o V Fall 2010 Season 132nd Annual Season
General Information Event Program Book Wednesday, November 10 through Sunday, December 5, 2010 On-site ticket offices at performance venues open 90 minutes before each performance. Vladimir Feltsman Children of all ages are welcome at Wednesday, November 10, 8:00 pm UMS Family and Youth Performances. Hill Auditorium Children under the age of 3 will not be admitted to regular, full length UMS performances. All children must be Stew & The Negro Problem 11 able to sit quietly in their own seats Thursday, November 18, 8:00 pm without disturbing other patrons. Friday, November 19, 8:00 pm Children unable to do so, along with Saturday, November 20, 7:30 pm the adult accompanying them, will be asked by an usher to leave the audito Saturday, November 20, 10:30 pm rium. Please use discretion in choosing 523 South Main Street to bring a child. Carolina Chocolate Drops 15 Remember, everyone must have a ticket, regardless of age- Friday, December 3, 8:00 pm Michigan Theater
While in the Auditorium Handel's Messiah 17 Saturday, December 4, 8:00 pm Starting Time Every attempt is made to begin concerts on time. Latecomers Sunday, December 5, 2:00 pm are asked to wait in the lobby until Hill Auditorium seated by ushers at a predetermined time in the program.
Cameras and recording equipment are prohibited in the auditorium.
If you have a question, ask your usher. They are hereto help.
Please turn off your cellular phones and other digital devices so that everyone may enjoy this UMS event disturbance- free.
In the interests of saving both dollars and the environment, please either retain this program book and return with it when you attend other UMS performances included in this edition or return it to your usher when leaving the venue. 30 i Baby Loves Salsa Family Performance Fall 2010 30 ; NT Live: FELA! I February I September 1 i 9- i The Cleveland Orchestra with i Pierre-Laurent Aimard, piano Oct 3 I Susurrus 2 i Jazz at Lincoln Center Orchestra with 25 I Rosanne Cash ! Wynton Marsalis 30 I La Capella Reial de Catalunya with 4 : New Century Chamber Orchestra with I Hesperion XXI and i Nadja Salerno-Sonnenberg, violin I Tembembe Ensamble Continue 10 i Blues at the Crossroads: The Robert i Johnson Centennial Concert i October 11 i Rafal Blechacz, piano- 7-9 j Paul Taylor Dance Company 12 ! Vijay lyer Trio and Rudresh Mahanthappa's 9 I Paul Taylor Dance Company ; Apex : Family Performance 13 ; Concertante with Rafai Blechacz, piano 10 i Mariinsky Orchestra with 18-19 : Merce Cunningham Dance Company: i Denis Matsuev, piano i The Legacy Tour 14 j Takacs Quartet: Schubert Concert 1 20 i Takacs Quartet: Schubert Concert 2 21 I Jerusalem Quartet 20 ; NT Live: King Lear 23-24! Sankai Juku: Hibiki: Resonance from 23 \ Kodo \ Far Away 27 | Venice Baroque Orchestra with i March I Robert McDuffie, violin 9 i Scharoun Ensemble Berlin 29 | Django Reinhardt's 100th Birthday 10-13 i Druid and Atlantic Theater Company: \ Celebration: The Hot Club of San j Martin McDonagh's The Cripple of I Francisco and The Hot Club of Detroit \ Inishmaan 31 i NT Live: A Disappearing Number 19 i Detroit Symphony Orchestra with the : UMS Choral Union: I November ; Mahler's Symphony No. 8 2 \ ONCE. MORE.: ONCE THEN 24 i Bach Collegium Japan: 4 I ONCE. MORE.: ONCE NOW ; Bach's Mass in b minor 4 | The Tallis Scholars 30- ! 5 | Mariachi Vargas de Tecalitlan Apr 3 i Propeller: Shakespeare's Richard III and 6 | Assi El Helani I The Comedy of Errors 10 ; Vladimir Feltsman, piano 18-20 ! Stew & The Negro Problem \ April i St. Petersburg Philharmonic with \ December ; Nikolai Lugansky, piano 3 I Carolina Chocolate Drops 6 i NT Live: Frankenstein 4-5 ; Handel's Messiah 7 : Septeto Nacional de Ignacio Pineiro i de Cuba 8 \ Takacs Quartet: Schubert Concert 3 9 I Tetzlaff Quartet Winter 2011 16 | Tony Alien's Afrobeat Tour 23 : Liebeslieder Waltzes (Songs and : January I Waltzes of Love) 2 ! NT Live: Hamlet 14-15: Laurie Andersen's Delusion 16 : Renee Fleming, soprano 14 ; Breakin' Curfew 21-22; Grupo Corpo 23 i Joanne Shenandoah July 27 ! Sequentia 17 i NT Live: The Cherry Orchard Educational and Community Events Through Monday, December 6, 2010 All UMS educational activities are free, open to the public, and take place in Ann Arbor unless otherwise noted. For complete details and updates, please visit www.ums.org or contact the UMS Education Department at 734.615.4077 or [email protected]. ^
clips from both Passing Strange and the Negro Vladimir Feltsman Problem's discography will be interspersed PLAY Your Own Melody throughout the interview. Topics will include Wednesday, November 10, 7-8:00 pm and Stew's performance history, musical and cultural intermission influences, ideas about race and identity, the Hill Auditorium Mezzanine Lobby transformation of Passing Strange, new works Making It and Brooklyn Omnibus, and stories How does individual play and exploration around the multidisciplinary construction of transform the experience of watching an American music today. exceptional artist play their instrument? And how does the challenge of making music on a variety A collaboration with the U-M Black Humanities of keyboards further help audiences celebrate their Collective, U-M Center for Afroamerican and own music making? Try your hand(s), or feet, on a African Studies, U-M Department of American variety of keyboards in the mezzanine lobby. Culture, U-M Arts of Citizenship, and the U-M Center for World Performance Studies.
Stew & The Negro Problem Carolina Chocolate Drops Screening of Passing Strange Sunday, November 14, 5:30 pm American Roots/American Routes 101, Helmut Stern Auditorium, University of Michigan Part 2: String Bands Museum of Art, 525 S. State Street Tuesday, November 30, 7:00 pm Cobblestone Farm Barn, 2781 Packard Road Singer-songwriter and performance artist Stew was commissioned by New York's Public Theater Looking for some good, old-timey music fun? to develop Passing Strange, a heartfelt and Come explore the origins of the string band hilarious story of a young bohemian who charts tradition and its roots in the Piedmont region. a course for "the real" through sex, drugs, and Leading this interactive session is Bruce Conforth, rock-n-roll. The story takes the audience from U-M professor of American culture. Making black, middle-class America to Amsterdam, Berlin, guest appearances are Josh Davis of Steppin' In and beyond on a journey towards personal and It and Anne Crawford from Orpheum Bell. Come artistic authenticity. After its move to Broadway, prepared to have fun...and maybe make a little director Spike Lee and cinematographer Matthew music of your own. Libatique committed the musical to film, shooting a live production on high-definition cameras. PLAY and Creativity A collaboration with U-M Museum of An. The Business of Free Play with Artist Interview: Stephen Nachmanovich Post Minstrel Syndrome: A Public Wednesday, December 1, 5-6:15 pm Conversation with Stew U-M Ross School of Business Wednesday, November 17, 7:00 pm Author and musician Stephen Nachmanovich 523 S. Main Street discusses the concepts of play and improvisation Paul Farber, U-M doctoral candidate in American within a business context. Open to the public for Culture, will facilitate a conversation with Stew, observation. providing insights on the artist's own musical, A collaboration with the U-M Ross School of cultural, and personal journey. Song and media Business and Ross Leadership Initiative.
visit www.ums.org for more information 0 UMS would like to thank Natalie Matovinovic and Gil Omenn and Martha Darling
for their co-sponsorship of this evening's performance.
Rafal Blechacz piano Fri, Feb 11 8 PM HILL AUDITORIUM
PROGRAM Mozart Variations on "Lison dormait" in C Major, K. 264 (1778) Debussy Lisle joyeuse (1904) Szymanowski Sonata No. 1 in c minor, Op. 8 (1903 Chopin Ballade in g minor, Op. 23 (1835) Two Polonaises, Op. 26 (1835) Four Mazurkas, Op. 41 (1838-39) Ballade in F Major, Op. 38 (1839)
SPONSORED BY UNIVERSITY OF MICHIGAN HEALTH SYSTEM. MEDIA PARTNERS WGTE 91.3 FM, WRCJ 90.9 FM, AND DETROIT JEWISH NEWS.
734.764.2538 1 www.ums.org urns
presents Vladimir Feltsman Piano
Program Wednesday Evening, November 10, 2010 at 8:00 Hill Auditorium Ann Arbor
Please note: Mr. Feltsman graciously replaces Murray Perahia for this evening's recital. As previously announced, Mr. Perahia has been forced to cancel his recital tour due to injury.
