composer Ek>njamin Brilten (lefl) and tenor Peter PI!a1S, photoBrapher: Ce Franz Joseph Haydn String Quartet No. 63 in B-flat Major, Op. 76, NO.4 Allegro con spirito Adagio Menuetto: Allegro Finale: Allegro, rna non trappe Benjamin Britten String Quartet No.3, Op. 94 Duets: with moderate movement Ostinato: very fast Solo: very calm Burlesque: fast - con fuoco Recitative and Passacaglia (La Serenissima): slow - slowly moving INTERMISSION Ludwig van Beethoven String Quartet in c-sharp minor, Op. 131 Adagio, rna non trappo e molto espressivo Allegro molta vivace Allegro moderato Andante, rna non trappo e molta cantabile - Andante moderato e lusinghiero - Adagio - Allegretto - Adagio, rna non trappo e semplice - Allegretto Presto - Molto poco adagio Adagio quasi un poco andante Allegro All movements played attacca, without pause. Tonight's performance is sp:>nsored by Edward and Natalie Sura.-ell and Howard Hanna Real Estate Services. Media partnership is pra.ided by W:;TE 91.3 FM. The Takacs Quartet appedI"S by arransement with SeIdy Cramer Artists and records for H)operion and Decca/London Records. The Takacs Quartet is Quartet-in- Residence at the Uniwrsity of Colorado in Boulder and are Associate Artists at W'iSITlOll! HaU, London. For more information, pleasevisit www.takacsquartet.com. NOW THAT YOU'RE IN YOUR SEAT ... Now that the expression "late quartet" has become the title of a Hollywood movie (which. rnoreO'ler, revolves around a performance of Beethoven's Op. 131l it is fair to assume that the implications of the term are well understood. In this case, Nlateness· refers to the fact that with advancing years. many composers' styles became more serious andmore profound in the film. the musicreflects the issues the members of the quartet encounter as they. too. reach a certain age. Tonight's program is made up of three quintessential Nlate quartets: Joseph Haydn almost single-handedly turned the string quartet into one of the most sophisticated forms in classical music. In his final efforts in the genre, written whenhewas inhis mid,- 60s. he attained the summit of his quartet-writing: structural perfection is paralleled by an unprecedented range of emotions expressed by the four instruments. Benjamin Britten's third quartet the last composition completed by the English composer born 100 years ago. is unmistakably a farewell to life. while Beethoven's epochal masterpiece in c-sharp minor, as well as the other four he wrote in his final years. were the works that gave rise to the expression "late quartet" in the first place. Every single note in the three quartets heard tonight is amatterof life and death; standing at the end of their respective careers. each composer attaineda levelof concentration that hadnot been present in their earlier works.These quartets are summations of three lifetimes of experience as well as profound messages for posterity. String Quartet No. 63 in B-flat Major. the unsophisticated peasant charm of the Op.76. No. 4 "Sunrise' (1797) ' Menuetto' offers a welcome respite. With Franz Joseph Haydn great rhytlunicverve. Haydn bJilds this entire Born March 31.1732inRohnru,AustTia section on the opening motif. The trio that DiedMay31.1809in Vienna comes in the middle apparently also has its origin in folk music. but the outlook is not SNAPSHOTS O F HISTORY.. IN 1797: nearly so sunny and cheerful Over a sustained • ~eon defeats Austriil in the Battle of Rivoli drone in the viola and cello, the violins play in Italy the rather oppressive melody with its heavy · Jane Austen po..blishes her now! FIrSt Imrxessions accents. The "Menuetto' returns at the end of (later po.bIished as Pride and Prejudic{!) the trio. • John Adams becomes the second President of The ' Finale' is written in the carefree ,,",US style of