UMS Concert Program, February 16, 2013 - February 24, 2013 - Amjad Ali Khan; The English Concert; Propeller; New York Philharmon

HILL AUDITORIUM I 100 YEARS
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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 0>0"
Stephen G. Palms VIc" Choir
Anne Glendon Seaetory
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Rachel Bendit
OJ Boehm
Janet callaway David (anter Marl made his international debut with a solo performance at t he 8BC World Radio UK. He has performed in some of the most prestigious festivals in coun.tries including the us. UK. Greece. Jordan Egypt Israel C r o a t i a , Indon~ G e r m a n y , F r a n c e . a n d the Netherlands. He has represented t he Indian. !P>'enunent at the Corfu Festival in Greece. the Jerash Festival in Jordan. and t he Dubrornik Festival in Croatia
VINEET VYAS is one of Canada's young and dynamic musical talents. He is a disciple of the legend3ry tab.la maestro Kishan Maharaj. Duringhis performances. audiences worldwide are enthralled as they witness and feel the depth of his musicality. spontaneity. and creativity. He has been awarded scholarships from the Canadian !P>'ernment in recognition of his musical talent and has beenfeaturedonCOCtelevisionandradio.
UMS welcomes Amjad Ali Khan Amaan Ali KMn. Ayaan Ali Khan. Anulntta Chatterjee. and V"mert Vyas, who make their UMSdebuts t~ht
An Opera in Three Acts, HWV 12a Composed by
George Frideric Handel
The En(llish Concert Harry Blcket, Conductor NadIa Zwiener, Leader
David Daniels, Countertenor (Radam!sto) Patricia Bardon, Mezzo-Soprano (Zenobia) Luca Plsaroni, Bass- Baritone (TIrldate) )oeUe Harvey, Soprano (TIgrane)
Brenda Rae, Soprano (Pollssena) Jonathan lasch, Baritone (Farasmane)
Sunday Afternoon, February 17, 2013 at 4:00 Hill Auditorium' Ann Arbor
44th Performance of the 134th Annual Season 134th Annual Choral Union Series
Photo; A SOld mask on display plctUfed during a private exhibition entitled TflIoce and the Anoen! World at the National HlstOlY Museum in Sofia, Bulgaria. March 21, 2011: photOljlfaphQf: Vassil Donev/epa/Cofbls, o
PROGRAM
Act I
INTERMISSION
Act II
INTERMISSION
Act III
This afternoon's performance is approximately three hours and fifteen minutes in duration, including two intermissions.
Media partnership is provided by W:;TE 913 FM and WRq 90.9 FM. Funded in part by a grant from the Michigan Council for Arts and Cultural Affairs and National Endowment
for the Arts. Special thari:s to Torn Thompson of Tom Thompson Flowers, Ann ArOOr, for his generous contribution of
lobby floral art for this afternoon's performance. The E~sh translation of the lbetto is used IYith permission by Ken Chalmers, coo.rtesy of the 8arbican Centre. The Enlltish Concert appears by arrangement with IMG Artists.
Radamisto. HWV 12a
George Frideric Handel Born Febru0l"!l23 1685in Halle, Germany Died April 14. 17S9inlorld01l
About the Composer
\nearlydaysoftheinternet.anessaymadethe rounds recounting rnisrernembered history from the test papeI"sofgrad.e-school students. "Handel"wrote one young respondent, "was halfGennaI\halfItalian.andhalfEnglish.He was very large." Despite the dubious math, it wasaprettyfairassessmentofthecomposer's brilliant career. Unfortunate reference to his girth notwithstanding. it also acrurately depicts his presence in England's musical life.
Born i n Halle t o a PI"(lYinciai Saxon family, Handel woold grow up to become the canniest and most cosmopolitan of composers.BythetimehediscoveredEng1and in 1710, he had already held positions as a local church organist and theater musiciaI\ and had extensively toured Italy (at the invitation of a Medici), engaging with opera's most CUITent practices and practitioners. It was a formidable background for a composer about to encounter a growing taste for Italian opera among London's nobility.