Wolfgang Amadeus Mozart Fantasia in d minor, K. 397 Andante
Franz Schubert Four Impromptus, Op. 90, D. 899 No. 1 in c minor No. 2 in E-flat Major No. 3 in G-flat Major No. 4 in A-flat Major
INTERMISSION
Frederic Chopin Four Ballades No. 1 in g minor, Op. 23 No. 2 in F Major, Op. 38 No. 3 in A-flat Major, Op. 47 No. 4 in f minor, Op. 52
20th Performance of the This evening's performance is co-sponsored by Natalie Matovinovic and Gil Omenn 132nd Annual Season and Martha Darling. Media partnership is provided by WGTE 91.3 FM, WRCJ 90.9 FM, and Detro/r 132nd Annual Jewish News. Choral Union Series Special thanks to Louis Nagel, professor of piano, U-M School of Music, Theatre & Dance, for speaking at tonight's Prelude Dinner.
The Steinway piano used in this evening's recital is made possible by William and Mary Palmer and by the Steinway Piano Gallery of Detroit.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of floral art for this evening's recital. The photographing or Mr. Feltsman performs on the Steinway piano and records for Sony Classical, sound and video recording Musical Heritage, Camerata Tokyo, and Melodiya. of this recital or possession Mr. Feltsman appears by arrangement with Arts Management Group, Inc. of any device for such recording is prohibited. Large print programs are available upon request. UMS Vladimir Feltsman
Now that you're in your seat...
he fantasy, the impromptu, and the ballade are united by what they are not. They emphatically do not belong to the genre of the sonata, the central form of piano music in the 18th Tand 19th centuries; they are more concerned with character painting than with structure. Tonight's program celebrates the romantic spirit in Mozart, with whom it all began, and in two of his greatest successors. All three knew how to turn the simplest musical phrases into messages of great profundity. And none of them lived to see their 40th birthday.
Fantasia in d minor, K. 397 (1782) including Mozart, to perform and arrange the Wolfgang Amadeus Mozart compositions for these events. Born January 27, 1756 in Salzburg, Austria In addition tothe enriched contrapuntal textures Died December 5, 1791 in Vienna that increasingly figured in his cpmpositions, Mozart also discovered from Bach's preludes, Snapshot of History... fantasies, and toccatas how to fix the evanescence In 1782: of improvisation into a finished work. He tried out just such a passage of musing, seemingly : The British fleet defeats the French in the spontaneous broken chords, a technique found ; "Battle of the Saintes" off the coast of Dominica in the West Indies often in the preludes of Bach's Well-Tempered Pierre Choderlos de Laclos writes Les liaisons Clavier, to begin the Fantasia in d minor that he dangereuses wrote in Vienna in 1782. For all of its simplicity, ' Johann Christian Bach, Mozart's early mentor, this is one of the most deeply moving movements dies in London at the age of 47 in Mozart's music. These opening gestures are Emperor Joseph II of Austria issues his " Edict followed by a plaintive, chromatically infected of Tolerance," granting religious freedom to melody. Repetitions of this sad song are twice the Jews interrupted by sweeping cadenza-like eruptions his opera The Giovanni Paisiello composes before the fantasia pauses on an inconclusive Barber of Seville harmony, takes a small breath, and trots off with a cheerful D-Major melody of opera buffa jocularity. Mozart, perhaps unsure of how to bring these In 1782, one year after he had bolted from two vastly different kinds of music into balance, Salzburg to take up life as a freelance composer did not finish notating the piece. When the score and pianist in Vienna, Mozart developed a new, was published by Breitkopf and Ha'rtel in the gleaming admiration for the music of Bach, Handel, 1870s as part of the complete Mozart edition, the and other masters of the early-18th century. He had been exposed to the works of such Italian editors tacked on a few measures of the opera buffa tune to round out the work. A very different baroque composers as Leo, Caldara, Durante, effect, chosen by some performers, is achieved by and Alessandro Scarlatti in Salzburg, where their recalling the Bachian strains of the beginning to scores were used for performance and for study, bring the fantasia to a solemn close. but his interest in Bach grew from his association in Vienna with Baron Gottfried van Swieten, the court librarian and musical amateur who had Four Impromptus, Op. 90, D. 899 (1827) developed a taste for the contrapuntal glories of Franz Schubert German music while serving as ambassador to the Born January 31, 1797 in Himmelpfortgrund Prussian court at Berlin. Van Swieten, who is also (now Vienna) remembered as the librettist for Haydn's oratorios Died November 19, 1828 in Vienna The Creation and The Seasons, produced a weekly series of concerts in Vienna devoted to "ancient music," and hired the best available musicians, UMS 10/1. Vladimir Feltsman
the greatest finesse and subtlety. Artur Snapshot of History... Schnabel, one of the most distinguished In 1827: pianist of recent memory, noted that the last number of the set, in Ludwig van Beethoven dies A-flat Major, is "a dance in the moonlight with William Blake dies the feet scarcely touching the ground." Friedrich Wcihler isolates aluminum The first railroad in America, the Baltimore & Ohio Railroad, is incorporated Four Ballades (1831-1842) Alessandro Manzoni publishes The Betrothed, Frederic Chopin one of the greatest Italian novels Born March 1, 1810 in Zelazowa Wola, near Warsaw, Poland Died October 17, 1849 in Paris On January 31, 1827, Franz Schubert turned 30. He had been following a bohemian existence in Snapshots of History... Vienna for over a decade, making barely more In 1831: than a pittance from the sale and performance Victor Hugo publishes The Hunchback of of his works, and living largely by the generosity Notre-Dame of his friends. The pattern of Schubert's daily life ' Warsaw falls to the Russians was firmly established by that time: composition Charles Darwin embarks on his historic in the morning; long walks or friendly visits in the journey aboard H.MS. Beagle afternoon; companionship for wine and song in the evening. The routine was broken by occasional In 1836: trips into the countryside to stay with friends or Robert Schumann writes his Fantasy in C families of friends. A curious dichotomy marked Major for piano, Op. 17 Schubert's personality during those final years of Charles Darwin returns to England after a five- his life, one that suited well the romantic image year journey aboard the H.M.S. Beag/e of the inspired artist. The duality in Schubert's Charles Dickens writes The Pi:kwick Papers character was reflected in the sharp swings of mood marking both his psychological makeup and In 1841: his creative work. Antonin Dvorak The ability to mirror his own fluctuating feelings is born England fights the First Opium War in China in his compositions is one of Schubert's most and the first Anglo-Afghan war in Afghanistan remarkable and characteristic achievements, and Adolphe Adam's ballet Giselle is first touches indelibly upon the incomparable series performed of works Winterreise, the "Great" symphony in C Major, the last three piano sonatas, the string In 1842: quintet, the two piano trios, the impromptus that Verdi's opera Nabucco is first performed he created during the last months of his brief life. Indiana University is founded in Bloomington Schubert composed his eight pieces titled Chopin's lover George Sand writes her "impromptu" in the summer and fall of 1827 celebrated novel Consuelo they were completed by December. The opening piece of the four comprising the first set (Op. 90, D. 899) in c minor, is in a sort of free sonata form, Frederic Chopin's greatness as a composer although its character is so essentially lyrical that of smaller forms has rarely been questioned. melody here simply eats up any large architectonic Chopin's contemporaries immediately recognized plan. The principal theme is a bardic song of in him the emergence of a un que musical voice melancholy sentiment, balanced as the movement of genius through his etudes, nocturnes, preludes, unfolds by episodes of almost painful sweetness. impromptus, and dance forms Indeed, Chopin's The E-flat Major impromptu contrasts an airborne innovations in these forms are staggering: he triplet figuration in its outer sections with a waltz- extended the boundaries of pianism to untold like central passage of more fiery temperament. heights through his etudes, translated the The crepuscular third impromptu supports its long tradition of bel canto singing to the piano through melodic flights with arpeggiated harmonies of his nocturnes, developed a whole new style of UMS Vladimir Feltsman
romantic contrapuntal writing (heavily influenced ianist and conductor Vladimir Feltsman by Bach) in his preludes, forwarded the cause is one of the most versatile and constantly of nationalistic music through his harmonically P interesting musicians of our time. His vast progressive mazurkas and emotionally powerful repertoire encompasses music from the Baroque polonaises, and transcended the genre of the to 20th-century composers. A regular guest soloist salon piece with his impromptus and waltzes. with leading symphony orchestras in the US and Chopin's mastery of larger forms has been abroad, he appears in the most prestigious concert slower in gaining universal recognition, butthefour series and music festivals all over the world. Ballades demonstrate Chopin's undeniable genius Mr. Feltsman returned in 2010 to the summer in handling larger structures. The Ballades can be festivals of Ravinia, Aspen, LaJolla, and Caramoor, examined against the backdrop of the archetypal where he performed Schumann's Piano Concerto formal design of the classical period sonata with the Orchestra of St. Luke's and Robert form but it is through his innovative departures Spano in celebration of the 200th Anniversary of from this model that Chopin demonstrates his Schumann's birth. He made a return appearance genius. Through his tonal and formal deviations with the London Symphony Orchestra in June 2010 from the norm, Chopin creates a synthesis of at the Barbican performing Rachmaninoff's Piano traditional form and a new, romantic aesthetic (in Concerto No. 3 with Xian Zhang. In the 10/11 form and content) that results in unified structures season, Mr. Feltsman will perform, Beethoven's imbued with powerful, epic poetry. Piano Concerto No. 4 with the Chicago Symphony The title "ballade" has strong associations in and Sir Andrew Davis and will be the featured both literature and music. It was a medieval poetic soloist with the orchestras of Seattle, Long Beach, form that the early romantic poets revived as a Columbus, and Greensboro. He will perform narrative form to contrast lyric poetry. Settings of recitals in New York, Los Angeles, Palm Beach, ballade texts constituted a major departure point Kansas City, Lincoln, and Fort Worth. for the relatively new genre of German Lied. In His 09/10 season included a recital in French opera, "ballade" denoted simple narrative Carnegie's Stern Hall his fourth recital there songs inserted into operas. When Chopin wrote since 2004 as well as recitals in Chicago's his Ballade in g minor, he essentially created a new Orchestra Hall, and Washington DC's Strathmore keyboard genre, although the title carried with it Performing Arts Center. Recital venues that season these many associations. Later composers to write also included the Detroit Chamber Music Society, keyboard ballades include Liszt, Brahms, Grieg, the University of Illinois Urbana, the Tilles Center Faure, Debussy, Barber, and Perle. at Long Island University, and the Kravis Center Like most vocal examples of the genre, for the Performing Arts in West Palm Beach. He Chopin's ballades are written in compound duple performed Tchaikovsky's Piano Concerto No. 1 meter (6/4 or 6/8). Chopin's works are linked with with the Kansas City Symphony, and in September the narrative tradition, each being associated with of 2009, performed Mozart's K. 595 concerto on a specific poem of Chopin's compatriot in exile, his own fortepiano with the American Classical Adam Mickiewicz (1798-1855), although these Orchestra at Lincoln Center's Alice Tully Hall. ties are far from universally accepted. The Four In June 2009, Mr. Feltsman returned to Ballades are formally linked with sonata form in Singapore to perform in recital, and to Avery that they contain developmental areas, and two Fisher Hall in New York, where he performed the themes that are eventually recapitulated. In each Rachmaninoff Variations on a Theme of Paganini ballade, however, Chopin undermines the classical with the New York Philharmonic. He opened aesthetic of departure and return, creating the Hollywood Bowl 2009 Festival performing structures (especially Ballades Nos. 1, 3, and 4) Prokof lev's Piano Concerto No. 2 with the Los Angeles that are end-weighted, and, consistent with the Philharmonic, and played recitals at Caramoor romantic aesthetic, that delay the attainment of and Aspen. He also performed Tchaikovsky's an emotional climax for as long as possible. Piano Concerto No. 1 with the Macao Orchestra in Beijing, and returned to his native Moscow Program notes courtesy of Arts Management to conduct the Moscow Virtuosi Orchestra, and Group, Inc. to St. Petersburg, performing Brahms's Piano Concerto No. 2 and a recital, and conducted a UMS Vladimir Feltsman
concert performance of Cos/ fan tutte at Mariinsky Professor of Piano at the State University of New Concert Hall. York, New Paltz, and is a member of the piano Mr. Feltsman expressed his lifelong devotion faculty at the Mannes College of Music in New to the music of J.S. Bach in a cycle of concerts York City. He is the founder and Artistic Director which presented the major clavier works of the of the International Festival-Institute PianoSummer composer and spanned four consecutive seasons at New Paltz, a three-week-long, intensive training (1992-1996) at the 92nd Street Y in New York. His program for advanced piano students that attracts more recent project, Masterpieces of the Russian major young talents from all over the world. Underground, unfolded a panorama of Russian Mr. Feltsman's extensive discography has contemporary music through an unprecedented been released on the Melodiya, Sony Classical, survey of piano and chamber works by 14 different Musical Heritage Society, and Nimbus labels. composers from Shostakovich to the present day His discography includes eight albums of clavier and was presented by the Chamber Music Society works of J.S. Bach, recordings of Beethoven's last of Lincoln Center in January 2003. Mr. Feltsman five piano sonatas, and more recently a recording served as Artistic Director for this project as well as on Nimbus of the "Moonlight," "Pathetique," performing in most of the pieces presented during and "Appasionata" Sonatas, solo piano works the three-concert cycle. The programs included a of Schubert, Schumann, Chopin, Liszt, Brahms, number of world and North American premieres Tchaikovsky, Mussorgsky, and were also presented in Portland, Oregon, and Messiaen, and Silvestrov, in Tucson, Arizona, at the University of Arizona. as well as concert! by In Fall 2006, Mr. Feltsman performed all of the Bach, Brahms, Chopin, Mozart Piano Sonatas in New York at the Mannes Tchaikovsky, Rachmaninoff, School of Music and NYU's Tisch Center presented and Prokofiev. by New School on a specially built replica of the Mr. Feltsman is an Walter fortepiano. American citizen and lives Born in Moscow in 1952, Mr. Feltsman debated in upstate New York. with the Moscow Philharmonic at age 11. In Vladimir Feltsman 1969, he entered the Moscow Tchaikovsky State Conservatory of Music to study piano under the guidance of Professor Jacob Flier. He also studied conducting at both the Moscow and Leningrad UMS Archives (now St. Petersburg) Conservatories. In 1971, Mr. his evening's performance marks Feltsman won the Grand Prix at the Marguerite Vladimir Feltsman's ffith appearance Long International Piano Competition in Paris; and under UMS auspices. Mr. Feltsman followed with extensive touring throughout the T made his UMS debut in April 1988, opening former Soviet Union, Europe, and Japan. the 1988 May Festival with the Pittsburgh In 1979, because of his growing discontent Symphony Orchestra and Michael Tilson with the restrictions on artistic freedom under Thomas as soloist in Rachmaninoff's Piano the Soviet regime, Mr. Feltsman signaled his Concerto No. 3. He last appeared this intention to emigrate by applying for an exit visa. past October with the Takacs Quartet in a In response, he was immediately banned from performance of Schubert's Piano Sonata in performing in public and his recordings were B-Flat Major at Rackham Auditorium. suppressed. After eight years of virtual artistic exile, he was finally granted permission to leave the Soviet Union. Upon his arrival in the US in 1987, Mr. Feltsman was warmly greeted at the White House, where he performed his first recital in North America. That same year, his debut at Carnegie Hall established him as a major pianist on the American and international scene. A dedicated educator of young musicians, Mr. Feltsman holds the Distinguished Chair of UMS would like to thank Michael Allemang and Janis Bobrin
for their sponsorship of this evening's performance.
Blues at the Crossroads The Robert Johnson Centennial Concert Thu, Feb 10 I 8 PM HILL AUDITORIUM Straight from the heart of the back country, Blues at the Crossroads has a direct connection linking back to Robert Johnson (1911-1938), widely considered the most famous of all Delta blues musicians. The concert features Big Head Todd & The Monsters, Hubert Sumlin, Cedric Burnside, Lightnin' Malcolm, as well as David "Honeyboy" Edwards, who at 94 is the only living person to have played with Robert Johnson.
SPONSORED BY BANK OF ANN ARBOR. MEDIA PARTNER WEMU 89.1 FM, METRO TIMES, MICHIGAN CHRONICLE, AND ANN ARBOR'S 107ONE.
734.764.2538lwww.ums.org urns presents Stew & The Negro Problem
Stew, Vocals and Guitar Heidi Rodewald, Bass and Vocals Joe McGinty, Keyboards Michael McGinnis, Woodwinds Marty Seller, Drums
Program Thursday Evening, November 18, 2010 at 8:00 Friday Evening, November 19, 2010 at 8:00 Saturday Evening, November 20, 2010 at 7:30 Saturday Evening, November 20, 2010 at 10:30 523 South Main Street Ann Arbor
Tonight's program will be announced from the stage by the artists and will be performed without intermission.
21st, 22nd, 23rd, and Thursday evening's performance is sponsored by Michael Allemang and Janis Bobrin. 24th Performances Funded in part by the National Endowment for the Arts as part of American of the 132nd Annual Masterpieces: Three Centuries of Artistic Genius. Season Media partnership is provided by Ann Arbor's 107one and Michigan Chronicle. UMS Global: Special thanks to Paul Farber, Mark Gjukich, Mosaic Youth Theater of Detroit, the Americas & Americans Neutral Zone, the U-M Black Humanities Collective, U-M Center for Afroamerican and African Studies, U-M Department of American Culture, U-M Arts of Citizenship, and the U-M Center for World Performance Studies for their support The photographing of and participation in this residency. or sound and video Stew & The Negro Problem appears by arrangement with PARADIGM, New York, NY. recording of this concert or possession of any device for such recording is prohibited. Large print programs are available upon request. UMS 10/11 Stew & The Negro Problem
tew's works include Passing Strange for eidi Rodewald has spent more than a which he received the 2008 Tony Award decade as a performer, arranger, producer, S for "Best Book of a Musical" in which he H and composer for both The Negro Problem wrote lyrics and co-composed music. He is also and the multi-disciplinary ensemble known as Stew. a two-time Obie winner for "Best New Theater Credits include Passing Strange, Berkeley Repertory Piece" and, as a member of the PS acting family, Theater (2006), New York's Public Theater (2007), "Best Ensemble." A four-time Tony nominee, Stew and on Broadway at the Belasco Theater (2008); leads two critically acclaimed bands along with his composer, Karen Kandel's Portraits: Night and Day collaborator Heidi Rodewald: The Negro Problem (2004); and co-writer with Stew of the screenplay and Stew. Stew's works include Post Minstrel We Can See Today, Sundance Screenwriters Lab/ Syndrome, Joys and Concerns, Guest Host, The Directors Lab (2005). Ms. Rodewald also wrote Naked Dutch Painter, Welcome Black, Something and performed with the seminal female punk Deeper Than These Changes, and the cast album band Wednesday Week. of Passing Strange. Stew was artist-in-residence at the California Institute of the Arts during the 04/05 season. Passing Strange was presented at the Berkeley Repertory Theater (2006), New York's Public Theater (2007), and on Broadway at the Belasco Theater (2008). Stew will ultimately be remembered for having composed "Gary Come Home" for SpongeBob SquarePants.