Haydn's earlier quartets. The melody • BeethoYenwrites his Pklno SonGta incmilor is believed to be an adaptation of an English C-Pathetique'1 folk song. perhaps one he heard on his trip • Franz Scho.bertis 00m to London. Organized in three-part form, the middle section is in minor, but with no In theviewof many, Op. 76, No. 4 is the finest lessening of its overriding vivacity. To among Haydn' s83 quartets. R3rely, if ever, did heighten the movement's exhilaration and he equal its luminous spirituality and depth of good humor, Haydn marks the coda (which feeling. Perhaps Haydn intended this quartet. is a technical minefield for the players) 'Pili with its prominent viola part, for his awn use, allegro: or ' faster: and then 'Pili presto: since hewas also an avid quartet violist. ' faster yet.' for a thrilling conclusiOIL The nickname, ' Sunrise: widely accepted in the US and England but seldom Program note h!l Melvin Berger. used elsewhere, comes from the very opening of the quartet. where the first violin traces a loving curve of ascent above a soft sustained chord. much as the sun gloriously StringCluar1etNo.a Op. 94 (1975) rises to bathe the earth in its radiance. There Benjamin Britten are two more motifs in the first group: one BomN~mber2Z 1913in~oft, stated by the viola amidst long held notes in England the violins and cello; the other, a repeated DiedDecember 4, If/76in AldebW"gh rhythmic figure combined withnmning 16th note passages. The second subject starts with SNAPSHOTS O F HISTORY... IN 1975: • The Vietnam War ends as the Comrrunist forces the cello playing what is essentially a mirror captlSe Sail/OO image - descending instead of ascending-of • Britten's friend Dmitri Shostakovich dies the first subject opening. It continues with • E.L Doctorow po.bIishes RagtirrK! an outgrowth of the first subject's last motif. • Milot Forman releases the film ()n{! Re.v CNer the The concluding theme of the exposition is a Cuc/(oo's Nest witty interplay of notes on and off the beat. • Andrei Sakhilrov receives the Nobel Peace Prize Although the remainder of the movement can be divided into the customary development, A valedictory work if ever there was one, recapitulation, and coda. Haydn creates such Britten's String Quartet No.3 was written a strong feeling of inner cohesion that the by a dying man. Ever since his open-heart overall musical effect is one of sustained. surgery in 1973, Britten was for all intents unifiedflaw. and purposes an invalid. requiringround-the The second movement is one of clock nursing care and unable to work for the slowest and most morose of all Haydn more than a few hours a day. It was also the adagiOS . Not conforming to any standard first composition in a long time that Britten structural organization, it is best described as wrote without a commission. The group a free fantasia on the opening five-note motif. that premiered the work (after Britten's Uniformly soft, with only occasional accents. death), the Amadeus Quartet, had had a the movement provides little solace and ends previous connection to the composer who in bleak despair. had collaborated with them as a pianist at After two such strong movements, an earlier Aldeburgh Festival; yet they didn't start working on the piece until 10 months after its completioIL (They played it through String Quartet in C". harp minor, for BritteninSeptember 1976.) Op.131 (1826) Critics have called this work the ludwigvan Beahoven pinnade of Britten's chamber music output, BomDecember IS,," 1& 1770inBonrr,. and pointed out its many connections to Gennan, the composer's final opera Death in Vertice DiedMarcl1261827in Vienna completed in 1973. The opera was based on Thomas Mann's celebrated short story SNAPSHOTS OF HISTORY-IN 1826: about the writer Gustav Aschenbach