Having savored success with Rinaldo (l71n his first opera written expressly for English audiences. Handel grew less content with his recent court position and looked to extend his London presence. (His employer, in effect. soon followed: Through imperial politics. Elector Georg of Hanover became King George I of England) But it was not merely the lure of fame; Handel saw the need to keep constant tabs on fickle English audiences.
A veteran of Hamburg's commercial Theater am Gansemarkt. Handel became a master of creating his own opportunities. and within 15 years he would have a hand in launching three opera companies in London By the 1730s. however, English audiences had forsaken Italian opera in favor of more linguistically digestible works. Once agall\ the nimble Handel changed direction, and English-language oratorios - such as Ismel in Egyp" (1739) and Messiah (1742) - would ensure his fame long after his early operas had fallen out of fashion
About the Work
Besides being one of Handel's more musically substantial stage works. Radamisto stands as a prime example of a pragmatic composer taking matters of production into his own hands. His first new opera in five years - and the first serious rival to his early successwith Rinaldo - thepiecewas Handel'scontribution for the new Royal Academy of Music. a subscription-basedoperacompany founded in 1719 by members of the London aristocracy. Radamisto saw its initial premiere in the spring of 1720 at King's Theatre. Haymarket. the prime venue for Italian opera in London at that time.
The opera's libretto. attributed to Nicola Francesco Haym. was an adaptation of Domenico Lalh·s Aorentine play L'amOUl" timnico, itself an adaptation of Georges de Scudery's Parisian tragicomedy L'amOUl" tyI"OllIliJUE', w h i c h w a s l o o s e l y b a s e d o n T a c i t u s ' s A nnals o f I m p e r i a l Rome . Traditionally, an opera's dedication was a privilege of the librettist. but given the text's dubious lineage, Handel reserved that right for himself. Whether to soothe any residual resentment wer his delinquency in Hanover - or out of sincere admiration for his one-time patron and current Sovereign - Handel dedicated Radamisto to George l acknowledging the kings encouragement "not so much as it is the Judgment of a Great Monan:h, as of one of a most refined Taste in theArt."
That Handel later chose to revise Radamisto so heavily that same year hardly reflects on its initial reception - the original production ran for a respectable 10 performances - but rather indicates the opportunities that presented themselves for the Academy's second season. Given that the original showed such a marked advance in musical structure and dramatic conception wer the usual operatic fare - often cobbled from several soorces, giving singers dear preference over composers - it bears mentioning that Handel would rework SO much of his material when more desirable singers became available.
Handel had been charged by the Academy to recruit the best singers available on the continent, and went on to secure commitments not only from castrato Francesco Bernardi (the famous "Senesino: who went on to premiere many of Handel's operas,includingthetitlerolesinOrlandoand
GiuIio Cesrm'~ but also soprano Margherita Durastanti and bass Giuseppe Maria Boschi The revised Radamisto that premiered in De. He became Artistic Directorof The English Concert. one of t he UK's finest period orchestras. in 2007.
Plans for the 2012-13 season ard beyond includes extensive tcuring and recording commitments with The English Concert and returns to the Chicago Symphony, Metropolitan Opera (Oemenza di Tita. Giullo Cesare), Canadian Opera Company, Liceu Barcelona and Houston Grand Opera. He has recently conducted opera productions for Metropolitan Opera (Rodelirv;la~ C h i c a g o L y r i c (Rin:IIdo~ a n d Bordeaux Opera (Aldrta) as well as many pro~ with The English Concert featuring soloists such as ian Bostridge, Andreas Scholl and Vesselina Kasarava. This summer he conducted The English Concert at both the BOC Proms (J.£ Bach's Mass in b miror) and EdinhJrgh International Festivalinaprogram withDavid Daniels.
Maestro Bicket has appeared at major US festivals including Glimmerglas~ Spoleto. Aspen, and SantaFe.Hisdiscography includes ~leases with Ian Bostrldge, David Daniels, Rena. Aerning SusanGraham Lorraine Hunt lieberson, a Handel duets disc with Sarah ConnollyandRosieJoshua, and mostrecently. a recordingwith LucyCroweandThe English Concert.