This weekend's performances mark Stew & The Negro Problem's UMS debut. PEOPLE ARE TALKING IN THE UMS Lobby
Recent and Upcoming Posts on umsLobby.org: Video: get to know singer-songwriter Stew, who discusses his life, music, and creative process
A "Michigan" Messiah Blog Series: hear from this year's Messiah soloists, all of whom have Michigan connections
Artist Residency: see the photo recap of the Mariachi Vargas de Tecalitlan's visit to southeastern Michigan Blog Feature: new CD releases from UMS artists, just in time for the holiday season!
Conversations about Django Reinhardt's 100th Birthday Celebration, the ONCE. MORE, concerts, the Tallis Scholars, and more
QUESTION OF THE MONTH - What are your Messiah memories? The tradition of UMS presenting the annual Messiah concert began over 130 years ago in fact, it's how UMS got its start! We know that for many of you the Messiah concert has become a personal tradition enjoyed with family and friends year after year. We hope you'll share your Messiah memories at www.umsLOBBY.org. What makes Messiah special for you and what keeps you coming back again and again?
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Music and the ArtS are powerful tools in the healing process. That's why we created programs ranging from our Gifts of Art, which include bedside music and art galleries, to our harmonica class for pulmonary rehab patients. It's also why we support the University University of Michigan Musical Society. Because we value the arts and all they bring to our Health System patients. That's the Michigan Difference, michigandifference.org urns and the University of Michigan Health System Carolina Chocolate Drops present Rhiannon Giddens, Vocals, Five-String Banjo, Kazoo, Fiddle Justin Robinson, Vocals, Fiddle, Beatbox, Hand Clapping, Foot Percussion, Autoharp Dom Flemons, Vocals, Bones, Guitar, Four-String Banjo, Jug, Foot Percussion, Bass Drum
Program Friday Evening, December 3, 2010 at 8:00 Michigan Theater Ann Arbor
Tonight's program will be announced from the stage by the artists and will be performed without intermission.
25th Performance of the This evening's performance is sponsored by the University of Michigan Health 132nd Annual Season System. Funded in part by the National Endowment for the Arts as part of American UMS Global: Masterpieces: Three Centuries of Artistic Genius. Americas & Americans Media partnership is provided by WEMU 89.1 FM, Metro Times, Michigan Chronicle, and Ann Arbor's 107one. Special thanks to David and Jo-Anna Featherman and CFI Group for their sponsorship of this morning's youth performance by the Carolina Chocolate Drops. Special thanks to Bruce Conforth, Josh Davis, and Anne Crawford for their support The photographing of and participation in events surrounding tonight's performance. or sound and video Carolina Chocolate Drops record for Nonesuch Records. recording of this concert Carolina Chocolate Drops appear by arrangement with Concerted Efforts. or possession of any device for such recording is prohibited. Large print programs are available upon request. UMS is grateful to the Carl and Isabella Brauer Fund
for generously supporting the performances of Handel's Messiah.
n the summer and fall of 2005, three young black sing-along, audiences. In 2006, they picked up musicians Dom Flemons, Rhiannon Giddens, a spot at the locally based Shakori Hills Festival I and Justin Robinson made the commitment to where they lit a fire on the dance tent floor. travel to Mebane, North Carolina, every Thursday In 2008, the ensemble received an invitation to night to sit in the home of old-time fiddler Joe be the first black string band to play the Grand Ole Thompson for a musical jam session. Joe was in his Opry. The legendary Nashville series pronounced 80s, a black fiddler with a short bowing style that the performance a healing moment for the Opry. he inherited from generations of family musicians. With the release of their Nonesuch recording He had learned to play a wide-ranging set of tunes Genuine Negro Jig, the ensemble confirms its sitting on the back porch with other players after a place in the music pantheon. With its tongue- day of field work. Now he was passing those same in-cheek title, the album ranges boldly from Joe lessons on to a new generation. Thompson's "Cindy Gal" to Tom Waits' "Trampled When the three students decided to form a Rose" and Rhiannon's acoustic hip-hop version of band, they didn't have big plans. It was mostly a R&B artist Blu Cantrell's "Hit 'Em Up Style." tribute to Joe, a chance to bring his music back Rolling Stone magazine described the out of the house again and into dance halls and Carolina Chocolate Drops' style as "dirt-floor- public places. They called themselves the Carolina dance electricity." If you ask the band, that is Chocolate Drops as a tip-of-the-hat to the what matters most. Yes, banjos and black string Tennessee Chocolate Drops, three black brothers musicians first got here on slave ships, but now Howard, Martin, and Bogan Armstrong, who lit up this is everyone's music. It's OK to mix it up and go the music scene in the 1930s. where the spirit moves. From town squares to farmers' markets, the Chocolate Drops perfected their playing and UMS welcomes the Carolina Chocolate Drops in began to win an avid following of foot-tapping, their UMS debut. . >.. urns presents Messiah Composed fay George Frideric Handel
UMS Choral Union Ann Arbor Symphony Orchestra Jerry Blackstone, Conductor and Music Director
Caitlin Lynch, Soprano Meredith Arwady, Contralto Nicholas Phan, Tenor Jesse Blumberg, Baritone
Edward Parmentier, Harpsichord Scott VanOrnum, Organ
Program Saturday Evening, December 4, 2010 at 8:00 Sunday Afternoon, December 5,2010 at 2:00 Hill Auditorium Ann Arbor
26th and 27th This weekend's performances are supported by the Carl and Isabelle Brauer Fund. Performances Media partnership is provided by Michigan Radio 91.7 FM and Ann Arbor's of the 132nd Annual 107one. Season Ms. Lynch appears by arrangement with Pinnacle Arts Management, Inc.
The photographing Ms. Arwady appears by arrangement with Columbia Artists Management, Inc. or sound and video Mr. Phan appears by arrangement with Opus 3 Artists, New York, NY. recording of this Mr. Blumberg appears by arrangement with ADA Artist Management. performance or possession of any device for such recording is prohibited. Large print programs are available upon request. UMS Messiah Parti
Sinfonia
Arioso Mr. Phan Isaiah 40: 1 Comfort ye, comfort ye my people, saith your God. Isaiah 40: 2 Speak ye comfortably to Jerusalem, and cry unto her that her warfare is accomplished, that her iniquity is pardoned. Isaiah 40: 3 The voice of him that crieth in the wilderness: Prepare ye the way of the Lord, make straight in the desert a highway for our God.
Air Mr. Phan Isaiah 40: 4 Every valley shall be exalted, and every hill and mountain . . . made low: the crooked . . . straight, and the rough places plain:
Chorus Isaiah 40: 5 And the glory of the Lord shall be revealed, and all flesh shall see it together: for the mouth of the Lord hath spoken it.
Accompanied recitative Mr. Blumberg Haggai 2:6 ... thus saith the Lord of hosts: Yet once, ... a little while, and I will shake the heavens and the earth, the sea and the dry land; Haggai 2: 7 And I will shake all nations, and the desire of all nations shall come: . . . Malachi 3: 7 ... the Lord, whom ye seek, shall suddenly come to his temple, even the messenger of the covenant, whom ye delight in: behold, he shall come, saith the Lord of hosts.
Air Mr. Blumberg Malachi 3: 2 But who may abide the day of his coming? And who shall stand when he appeareth? For he is like a refiner's fire, . . .
Chorus Malachi 3:3 '. . . and he shall purify the sons of Levi, . . . that they may offer unto the Lord an offering in righteousness.
Recitative Ms. Arwady Isaiah 7: 74 Behold, a virgin shall conceive, and bear a son, and shall call his name Immanuel, "God-with-us."
Air and Chorus Ms. Arwady Isaiah 40: 9 0 thou that tellest good tidings to Zion, get thee up into the high mountain; 0 thou that tellest good tidings to Jerusalem, lift up thy voice with strength; lift it up, be not afraid; say unto the cities of Judah: Behold your God! Isaiah 60: 7 Arise, shine; for thy light is come, and the glory of the Lord is risen upon thee. UMS Messiah
10 Arioso Mr. Blumberg Isaiah 60: 2 For behold, . . . darkness shall cover the earth, and gross darkness the people: but the Lord shall arise upon thee, and His glory shall be seen upon thee. Isaiah 60: 3 And the Gentiles shall come to thy light, and kings to the brightness of thy rising.
11 Air Mr. Blumberg Isaiah 9: 2 The people that walked in darkness have seen a great light: and they that dwell in the land of the shadow of death, upon them hath the light shined.
12 Chorus Isaiah 9: 6 For unto us a child is born, unto us a son is given: and the government shall be upon his shoulder, and his name shall be called Wonderful, Counselor, The Mighty God, The Everlasting Father, The Prince of Peace.
13 Pifa (Pastoral Symphony)
14 Recitative Ms. Lynch Luke 2: 8 . . . there were . . . shepherds abiding in the field, keeping watch over their flock by night.