who, 'Jarnvs Ff!nirnoR!Coop(or~ ~Lost o{lM at the end of his life. discavers the ultimate Mohiccm image of beauty in the person of the young , SctU:lert wri\eos his last stl1r111 q,.wtet.lo G Major boy Tadzio. Qearly, this was the most directly • The 17-ye.ar-old Mendelssohn 'MitQos his autobiographical of Britten's operas. Britten Midsu"nme- N;g.,t'sl)Qan o.vtIIq rarely quoted his own music in his works, • NikoIaj l..I::>b Scan for Tracing the Qucrt«. Ganelt Schumann OVCIrviews the developmMt of the strinll Quartet through comPOSQrS indudin,l Ha)Vn. Beethown. and Britten Download a free OR code reader app on YOU' smart phonq, point your camera at the code, and scan to see multirm>dia contenl ARTISTS was released on Hyperion Records in the fall of 2012. The Takacs will also ecognized as one of the world's perform 8art6k cycles throughout the great ensembles, the TAKACS us. including performances at Ravinia R QUARTET plays with a Carnegie Hall, Princeton, Kennedy unique blend of drama warmth. and Center. Stanford UC Berkeley, Boston. humor, combining four distinct musical and Cleveland. The Quartet recently personalities to bring fresh insights to toured in North America with pianists the string quartet repertoire. Marc-Andre Hamelin and Garrick In 2012. Gramophone announced Ohlsson. induding concerts at New that the Takacs was the only string York's lincoln Center. quartet to be inducted into its first Hall of Fame, along with such legendary artists as Jascha Heifetz, Leonard Bernstein. and Dame Janet Baker. The ensemble also won the 2011 Award for Chamber Music and Song presented by the Royal Philharmonic Society in London. Based in Boulder at the University of Colorado. the Tak,lcs Quartet performs 90 concerts a year worldwide. in North America throughout Europe, as well as in Australia New Zealand. Japan and SouthKorea. In 2013 and 2014, the Takacs, newly-appointed as Associate Artists at Wigmore Hall in London will present five concerts per season there. including the three Britten QUartets (to celebrate the composer's lOOth birthdayyear~ the '" two Brahms viola quintets with British ~ violist Lawrence Power, and the Schubert ! Cello Quintet with American cellist ~ l"'~~~!lt5:~;,;;;:::j Ralph Kirshbaum. The Schubert Quintet ~ The Quartet is knovm for innovative Budapest by Gabor Takacs-Nagy, Karoly programming. In 2007 with Academy Schranz, Gabor Ormai, and Andras Award-winning actor Philip Seymour Fejer, while all four were students. It Hoffman, it performed Everyman in first received international attention Carnegie Hall inspired by the Philip Roth in 1977, winning First Prize and the novel. The group collaborates regularly Critics' Prize at the International String with the Hungarian folk ensemble Quartet Competition in Evian, France. Muzsikas, performing a program that The Quartet also won the Gold Medal explores the folk sources of Bart6k's at the 1978 Portsmouth and Bordeaux music. The Takacs performed a music Competitions and First Prizes at the and poetry program on a 14-city US tour Budapest International String Quartet with the poet Robert Pinsky. Competition in 1978 and the Bratislava The members of the Takacs Quartet Competition in 1981. The Quartet are Christoffersen Faculty Fellows at made its North American debut tour the University of Colorado Boulder. The in 1982. Violinist Edward Dusinberre Quartet has helped to develop a string joined the Quartet in 1993 and violist program with a special emphasis on Roger Tapping in 1995. Violist Geraldine chamber music, where students work Walther replaced Mr. Tappingin 2005. In in a nurturing environment designed 2001 the Takacs Quartet was awarded to help them develop their artistry. t he Order of Merit of the Knight's The Quartet's commitment to teaching Cross of the