15 Arioso Ms. Lynch Luke 2: 9 And, lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them: and they were sore afraid.
16 Recitative Ms. Lynch Luke 2: W And the angel said unto them, Fear not: for, behold, I bring you good tidings of great joy, which shall be to all people. Luke 2: 11 For unto you is born this day in the city of David a Saviour, which is Christ the Lord.
17 Arioso Ms. Lynch Luke 2: 13 And suddenly there was with the angel a multitude of the heavenly host praising God and saying,
18 Chorus Luke 2: 14 Glory to God in the highest, and peace on earth, good will toward men.
19 Air Ms. Lynch Zechariah 9: 9 Rejoice greatly, 0 daughter of Zion; shout, 0 daughter of Jerusalem: behold, thy King cometh unto thee: he is the righteous Saviour, . . . Zechariah 9: W . . . and he shall speak peace unto the heathen: . . . UMS j.u/11 Messiah
20 Recitative Ms. Arwady Isaiah 35: 5 Then shall the eyes of the blind be opened, and the ears of the deaf. . .unstopped. Isaiah 35: 6 Then shall the lame man leap as a hart, and the tongue of the dumb shall sing: . . .
21 Air Ms. Arwady and Ms. Lynch Isaiah 40: 11 He shall feed his flock like a shepherd: and he shall gather the lambs with his arm, and carry them in his bosom, and . . . gently lead those that are with young. Matthew 11:28 Come unto Him, all ye that labour and are heavy laden, and He will give you rest. Matthew 11: 29 Take His yoke upon you, and learn of Him, for He is meek and lowly of heart: and ye shall find rest unto your souls.
22 Chorus Matthew 11: 30 ... His yoke is easy, and His burden is light.
INTERMISSION
Part II
23 Chorus John 1: 29 Behold, the Lamb of God, that taketh away the sin of the world! . . .
24 Air Ms. Arwady Isaiah 53: 3 He was despised and rejected of men; a man of sorrows, and acquainted with grief: . . . Isaiah 50: 6 He gave his back to the smiters, and His cheeks to them that plucked off the hair: He hid not His face from shame and spitting.
25 Chorus Isaiah 53:4 Surely he hath borne our griefs, and carried our sorrows: . . . Isaiah 53: 5 ... he was wounded for our transgressions, he was bruised for our iniquities: the chastisement of our peace was upon him; and with his stripes are we healed.
26 Chorus Isaiah 53: 4 All we like sheep have gone astray; we have turned every one to his own way; and the Lord hath laid on him the iniquity of us all.
27 Arioso Mr. Phan Psalm 22: 7 All they that see him laugh him to scorn: they shoot our their lips, and shake their heads, saying: UMS Messiah
28 Chorus Psalm 22: 8 He trusted in God that he would deliver him: let him deliver him, if he delight in him.
29 Accompanied recitative Mr. Phan Psalm 69:20 Thy rebuke hath broken his heart; he is full of heaviness: he looked for some to have pity on him, but there was no man; neither found he any to comfort him.
30 Arioso Mr. Phan Lamentations 1: 12 . Behold and see if there be any sorrow like unto his sorrow . . .
31 Accompanied recitative Mr. Phan Isaiah 53: 8 ... he was cut off out of the land of the living: for tie transgressions of thy people was he stricken.
32 Air Mr. Phan Psalm 16:10 But thou didst not leave his soul in hell; nor didst thou suffer thy Holy One to see corruption.
33 Chorus Psalm 24: 7 Lift up your heads, 0 ye gates; and be ye lift up, ye everlasting doors; and the King of glory shall come in. Psalm 24: 8 Who is this King of glory? The Lord strong and mighty, the Lord mighty in battle. Psalm 24: 9 Lift up your heads, 0 ye gates; and be ye lift up, ye everlasting doors; and the King of glory shall come in. Psalm 24: 10 Who is this King of glory? The Lord of hosts, he is tne King of glory.
34 Recitative Mr. Phan Hebrews 1: 5 . . . unto which of the angels said he at any time, Thou art my son, this day have I begotten thee? . . .
35 Chorus Hebrews 1: 6 ... let all the angels of God worship him.
36 Air Ms. Arwady Psalm 68: 18 Thou art gone up on high, thou has lead captivity captive: and received gifts for men; yea, even for thine enemies, that the Lord God might dwell among them.
37 Chorus Psalm 68: 11 The Lord gave the word: great was the company of the preachers.
38 Air Ms. Lynch Isaiah 52: 7 How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things . . . UMS Messiah
39 Chorus Romans W: 18 Their sound is gone out into all lands, and their words unto the ends of the world.
40 Air Mr. Blumberg Psalm 2: 1 Why do the nations so furiously rage together, . . . why do the people imagine a vain thing? Psalm 2: 2 The kings of the earth rise up, and the rulers take counsel together against the Lord and his anointed, ...
41 Chorus Psalm 2: 3 Let us break their bonds asunder, and cast away their yokes from us.
42 Recitative Mr. Phan Psalm 2: 4 He that dwelleth in heaven shall laugh them to scorn: the Lord shall leave them in derision.
43 Air Mr. Phan Psalm 2: 9 Thou shall break them with a rod of iron; thou shalt dash them in pieces like a potter's vessel. ,
44 Chorus Revelation 19: 6 Hallelujah: for the Lord God omnipotent reigneth. Revelation 11: 15 . . . The kingdom of this world is become the kingdom of our Lord, and of his Christ; and he shall reign for ever and ever. Revelation 19: 16 . . . King of Kings, and Lord of Lords.
You are invited to join the Choral Union in singing the "Hallelujah" chorus. Please leave the music at the door when exiting the auditorium. Thank you.
Part III
45 Air Ms. Lynch Job 19: 25 I know that my redeemer liveth, and that he shall stand at the latter day upon the earth. Job 19: 26 And though . . . worms destroy this body, yet in my flesh shall I see God. I Cor. 15: 20 For now is Christ risen from the dead, . . . the first fruits of them that sleep. UMS10/1 Messiah
46 Chorus I Cor. 15:21 . . . since by man came death, by man came also the resurrection of the dead. I Cor. 15: 22 For as in Adam all die, even so in Christ shall all be made alive.
47 Accompanied recitative Mr. Blumberg / Cor. 15: 51 Behold, I tell you a mystery; we shall not all sleep, but we shall all be changed, / Cor. 15: 52 In a moment, in the twinkling of an eye at the last trumpet:
48 Air Mr. Blumberg / Cor. 15: 52 . . . the trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed. I Cor. 15: 53 For this corruptible must put on incorruption, and this mortal must put on immortality.
49 Recitative Ms. Arwady / Cor. 15: 54 . . . then shall be brought to pass the saying that is written, Death is swallowed up in victory.
50 Duet Ms. Arwady and Mr. Phan / Cor. 15: 55 0 death, where is thy sting? 0 grave, where is thy victory? I Cor. 15: 56 The sting of death is sin; and the strength of sin is the law.
51 Chorus / Cor. 15: 57 But thanks be to God, who giveth us the victory through our Lord Jesus Christ.
52 Air Ms. Lynch Romans 8: 31 If God be for us, who can be against us? Romans 8: 33 Who shall lay anything to the charge of God's elect? It is God that justifieth. Romans 8: 34 Who is he that condemneth? It is Christ that died, yea rather, that is risen again, who is... at the right hand of God, who . . . maketh intercession for us.
53 Chorus Revelation 5: 12 . Worthy is the Lamb that was slain and hath redeemed us to God by His blood to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing. Revelation 5: 13 . Blessing, and honour, . . . glory, and power, be unto Him that sitteth upon the throne, and unto the Lamb for ever and ever.