Republic of Hungary, and is enhanced by summer residencies at in March of 2011 each member of the the Aspen Festival and at the Music Quartetwas awarded the Order of Merit Academy of the West, Santa Barbara. Commander's Cross by the President of The Takacs is a Visiting Quartet at the the Republic of Hungary. Guildhall School of Music and Drama Follow the Quartet on Facebook at London. www.facebook.com/takacsquartet. The Takacs Quartet was formed in 1975 at the Franz Liszt Academy in UMS ARCHIVES This evening's concert marks the Takacs Quartet's 16th appearance under UMS auspices following its UMS debut in February 1984. The Quartet most recently appeared during the 2010-11 season performing three Schubert cycle concerts at RackhamAuditoriurn. GENEROUS UMS DONORS. LIFETIME GIVING The donors listed below have provided significant support to UMS over a number of years. We recognize those whose cumulative giving to UMS totals $500,000 or more. Mkhj ~ a n Economic OeY<.'Iopment Corporation Linda and Mau:'ke Blnl::ow National Endowment lor the Arl, Commu:"llly Foundation to< Southeast Mk:tM~ a n PI'Iz<'f,lnc. 00<" DuIre Charttable Foundation Randall and Mary Pittman FOfd Motor Company Fund and Community Serv\c", Phil and Kathy P MULTI-YEAR PLEDGES To help ensure the future of UMS, the fol/owing donors have made pledges that are payabie over multiple years. We are grateful to these generous donors for their commitments. $500,000 $ 5 0,000 Maxine and Stuart Franl::et MI!leI, canl\eld, Paddod<: and Foundation stone, P.L.C. Gibert Omenn and Martha oartI"Il $100,000 Linda Samuetson and)oel How<>II Wally and Robert Kk.1n janeandEdward Sd..... a k Oem" and EUle S"na, G!em E. watkins Marina and Robert Whitman Ann and Clayton Wlhlte Photo l¥ Mark Gjuk:ch Photograplty Tom Thompson/FIowers 665-4222 UMS SUPPORT JULY 1, 20ll - NOVEMBER 1, 2012 The cost of presenting world-class performances and educational programs exceeds the revenue UMS receives from ticket sales. The difference is made up through the generous support of individuals, corporations, foundations, and government agencies. The following list includes donors who made gifts to UMS between July 1, 2011 and November 1, 2012. Due to space constraints, we can only list in the UMS program book those who donated $250 or m ore. Please call 734.647.1175 w ith any errors or omissions. • indicates the donor made a contribution to a UMS Endowment Fund PRODUC ER Ed and Natalie So.roYeU ($500,000 O R MORE ) Ed.¥ard SUroYetI Realtors, Unlvenlly 01 Mktilean jane and Ed.¥ard Sd..... ak naw Howard HaMa RIchard and Ulilan Ive!; T""t' joe and Yvonne s..,; SUsan B. Ulhch' ~~ United Bani< and Tru,t DIRECTOR U- M Center tor Chinese studies ($100,000- $499, 999) ,-U-M 0II\a! 01 the SenIor Vlc:e Pr CONCERTMASTER PRINCIPAL Dr. and MIt. Il.d.t.nsoacher ((ONTINUlO) . ($2,500- $3,."11) ~and Henly AweIman I.WIc and\MllCe_ Ile'II¥d and RaQ.Ie4 ..._ SMICtf _ v.t>oay AQWno Tom and ConM IQrnNr Mi -~etand)ohnF __ Ib:IneV""""''''' SmItII. MD .1m and Jil Adiwns RIdc....,Sue~ -- ~ and Osar FKIman leIlIs and JucJy finn o.\5It'oe...... W """". »ert FeuerwerIoer Dr. _ Mos. o....a G.ArIdIencn _M kiIrI and KIIren WIi!Id< john Anderson _l$I_ ~andJilFwds - P;U and)u:ttttl Ffee photographer and proud supporter of UMS. Specialimg in many styles, indJdir.g: Event Fami~ Wedding Ifrom the center of the storm to the center of you i Engagement From full body massages to skin Portraiture core trllO,"",nts to WQ>dng and noll services, the Beilonina d Gift cords avolloble onytlme ot _w.BellonlnoDoySpo.com PATRON (CO HnNU~D ) , GfIII and All M<:OoniId )ac*: and ~ VandIer_ leon and _ FrII!man ~ WIne Sir...::l Re!itILnnI 811 and Bee FlAten JoIwI~Maueen_ EnicI It Gal .... ----Rcb University of Michigan Credit Union (UMCU) is proud to sponsor this season's performances! We hope you enjoy the show! u s,","': umcreditunion Federally Insured by NCUA CKmlT .