Amen. UMS Messiah
Handel's Messiah
Messiah (1741) George Frideric Handel Born February 23, 1685 in Halle, Germany Died April 14, 1759 in London
Nicholas Phan, tenor soloist, Ann Arbor native, and U-M School of Music, Theatre & Dance alumnus
The very first time I ever heard Handel's Messiah, I cultivated my passion for classical music as I remember sitting in the first balcony of Hill an audience member in Hill, and it was on the Auditorium, carefully reading the program notes stage that I cut my teeth as a young performing before the performance, trying to understand what musician. It was in Hill, sitting in the back of the exactly this Mess/a/i-thing was. I was so young I viola section of the Michigan Youth Symphony don't even remember precisely what year it was, where I discovered what it was like to play in a large but it was long before I ever considered becoming symphony orchestra. A year later, on a whim, as a singer. The reason I remember going was to see a sophomore in high school, I went to sing a last my violin teacher play in the Symphony. I had lots minute audition for Jerry Blackstone to try and of questions: Did it tell a story? Why do we all stand get into the Michigan Youth Chamber Singers. up to sing along with that "Hallelujah" moment? Not having anything else to sing for him, I sang What is an "Oratorio," anyway? My inquisitive the national anthem. After I had finished, he said mind absorbed as much as it could before the first "sounds great!" and told me to go pick up some notes of the Overture. From that moment on, I was music for our first rehearsal that afternoon. A few transfixed. months later, he assigned me my very own first, The first balcony of Hill was my favorite place to tiny oratorio solo to sing in Hill in Mozart's Regina see concerts while I was growing up in Ann Arbor. Coeli, and my journey as a singer began. I spent It felt like the perfect distance from the stage I the next seven years performing intermittently and wasn't too far away to feel disconnected (not even recording in Hill as a choral singer and soloist, that distance matters in Hill the sound actually honing my craft and gaining valuable experience gets better the higher up you sit), and I wasn't that would set the foundation of what would turn too close, so I could see all of the action without out to be a life in music. To come back to Hill for missing a thing. It was from that first balcony that such an important UMS tradition, standing on stage I caught a glimpse of how powerfully expressive as a colleague with the people who started me on music-making could be, watching Yo-Yo Ma play this life journey, marks not only a dream come true, the Dvorak cello concerto with the Orchestra of St. but the ultimate homecoming. Luke's, getting my first taste of live great singing when Cecilia Bartoli offered a recital, and having my heart broken by Les Arts Florissants' semi- staged performance of Ads and Galatea. UMS Messiah
Caitlin Lynch, soprano soloist, Michigan native, and U-M School of Music, Theatre & Dance alumna
Dr. Blackstone (whom my dad has always referred to as Dr. Whiterock) is the reason that I fell in r" ^^^~ love with music. I attended the Interlochen All-State High School Choir Camp for four m summers and he was our conductor. He was my first real conductor and he terrified me! He \fi was so smart and so serious about music-making 'Messiah and choral singing. His validation was my ultimate goal I just wanted to be worthy of singing in his REPEAT PERFORMANCE choir. When I was given a tiny solo in "Freedom Come" my first summer there, I thought I had died St&fL T)&C 9 2.-30 and gone to heaven. Those summers at Interlochen IMnr\/ C%rr <-? were magical: I spent the first two with my best llQIILy Ldl I . .JJpl'jJlO friend, Megan, singing through the camp, music Eunice Al berts .&iMk everywhere...we loved every minute. All of us David Lloyd...<3aw> worshipped Dr. Blackstone. His passion for music was contagious and I most certainly caught the bug. James Pease... && His expectation of nothing less than our absolute Cnoral Union soo^^ best was fundamental in my development as a young musician. My final summer at Interlochen I was a senior in high school and was awarded a $&&&&&* partial scholarship to study music at the University of Michigan. Four more years in Dr. B's choirs! I am forever grateful to him for those lessons. UIW, MUSICAL SOCIETY Handel's Messiah is my favorite oratorio and every mrtcov Towek opportunity I have to sing it feels like a true blessing. But the opportunity to sing this beautiful work at my
alma mater with Dr. Blackstone conducting is truly a Hill Auditorium kiosk announces the 1951 presentation dream come true. Talk about coming full circle. I feel of Messiah. honored to be making music at Hill Auditorium and being presented under UMS auspices along with such fantastic other soloists (who happen to be friends). What a joy to have Dr. Blackstone keeping us all together. UMS 10/11 Messiah
rammy Award-winning conductor Jerry Club from 1988-2002, Dr. Blackstone led the Blackstone is director of choirs and chair ensemble in performances at ACDA national and G of the conducting department at the division conventions and on extensive concert U-M School of Music, Theatre & Dance where he tours throughout Australia, Eastern and Central conducts the Chamber Choir, teaches conducting Europe, Asia, South America, and the US. The U-M at the graduate level, and administers a choral Men's Glee Club recording, / have had singing, is program of 11 choirs. In February 2006, he received a retrospective of his tenure as conductor of the two Grammy Awards ("Best Choral Performance" ensemble. and "Best Classical Album") as chorusmaster for Santa Barbara Music Publishing distributes Dr. the Naxos recording of William Bolcom's Songs Blackstone's acclaimed educational video Working of Innocence and of Experience. In 2006, the with Male Voices and publishes the Jerry Blackstone Chamber Choir performed by special invitation Choral Series, a set of choral publications that at the inaugural convention of the National presents works by several composers in a variety Collegiate Choral Organization in San Antonio, of musical styles. and in 2003, the Chamber Choir presented three Prior to coming to U-M in 1988, Dr. Blackstone enthusiastically received performances in New York served on the music faculties of Phillips University City at the National Convention of the American in Oklahoma, Westmont College in California, and Choral Directors Association (ACDA). In addition Huntington College in Indiana. , to Dr. Blackstone's choral conducting work at the University, he has led operatic productions with the U-M Opera Theatre, including productions of aitlin Lynch is one of the most promising Jana'cek's The Cunning Little Vixen and Strauss's young sopranos today. She was awarded Die Fledermaus. Cfirst prize in the 2008 Houston Grand Opera Dr. Blackstone is considered one of the country's Competition, and recently made her mainstage leading conducting teachers and his students have Houston debut as Hero in Beatrice et Benedict, received first place awards and been finalists in both female soloist in the American premiere of Chorus!, the graduate and undergraduate divisions of the and Helena cover in A Midsummer Night's Dream. American Choral Directors Association biennial In the current season and beyond, she will National Choral Conducting Awards competition. perform Micaela in Carmen at the Seattle Opera; He has appeared as festival guest conductor Eliza in the world premiere of Nico Muhly's Dark and workshop presenter in 30 states as well as Sisters, at the Opera Company of Philadelphia and New Zealand, Hong Kong, and Australia. Guest Gotham Chamber Opera in New York; Leila in Les appearances for the current season include Pecheurs des Perles at Opera Cleveland; Fiordiligi festivals and conference presentations across the in Cos/ Fan Tutte at Opera Carolina and the Palm country and Shanghai (China). Beach Opera; and Konstanza in Die Entfuhrung In 2004, Dr. Blackstone was named conductor aus dem Sera/7 at the Arizona Opera. and music director of the UMS Choral Union. In Ms. Lynch completed the Seattle Opera Young March 2008, he conducted the UMS Choral Union Artist Program in spring 2007, where she per and the Detroit Symphony Orchestra in a special formed Micaela in Carmen and Alice Ford in Fa/ performance of Bach's Sf. Matthew Passion. staff. Other recent performances include Oasis Choirs prepared by Dr. Blackstone have appeared in L'Etoile with the Cincinnati Opera, and several under the batons of roles at the University of Cincinnati CCM includ Valery Gergiev, Neeme ing Donna Anna in Don Giovanni, Ginevra in Ari- Jarvi, Leonard Slatkin, odante, and Philippa in Babette's Feast. John Adams, Helmuth In concert, Ms. Lynch has performed the Mo Rilling, James Conlon, zart Requiem with Kentucky Symphony Orchestra, Nicholas McGegan, Carl Nielson's Symphony No. 3 with the Cincin Rafael Fruhbeck de nati Symphony Orchestra, a Mendelssohn concert Burgos, Peter Oundjian, with the Glimmerglass Opera, Musetta (Act II) in and Itzhak Perlman. La Boheme with Opera Theatre and Music Festival As conductor of of Lucca (Italy), Handel's Messiah with the Lex- the U-M Men's Glee ington Philharmonic, Monteverdi's Lamento delta Jerry Blackstone UMS 10/11 Messiah
W/nfawith the Grandin winner of the 2004 Licia Albanese-Puccini Com Festival, and a concert petition; the inaugural Marian Anderson Prize for with the Columbus "Emerging Classical Artists" in 2002; and a 2007 Symphony entitled Be Richard Tucker Career Grant. As a member of the yond the Score. Lyric Opera of Chicago's Opera Center ensemble. Recent awards Ms. Arwady made her mainstage debut with the include a 2008 Sara Lyric Opera of Chicago in 2005 as Tisbe in La Ce- Tucker Grant, first prize nerentola conducted by Bruno Campanella, Third in the Irma M. Cooper Lady in Die Zauberflote, and She-Ancient in Sir Opera Columbus Com Michael Tippett's A Midsummer Marriage, both petition in 2006, the conducted by Sir Andrew Davis. Caitlin Lynch encouragement award in the 2007 Opera Index and the Jensen Founda tion Voice Competition, and second prize in the n the heels of his debut at the BBC Proms, 2007 Palm Beach Opera Competition. tenor Nicholas Phan began his current O season with a recital tour which culmi nated in his recital debut at Carnegie Hall as part ontralto Meredith Arwady begins the of its Great Singers III: Evenings of Song series at current season with the role of Auntie in Weill Recital Hall. Mr. Phan continued his fall sea C Houston Grand Opera's new production of son with performances of Carmina Burana with Peter Grimes. Ms Arwady will also join the Cana the San Francisco Symphony, a concert of Purcell dian Opera Company on their Brooklyn Academy with Chicago's Music of the Baroque, and Haydn's of Music tour, with roles in Stravinsky's Nightingale Creation with the Charlotte Symphony Orchestra. and Berceuses du Chat. Dallas opera audiences Mr. Phan begins the new year with his Seattle will hear her in Mussorsky's Boris Godunov in the Opera debut as Count Almaviva in Rossini's com spring of 2011 and in Giulio Cesare as Cornelia at edy llbarbiere diSiviglia. From Seattle, he returns to Fort Worth Opera Festival. Ms. Arwady will end the the San Francisco Symphony for performances of season with the title role of Vivaldi's Griselda in a Bach's Mass in b minor and Carnegie Hall for Men new Peter Sellars production at the Santa Fe delssohn's Elijah with the Oratorio Society of New Opera in summer 2011. On the concert stage, she York. In April Mr. Phan embarks on a European tour will perform Beethoven's Symphony No. 9 with Edo of Handel's Ariodante with conductor Alan Curtis. de Waart and the Milwaukee Symphony and a song and his orchestra II Complesso Barocco. He will recital at the Curtis Institute of Music. sing the role of Lurcanio alongside mezzo-soprano Ms. Arwady has also appeared as Schwertleite in Joyce DiDonato's Ariodante in London (Barbican), Die Walkure, Meg Page in The Merry Wives of Wind Paris (Theatre de Champs-Elysees), Baden-Baden sor, Madame Flora in The Medium, Zita in Gianni (Festspielhaus), and Madrid. Schicchi, Mrs. Peachum in Die Dreigroschenoper, Mr. Phan recently made his Edinburgh Inter both Mother and The Square Root of 7 in L'Enfant national Festival debut in a concert performance et les Sort/leges, Madame de Quimper Karadec in La of Macbeth with the BBC Scottish Symphony con Vie Parisienne, and in L'incoronazione di Poppea. ducted by David Robertson. An accomplished re- Ms. Arwady is a winner of the 2004 Metro citalist and concert singer, he has appeared with politan Opera National many of the leading orchestras in the US, includ Council Auditions. She ing the Atlanta Symphony, Chicago Symphony is the recipient of nu Orchestra, Orchestra of St. Luke's, San Francisco merous awards and Symphony, the St. Paul Chamber Orchestra, and grants, including the the St. Louis Symphony. He has worked with con 2005 Kirsten Flagstad ductors including Pierre Boulez, Zubin Mehta, Da Award for a singer with vid Robertson, Robert Spano, and Michael Tilson a promising Wagne- Thomas. He has appeared at the Ravinia, Rheigau, rian career, presented and Marlboro music festivals. In August 2010, he by the George London made his debut at the BBC Proms, performing Foundation; first prize Bartok's Cantata Profana with Mr. Robertson and Meredith Arwady UMS ±u Messiah
the BBC Symphony Or same production. Other recent appearances include chestra. leading and featured roles with Annapolis Opera, Mr. Phan made his Opera Delaware, Opera Vivente, and the Boston Carnegie Hall debut Early Music Festival. in 2008 and has since In concert, Mr. Blumberg has been a featured returned to its Stern soloist with American Bach Soloists, Los Angeles Auditorium with the Master Chorale, Sacred Music in a Sacred Space, Chicago Symphony and the Berkshire Choral Festival. He has also given Orchestra and Pierre the world premieres of two important chamber Boulez for Stravin works: Ricky lan Gordon's Green Sneakers and sky's Puldnella and for Lisa Bielawa's The Lay of the Love and Death. He Nicholas Phan Haydn's Creation with has toured with the Mark Morris Dance Group Helmuth Rilling and the Orchestra of St. Luke's. and the Waverly Consort and has given recitals In recital he has been presented by the Marilyn for the Marilyn Home Foundation. Last season, Home Foundation in their annual On Wings of he and pianist Martin Katz performed Schubert's Song series, the Metropolitan Museum of Art in two monumental song cycles, Die schone Mullerin New York, Oberlin Conservatory of Music, and the and Winterreise, over one weekend in Ann Arbor, University of Chicago. An avid proponent of vocal and will soon repeat this pairing in New York chamber music, he has collaborated with pianists City. Mr. Blumberg has been recognized in many Mitsuko Uchida and Richard Goode. song and opera competitions, and in 2008 was Mr. Phan's recording of Stravinsky's Puldnella awarded third prize at the International Robert with Pierre Boulez and the Chicago Symphony Schumann Competition in Zwickau, becoming its Orchestra was recently released on the CSO Re first American prizewinner in over 30 years. sound label. His world premiere recording of Evan His current season engagements include song Chambers' orchestral song cycle The Old Burying recitals in New York, Boston, and Washington DC; Ground was released in July 2010. debuts with New York Festival of Song, Clarion A graduate of the University of Michigan, Mr. Society, and Apollo's Fire; and returns to American Phan also studied at the Manhattan School of Mu Bach Soloists, Minnesota Opera, and the Boston sic and the Aspen Music Festival and School and is Early Music Festival. Mr. Blumberg received a an alumnus of the Houston Grand Opera Studio. master's degree from the University of Cincinnati He was the recipient of a 2006 Sullivan Founda College-Conservatory of Music and undergraduate tion Award and 2004 Richard F. Gold Career Grant degrees in history and music from the University of from the Shoshana Foundation. Michigan. Mr. Blumberg is also the founder and artistic director of the Five Boroughs Music Festival, a new concert series in New York City. For further aritone Jesse Blumberg is an artist equally information, please visit www.jesseblumberg.com. at home on opera, concert, and recital B stages. This past season he performed the role of the Celebrant in Bernstein's Mass at dward Parmentier is professor of harpsichord London's Royal Festival Hall under the baton of Marin and director of the Early Music Ensemble Alsop, debuted with Boston Lyric Opera as Harlekin E at U-M School of Music, Theatre & Dance. in Ariadne auf Naxos, He has performed throughout the US, Russia, and performed recitals Western Europe, Japan, and Korea on harpsichord in Paris with the Mirror and on historic organs, and is a frequent recitalist, Visions Ensemble. In lecturer, and adjudicator at symposia and festivals. 2007 he created the His collection of recordings has won both critical role of Connie Rivers in and popular acclaim. Recent releases include Bach's The Grapes of Wrath at partitas, French 17th-century harpsichord music, the Minnesota Opera sonatas of Scarlatti, and music of the English and later made his virginalists. Mr. Parmentier appears frequently in Utah and Pittsburgh ensemble settings as a continuist and concerto Opera debuts in the soloist. His harpsichord teachers were Albert Fuller Jesse Blumberg UMS 10/lj. Messiah
and Gustav Leonhardt. The recording won four Grammy Awards in 2006, In 2010, Mr. Parmentier including "Best Choral Performance" and "Best presented solo recitals Classical Album." The recording was also selected at Pomona College, as one of The New York Times "Best Classical Claremont, CA; at the Music CDs of 2004." Reformed Church in Recent highlights of the UMS Choral Union's Nieuwolda, Netherlands; schedule include a 2006 performance of and on the Dumont Shostakovich's Symphony No. 13 ("Babi Yar") with Series at Flintwoods the Mariinsky Orchestra under the baton of Valery in Greenville, DE. Mr. Gergiev. In 2008, the UMS Choral Union performed Parmentier appeared with Carl Orff's Carmina Burana with the DSO for the Edward Parmentier the Ann Arbor Symphony inaugural weekend of Leonard Slatkin's post as Orchestra, at the Garth Newel Music Festival in music director of the DSO. Most recently, in 2010, Warm Springs, VA, and at U-M with violinist Aaron the chorus joined the San Francisco Symphony Berofsky. He offered two harpsichord workshops in and Michael Tilson Thomas for a performance of June on Scarlatti and Fundamentals of Harpsichord Mahler's Symphony No. 2 ("Resurrection") at Hill Performance and Repertoire at the University of Auditorium. Michigan. In March, the chorus joins together with the A strong advocate for education and outreach, DSO, U-M choral ensembles, the MSU Children's Mr. Parmentier has lectured on baroque performance Choir, and Leonard Slatkin for performances of practice and composition for the Ann Arbor Piano Mahler's Symphony No. 8 at Detroit's Michigan Teachers Association and his annual summer Opera Theater and Hill Auditorium. In April, the harpsichord workshops at U-M attract performers chorus returns to Detroit with performances from all over the world. In March, along with his of Beethoven's Symphony No. 9 with the DSO U-M harpsichord students, Mr. Parmentier held and Leonard Slatkin, and women of the chorus the annual Michigan Harpsichord Saturday, an perform Mahler's Symphony