-- UMLIr-..:[( )t", UMCUORG looking for the right office space in Ann Arbor? Call McMullen. POUR GENEllATI0N5 IN ANN AIUIOR IU!AL I!STATII www.annarborrotary.org www.McMullenProperties.com I 734.769.1800 8ENEFACTOR (COftnNU U ) . Raymond)amft &.t.ssocIile., Inc. Thc:Jmaoard CollEen c.ey RtuI....t~1onK Ilcio..V and Nancy f'tlooa Bartloara Matlloon CMT ShaIon and)ode II.IobI'IeIsd'I ....'-~andNrrt-.: MarIe and ~ KaormsI!I Ha ...... RotIlSIeIn ""'-B* and 5u5an" ChiI"""'" Helen and Marty Katz DoME.Rowan Tsun and SIu Yl"ll ChiInIi! Fmd and SU For Being an Instrumental Part 01 Our Community • Congratulations to our colleague, Stephen G. Palms, Vice Chair, UMS Board 01 Directors JOSEPH M. FAZIO [email protected] I 734.668.7633 ~~ H ~ "oH ' "' , I I ' P ~ 'W ' I IUS ' ~ ~ L ~ ~ ~ UJ • L ~ ~5 1 ~" ' S ~ HAW ' HeY ------Mn.LER CANFIElJ) ml l e GREAT PERFORMANCES ABOUND! WKAR-TV Music. dance and drama programming WKARRadio 24-hourclassical music and news from NPR WKAR.org Jazz. folk, classical and news radio streams ASSOCIATE (co.Tt.I,I(O). Chor1I>s and )JIIe Ells loAn _ DiIYk:I EV;wws ...... Ff __ GiJlBe;wer Dr·1oM Hunllncton ,.- GaenM> FDwNthet ~andMarprl!llrcrml Gary8edanan _ KotIo. ~ Dr. _".,. liM. FJmit -",.,..., Kenneth and E...... , Bmme< Pet.. and Rac/\HI"',.aan E,the< Am)aO:son CM,ana Bellow< and )oll Al:>E PROUDLY SUPPORTS TIlB UNIVERSITY MU S ICAL SOCIETY 610 HILTON BLVD. I .... NN ARBOR. MI ~"08 (U") 7.,_7&00 I WWW.KCOUIlTAA.COM ASSOC IA TE (CONTINUED). VIctor and \IalerIe Ro!ierIber\l RIel< and Ui!. stew>n. Ralph R. M ~_m Gretta SpIer and)onatt>an M. ~ PanZhenil carmi K. RoberI5en Kathel"lne R. SpInd<>r Gal and DavId lUI; DavId and AM stal£"l" Dr. SUsan M. Rose )ell and Kate stanley --Wo eJq:RlSl 0<1 ck/QpR>l ~ ro OU" rna", donas wtIo gt.R 1= !hal Q50 ENDOWED FUNDS The future success of UMS is secured in part by income from UMS's endowment funds. We extend our deepest appreciation to the many donors who have established and/or contributed to the following funds: H. Gardner and Bonnie Ackley Endowment Fund Franc ... M .... """' L"'" Choral Union Endowment Fund Helbert S. and carol Am,ter Endowment Fund Natalie Matovlnor;lc: Endowment Fund catherine S. An: ....e Endowment Fund Medeal eom ...... 1ty Endowment Fund Carl and Isabelle Brauer Endowment Fund NEA Matchl ~ Fund Hal and Ann Davis Endowment Fund ottmar Eberbach Fund. DorIs DuIre Charttable Foo..nc:Iation Endowment Fund Palmer Endowment Fund Epsteln Endowment Fund Mary R. RomI r- deY<>U:"I~ Mu,k Appmciatlon Fund Ilene H. For§yth Endowment Fund Prudence and Armon Rosenthal K- 12 Education SUsan and Rkhard Gutow R"""1lade Ventures Endowment Fund Endowment Fund CI">arIe; A. Sink Endowment Fund ~ N. and Katherine C. Hall Endowment Fund Herbert E. and DorIs Sloan Endowment Fund Norman and DebbIe Herbert Endowment Fund )ames and Nancy stanley Endowment Fund DavId and Phyl"' ~ Endowment Fund SUsan B. Ullrich Endowment Fund )auNet Endowment Fund UMS Endowment Fund WlUlarn R. Kinney Endowment Fund The Wallace Endowment Fund The arts unite us all. The power of the arts is to unite commlllrlies. givirP;J usa rush of emotion we want to share wrth others. At lklrted Bar;; &Trust. we're unrted in oor mission to acti'A'lyshow oor support for the arts. and for the manyvibranl communities we seM'.l.efscomJKIsesollllions together. UNITED n BANK &.. TRUST Solutions Together ubat.com MEMBER FDIC ALWAYS SESI MOTORS 3990 JACKSON ROAD , ANN ARBOR, MI 48103 (73 4 I 668-6100 PLANNED GIFTS / BEQUESTS We are grateful to the following donors for including UMS in their estate pians. These gifts will provide financial support to UMS for generations to come. This important support will continue