No. 3 with the Ann outreach program for young keyboard musicians. Arbor Symphony Orchestra under the baton of Arie Lipsky. hroughout its 132-year history, the UMS Choral Union has performed with many rom its inception as a shared dream among a Tof the world's distinguished orchestras and group of music-loving friends to its eventual conductors. Based in Ann Arbor under the aegis F establishment as a premiere regional of UMS, the 175-voice Choral Union is known for orchestra, under the leadership of 13 conductors its definitive performances of large-scale works over the course of almost a century of growth, for chorus and orchestra. Fifteen years ago, the the Ann Arbor Symphony Orchestra (A2SO) UMS Choral Union further enriched that tradition has remained passionately committed to enriching when it began appearing regularly with the Detroit Michigan's culture through their gift of musical Symphony Orchestra (DSO). Amidst performances performance and outreach. From its humble of Stravinsky's Symphony of Psalms, Beethoven's beginnings as the local community orchestra, Symphony No. 9, and Mozart's Requiem, the UMS the A2SO has been an artistic pillar of southeast Choral Union has also recorded Tchaikovsky's The Michigan, year after year providing the region Snow Maiden with the DSO for Chandos, Ltd. with: Great. Live. Music. Led by Grammy Award-winning conductor The A2SO offered its first major program in and music director Jerry Blackstone, the UMS November 1931, after being founded in 1928. In Choral Union was a participant chorus in a rare 1941, distinguished music educator Joseph Maddy, performance and recording of William Bolcom's who had founded what would later become the Songs of Innocence and of Experience in Hill Interlochen Center for the Arts, became the fourth Auditorium in April 2004 under the baton of conductor of the Symphony. By 1986, the A2SO Leonard Slatkin. Naxos released a three-disc set of had become a fully professional orchestra under this recording in October 2004, featuring the UMS conductor Carl St.Clair. In 2000, Arie Lipsky was Choral Union and U-M School of Music ensembles. chosen as the organization's 13th music director, UMS ^, Messiah
and the Symphony's first decade of the 21st century has been one of its most successful. A2SO concerts frequently feature world-class UMS Archives guest soloists, including, most recently, Anton he UMS Choral Union began Nel, Arkadiy Figlin, llya Kaler, and American Idol performing on December 16, 1879 star David Archuleta. But the Symphony is most Tand has presented Handel's Messiah privileged to be part of a community that is already in annual performances ever since. This enriched with musical talent; local artists such as weekend's performances mark the UMS violinist Yehonatan Berick; cellist Anthony Elliott; Choral Union's416th and 417th appearances pianists Arthur Greene and Louis Nagel; and under UMS auspices. This weekend Dr. vocalists Melody Racine, Stephen West, and Daniel Blackstone makes his 18th and 19th UMS Washington regularly join the A2SO on stage. appearances following his debut leading the In 2009, the A2SO released their first CD, Choral Union in performances of Messiah featuring the music of contemporary composer Paul in 2003 at the Michigan Theater. The UMS Fetler, as part of Naxos's "American Classics" series. Choral Union most recently appeared under The CD consists of live performances of Fetler's Violin UMS auspices joining the San Francisco Concerto No. 2, with concertmaster Aaron Berofsky Symphony under the baton of Michael Tilson as soloist, Capricdo for orchestra, and Three Poems Thomas in March 2010 in performance of of Walt Whitman, narrated by Thomas Blaske. Mahler's Symphony No. 2 at the 2010 Ford Whether on the stereo or radio, in the concert Honors Program at Hill Auditorium. hall or the classroom, the mission of the A2SO is This weekend's performances mark the Ann always striving to attract, inspire, and educate the Arbor Symphony Orchestra's 59th and 60th most diverse audience possible; foster a growing UMS appearances since their 1974 UMS debut. appreciation for excellent music and regional Harpsichordist Edward Parmentier has talent; and provide imaginative programming performed in the annual UMS presentations through community involvement. of Messiah since 1995; this weekend's performances marks Mr. Parmentier's 33rd and 34th appearances under UMS auspices. Tenor soloist Nicholas Phan makes his second and third UMS appearances this weekend, previously appearing under UMS auspices as vocal soloist in a Michigan Chamber Players Bach birthday celebration in March 2000. UMS welcomes U-M School of Music, Theatre & Dance alumni Caitlin Lynch and Jesse Blumberg, and Michigan native Meredith Arwady (currently residing in Kalamazoo) who make their UMS debuts this weekend. UMS 107, Messiah
Ann Arbor Symphony Orchestra
Arie Lipsky, Music Director and Conductor Mary Steffek Blaske, Executive Director
Violin 1 Viola English Horn Aaron Berofsky, Kathleen Grimes* Kristin Reynolds Concertmaster Tim and Leah Adams Bill and Jan Maxbauer Stephen B. Shipps Principal Viola Chair Oboe Chair Concertmaster Chair Barbara Zmich Kathryn Votapek, Janine Bradbury Bassoon Associate David Ford Nathanel Zeisler* Concertmaster Alex Applegate E. Daniel Long Ruth Merigian Principal Bassoon Chair and Albert A. Cello Scott Armstrong Adams Associate Sarah Cleveland* William and Elizabeth Concertmaster Chair Sundelson Endowed Knapp Bassoon Chair Karen Jenks Principal Cello Chair Timothy Abbott Linda Etter Violin Chair AliciaRowe Katie Rowan Bill and Hah Weiblen Contrabassoon Kim, Darlene and Cello Chair Nora Schankin • • . •• • • • lay/or Eagle Violin Britton Riley Chair Marijean Quigley- Trumpet Denice Turck Young Cello Chair William Campbell* Sara/i and Jack Ken Ishii David S. Evans III Adelson Violin Chair Principal Trumpet Chair Paula Muldoon Bass Joseph Brown Priscilla Johnson Violin Gregg Emerson Powell* Chair Erin Zurbuchen Timpani Amy Cave The EZ Chair James Lancioni* Kathryn Stepulla Robert Rohwer A. Michael and Remedies Montalbo Violin II Oboe Young Principal Barbara Sturgis-Everett* Timothy Michling* Timpani Chair The A2SO Principal Gilbert Omenn Second Violin Chair Principal Oboe Chair * = Principal Honoring Anne Gates Liz Spector and Annie Gregg Emerson Powell, Rudisill Personnel Manager David Lamse Ben Thauland, Librarian Brian K. Etter Jim Wright, Operations Memorial Violin Chair Manager Sharon Meyers-Bourland Anne Ogren Juliet Yoshida Paul Lundin Carolyn Lukancic Yanina Nagorny UMS Messiah
UMS Choral Union
Jerry Blackstone, Conductor and Musical Director Kathleen Operhall, Chorus Manager Jason Harris, Assistant Conductor Nancy K. Paul, Librarian Jean Schneider and Scott VanOrnum, Accompanists Donald Bryant, Conductor Emeritus
Soprano Sue Ellen Straub • Francesca Minonne David Schnerer Kathryn Borden Virgina A. Thorne- Mary Morse Ray Shuster Ann Marie Borders Herrmann Stephanie Normann Carl Smith Jamie Bott Barbara Hertz Wallgren Kathleen Operhall Joshua Smith Debra Joy Brabenec Margie Warrick Hanna Martha Reincke Christopher Switzer Ann K. Burke Barbara J. Weathers Sherry Root Bryce Thompson Anne Busch Katie Weber Susan Schilperoort Patrick Ton ks Carol Callan Mary Wigton * Joy Schroeder Jim VanBochove Susan F. Campbell Sara Zeglevski Cindy Shindledecker Chris Whittaker Antonia Chan Susan Sinta . Vincent Zuellig Young Cho Alto Beverly N. Slater Jessica Chung Paula Allison-England Hanna Song Bass Cheryl D, Clarkson Olga Astapova Connie Soves Sam Baetzel Joy Collman Carol Barnhart Katherine Spindier Joseph Baldwin Elizabeth Crabtree Dody Blackstone Gayle Beck Stevens William Baxter Marie Ankenbruck Davis Margy Boshoven Ruth A. Theobald William Boggs Kristina Eden Lorraine Buis Carrie Throm Paul Bowling Emilia Fracz Anne Casper Alice E. Tremont Michael Coster Jennifer Freese Elim Chan Barbara Trevethan John Dryden Keiko Goto Emily Clader Cheryl Utiger Don Faber Gabriele Hingelberg Allison Belmont Conn Katy Vaitkevicius-Wyner Kenneth A. Freeman Imogen Leigh Howes Carole DeHart Alice VanWambeke Mark Goodhart Bethany Isackson Melissa Doyle Rachelle Barcus Warren Philip J. Gorman Karen T. Isble Marilyn Finkbeiner Mary Beth Westin Matthew Gray AnneJaskot Katherine Fisher Sandra K. Wiley Chris Hampson Kyoung Kirn Grace K. Gheen Susan Wortman James Head Kay Leopold Heidi Goodhart Allison Anastasio Zeglis Zachery Kirkland Allyson Lieberman Siri Gottlieb Christopher Lee Patricia Lindemann Johanna Grum Tenor William Malone Loretta Lovalvo Kat Hagedorn Gary Banks Joseph D. McCadden Katherine Lu Linda Hagopian Dean Bush James B. McCarthy Natalie Lueth Sook Man Philip Cheng Gerald Miller Linda Selig Marshall Nancy Heaton Fr. Timothy J. Michael Peterson Sara McMullem-Laird Jane Hecker Dombrowski Victor Pinedo Carole McNamara Carol Kraemer Hohnke John W. Etsweiler III Michael Pratt Toni Marie Micik Laura Holladay Steven Fudge * Matthew Schafer Ann Ophoff Stacey Hoopes Randy Gilchrist William Shell Ann Orwin Stefanie Iwashyna Roy Glover Donald Sizemore * Florence Pache Sue Johnson Arthur Gulick Jeff Spindier Nancy K. Paul Josephine Kasa-Vubu Jason Harris Brian W. Spolarich Ann Payne Katherine Klykylo Steve Heath William Stevenson Sara J. Peth Ling-Ju Lai Andy Hickner Alexander Sutton Margaret Dearden Jean Leverich Erik Johanson Terril O. Tompkins Petersen Cynthia Lunan Marius P. Jooste Thomas L. Trevethan Julie Pierce Christina Macholan Ezra Keshet John Van Bolt Alexis Ridener Karla K. Manson Bob Klaffke Alexander Von Hagen- Erin L. Scheffler- Franklin Jennifer McFarlane-Harris Nils Klykken Jamar Mary A. Schieve Beth McNally Mark A. Krempski Paul Venema Joy C. Schultz Marilyn Meeker* Richard Marsh Susie Shaefer Nicole Michelotti Nicholas Mischel Jennifer Stevenson Carol Milstein Michael J. Pitsch * =Section Leader