the great traditions of artistic excellence, educational opportunities, and community partnerships in future years. Be TRIBUTE GIFTS Contributions have been made in memory of the following people: Bonnie Artley SldneyFlne__M ) a mesP a tIJld~ Robert Aldrkh Pete< Pollad< Helbert Arnst ... )ames Garava ~ ua Gall W. Redo< )Im and jenny Ga,diner ~,- --~Nancy L A«1one VIr ~ nIa Crandall Hills Stem ReI" Dr. Mel Barday Howard S. Holmes Mar ~ a ,et E. Roth,teln Raymond 8eme1' janet Wood, HoobIe, Erl< H. Rothstein H'~ Prot. Kenneth Rowe Dletrl Contributions have been made in honor of the following people: Mk:t\aet Alleman ~ Walt and Charlene Hancock )olin Sel/aU OJ Boehm )ames stanley jean W. campbell Chuck-- Ketly. VIr~nIa stein Dr. Minor j.")ud" Coon Ian KrIe ~ Enid Wa' ....man and Mkhael SIvak Sha,on Anne M GIFTS-IN-KIND The following people and organizations have generously provided in-kind donations and support: Ab I II Grear rhings ~~Jhs are happening ~ Cleaners in our schools. See, touch and smell the All tlw II lis Green Earth difference. toyou. Non-toxic An environmentally friendly new way of dry cleaning. !. L KEEt> E.\RTI i" 2268 S. Main St. Localed by Busch·s (In the oomer (If S. Main St. and Ann Arbor-Saline Rd. WWW.SUPPORTANNARBORSCHOOLS.ORG 734-998-1245 734-994-1969 www.irisdrycleaners.oo m Carol Austad. MD Carol Barbour. PhD Ronald Benson. MD Meryl Berlin. PhD Peter Bios, Jr.. MD Linda Brakel. MD Robert Cohen, PhD Susan Cutler. PhD Joshua Ehrlich, PhD Lena Ehrlich. PsyD Harvey Falit. MD Richard Hertel, PhD Erika Homann, PhD Bernadette Kovach, PhO Alan Krohn. PhD Howard Lerner. PhD Barry Miller. MD Giovanni Minonne, PhO Julie Nagel. PhD Jean-Paul Pegeron, MO Dwarakanath Rao, MD Ivan Sherick. PhD Merton Shill. PhD Michael Shulman, PhD Michael Singer, PhD Jonathan Sugar. MD Marie Thompson, MD DushyantTrivedi, MD Jeffrey Urist, PhD Gail van Langen, PhD MargaretWalsh, PhD Elisabeth Weinstein, MO Mark Ziegler. PhD Michigan Psychoanalytic INSTITUTE I SOCIETY Forchange that hlSts. Learn more about us. www.mpi-mps.org HOW DO I BUY TICKETS? ONLINE BY PHONE www.um s.org 734.764.2538 (Outside the 734 area code, IN PERSON call toll-free 800.221.1229) UMS Ticket Office BY MAIL Michigan League 911 North University Avenue UMS TIcket Office Mon-Fri: 9am-Spm Burton Memorial Tower Sat: 10am-lpm 881 North University Avenue Ann Arbor, MI 48109-1011 Venue ticket offices open 90 minutes before each performance for in-person sales only. TICKET DONATIONS/ UNUSED TICKETS If you are unable to use your tickets, please return them to us on or before the performance date (accepted until the published performance time). A receipt will be issued by mail for tax purposes. Please consult your tax advisor. Ticket returns count towards UMS giving levels. ACCESSIBILITY All UMS venues are accessible for persons with disabilities. For information on access at specific UMS venues, call the Ticket Office at 734.764.2538. Ushers are available for assistance. LISTENING SYSTEMS For hearing-impaired persons. Hill Auditorium, Power Center, and Rackham Auditorium are equipped with assistive listening devices. Earphones may be obtained upon arrival. Please ask an usher for assistance. For events with high sound volume, ask your usher for complimentary earplugs. LOST AND FOUND For items lost at Hill Auditorium, Lydia Mendelssohn Theatre, Power Center, Rackham Auditorium, or Arthur Miller Theatre, please call University Productions at 734.763.5213. For the Michigan Theater, call 734.668.8397. For St. Francis of Assisi Catholic Church, ca1l734.821.2111. REFRESHMENTS Refreshments are available in the lobby during intermissions at events in the Power Center, in the lower lobby of Hill Auditorium. and in the Michigan Theater. Refreshments are not allowed in seating areas. '- If you want to make parks greener, improve neighborhoods, even support the arts, the Community Foundation for Southeast Michigan can help. And keep your donation giving for generations to come. Scan the QR Code Visit CFSEM.org or call1-888-WE-ENDOW to find out more. for more information on how we can help. PARKING We know that parking in downtown Ann Arbor can be difficult and can sometimes take longer than expected. Please allow plenty of time to park. Parking is available in the Church Street, Maynard Street, Thayer Street, Fletcher Street, and Liberty Square structures for a minimal fee. UMS donors at the Patron level and above ($1.000) receive 10 complimentary parking passes for use at the Thayer or Fletcher Street structures in Ann Arbor. Valet parking is available for all Hill Auditorium performances on the Choral Union Series for a fee ($20 per car). Cars may be dropped off in front of Hill Auditorium beginning one hour prior to the performance. UMS donors at the Virtuoso level ($10.000 annually) and above are invited to use the valet parking service at no charge. FOR UP-TO-DATE PARKING INFORMATION, PLEASE VISIT WWW.UMS.ORG/PARKING. POLICIES. SMOKE - FREE UNIVERSITY As of July 1. 2011, the smoking of tobacco is not permitted on the grounds of the University of Michigan, including the exteriors of U-M theaters and concert halls. Smoking is allowed on sidewalks adjacent to public roads. TICKET EXCHANGES Subscribers may exchange tickets free of charge up until48 hours prior to the performance. Non-subscribers may exchange tickets for a $6 per ticket exchange fee up until 48 hours prior to the performance. Exchanged tickets must be received by the Ticket Office (by mail or in person) at least 48 hours prior to the performance. You may send your torn tickets to us by mail. fax a photocopy of them to 734.647.1171, or email a scanned copy to [email protected]. Lost or misplaced tickets cannot be exchanged. We will accept ticket exchanges within 48 hours of the performance for a $10 per ticket exchange fee (applies to both subscribers and single ticket buyers). Tickets must be exchanged at least one hour before the published performance time. Tickets received less than one hour before the performance will be returned as a donation. CHI LORE N / FAM IllES Children of all ages are welcome to attend UMS Family Performances. Children under the age of three will not be admitted to regular. full-length UMS performances. All children must be able to sit quietly in their own seats throughout the performance. Children unable to do so, along with the adult accompanying them. may be asked by an usher to leave the auditorium. UMS has posted age recommendations for most performances at www.ums.org. Please use discretion in choosing to bring a child. Remember, everyone must have a ticket regardless of age. Discover AmI Arbor's .... "\ \\1 11 Best Kept Cultural Secret cHI L M" Key Private Bank investments I trust I banking <>-Ir working in concert At Key Private Bank, we understand that your fi nancial life is complex, and we take a holistic approach to your planning needs. We listen to you; story, get to know you; hislOfy, identify yo ur urique financial needs, and ornate an actionable plan desigled to help you [Yrm, preserve, and protect you; wealth. Key Private Bank is people, ideas, and fi nancial instruments, working in COOC03rt to provide solutions lor you; financial well-being. go to key.comlkpb call Susan at 734-747-7970 !lri: m truoI p-tW:;ts from Ke>,ilri; N.DnaI Anocia4on, Mooilor FDIC ord &Ja' IWli>;t Unler. IIM>mm ts ..: NOT FDIC INSURED . NOT IlANKGUAR ..... TEED • MAY LOSE VALl.( • NOT A DEPOSIT • NOT INSURED BY ..... Y FEDERAL DR STATE GOVERNMENT ACENCY Key.com io • fedoraIy rogiolemd...... ,. ",",01 KI¥Corp. C 20t21'.e)C For more detailed information on how to get involved with UMS, please visit www.ums.org/voiunteer. STUDENT WORK- STUDY/INTERNSHIP PROGRAM Internships with UMS provide valuable experiences in all areas of arts management, including performing arts production, education, administration, ticket sales, programming. development, and marketing. For more information about available positions and how to apply, please visit W'NW.ums.org/jobs. UMS STUDENT COMMITTEE The UMS Student Committee is an official U-M student organization dedicated to keeping the campus community connected to the performing arts. For more information on how to join, please email [email protected]. USHERING Usher orientation sessions are held twice annually for new and returning ushers. You must attend an orientation to be eligible for ushering. Information about upcoming sessions is available at www.ums.or8lvolunteerassessionsarescheduled. For more information, contact Kate Gorman at 734.615.9398 or [email protected]. UMS CHORAL UNION Open to singers of all ages, the 170-voice UMS Choral Union performs choral music of every genre in presentations throughout the region. Participation in the UMS Choral Union is open to all by audition. Auditions are held in the spring and the fall of each year. To learn more. please contact Kathy Operhall at [email protected] or 734.763.8997. UMS ADVISORY COMMITTEE If you are passionate about arts advocacy, are looking for ways to spend time volunteering, and have a desire to connect with our organization on a deeper level. the UMS Advisory Committee may be a great match for you. To learn more, please contact Cindy Straub at [email protected]. UMS ADVERTISING 54 Academy of Early Music 4 Honigman Miller 38 Rotary Club of Ann Arbor 42 Alumni Association of the Schwartz and Cohn. LLP 44 Sesi Motors University of Michigan 48 Iris Dry Cleaners 26 Sheraton Ann Arbor 48 Ann Arbor Public Schools 56 Jaffe. Raitt, Heuer & Weiss 32 Silver Maples of Chelsea Educational Foundation PC 38 Smith Haughey Rice & 34 Ann Arbor Symphony 42 Kensington Court Roegge Orchestra 54 Key8ank 54 The Gilmore 24 Bank of Ann Arbor 56 Kumon 32 Tom Thompson Flowers 36 Bellanina Day Spa 36 Mark Gjukich 22 Toyota 46 Center for Plastic and Photography 44 United Bank and Trust Reconstructive Surgery 17 Maryanne Telese, Realtor 38 University of Michigan 26 Charles Reinhart Co. 38 McMullen Properties Credit Union Realtors IFC Michigan Economic 30 University of Michigan 12 Community Foundation Development Health System for Southeast Michigan Corporation 40 University of Michigan 52 Community Foundation 50 Michigan Psychoanalytic Museum of Art for Southeast Michigan Institute and Society 18C WEMU 28 Confucius Institute at the 22 Michigan Radio 32 WGTE University of Michigan 40 Miller. Canfield. Paddock 40 WKAR 36 Donaldson & Guenther and Stone. P.L.c. 24 Edward Surovell Realtors. 48 Real Estate One IFC· Inside front cover now Howard Hanna 48 Red Hawk and Revive + IBC· Inside back cover 2 Ford Motor Company Replenish Fund and Community 28 Retirement Income Services Solutions KUMQN' MATH . READING . SUCCESS. Academic Enrichment Pre-K - 12th Grade www.kumon.com FREE PLACEMENT TESTING Kumon of Ann Arbor - East 2741 Plymouth Road Ann Arbor, MI 4810S 734.761.4648 Instructor - Tzy-Wen Gong National Public Radio mixed with local public knowledge. I 09.1 Jazz is alive. And this is its house number. I 09.1 What crosstown rivalry? I 09.1 """d ~ b. (J,lS', m.die _ , "'the 1011-13 ....on '-' # U MS L O BB Y ~ums so, WHAT DID YOU THINK? UMSLOBBY. ORG JO I N US I N THE L O B BY ! Tell uswhatyou think on umslobby.org. whereyouU also find artist exclusives and behind-the-scenes videos and photos. SOCIAL facebook twitte,. You. facebook.com/ UM SNews twitter.com/ UMSN ews youtube.com/ UMSVideos ~ U MS 2013