American countertenor DAVID DANIELS is known for his superlative artistry, magnetic stage presence and a voice of singular warmth and surpassing beauty, which have helped him redefine the ca.mtertenor voice for the modern public
Highly sought after for the works of Handel. Monteverdi, Gluck.. Mozart.. and Britten, Mr. Daniels has appeared on the
of Baroque music for trumpet with Alison Balsom and The English Concert directed by Trevor Pinnock.
The Eng1ishConcert works with several distingui.shedguest dirf'ctors. includingoboist Alfredo Bernardini. violinist Fabio Biondi and harpsichordists Laurence Cumm1ngs and Kenneth Weiss..
great operatic stages of the world.Highlights have included the title role in Gluck's Orfeo at Covent Garden. the Metropolitan Opera. and for the Lyric Opera of Chicago; the title roles in Orlando, Tarnerlwv, and Rinaldo at the Bayerisdte Staatsoper, Munich; Didymus in Theodom and the title role in GiuIio Cesare for the Glyndebourne Festival; Oberon in A Midswnrner Night's Dreorn at the Metropolitan Opera, La Scala Milan. the Lyric Opera of Chicago. and at Barcelona's Gran Teatro del licell; GiuIio Cesare at the Paris Opera; Bertarido in RodeJinda at the Metropolitan Opera and San Francisco Opera; the title role in Radamisto; Roberto in Vivaldi's Griselda in Santa Fe; and Arsace in PurtE'Ik:lpe in Vienna.
The current season sees him return to the Metropolitan Opera for the title role of Giufu Cesare, to Theater an der Wien for the title role in Radamisto, and to Santa Fe where he will create the role of Oscar Wilde in the new opera OSCOT, commissioned from the composer Theodore Morrison. A prolific recording artist, Mr. Daniels'latest release is a collectionofBach's$ocredAriasandCantatas conducted by Harry Bicket with The English Concert for Virgin Qassics. Honored by the music world for his unique achievements, Mr. Daniels has been the recipient of two of classical music's most significant awards: Musical America's Vocalist of the Year (1999) and the 1997 Richard Tucker Award.
PATRICIA BARDON was born in Dublin where she attended the College of Music and studied with Veronica Dunne. At age 18 she became the youngest-ever prize winner in the Cardiff Singer of the World competitiOIL She has sung with the many of the world's leadingoperahousesandorchestrasandwith conductors including Abbado, Blohlavek, Christie, Deneve, von Dohnanyi. Eschenbach. Jacobs, Levine, Luisi. the late Sir Charles Mackerras, Mehta. Pappano, Rousset, and SaloneIL
A highly versatile singer, Ms. Bardon sang Erda in Wagner's Ring cycle at the Metropolitan Opera and has sung the title role in Cannen for Hamburgische Staatsoper, Welsh National Opera, and Scottish Opera (also recorded on CD); the title role in Saariaho'sAdriono Mater for Opera de Paris; Tancredi and Arsace (Semiramide) for La Fenice; La NollITice (Arione et .Bw-be-BJeu)
at the Gran Teatre del licell; roles in Muse in Egitto. Guillawne Tell and Me(istofeJe at the Royal Opera Hoose; Anna (Les TmgeIlS) for Scottish Opera, Opera North. and Maggio Musicale F1orence; Smeton (Anna Boleno) in San Francisco; Angelina (In Cenen'nw.lo) in Lausanne and La Monnaie, Brussels; and Malcohn (In dOIlIlo del logo) at the Edinburgh
International festival
A native of Bolivar, New York, soprano JOELLE HARVEY is quickly becoming recognized as one of the most promising young talents of her generatioIL She is the recipient of a First Prize Award in 2011 from the Gerda Lissner Foundation Vocal Competition. a 2009 Sara Tucker Study Grant from the Richard Tucker Fo..mdation. and a 2010 Encouragement Award (in honor of Norma Newton) from the George London Foundation Vocal Competition.
Ms. Harvey made her Glyndebourne Festival Opera debut in a revival of Jonathan Kent's acclaimed production of The Fairy Queen in summer 2012. She also sang Bach's Moss in b minor with The English Concert at the EBC Proms and in Leipzig. During the 2012-13 season. she sings Susanna in I.e
NozZlE'diFigoroontourwiththeGlyndebourne Festival and with Arizona Opera; two appearances with the San Francisco Symphony performing Handel's Mesillh conducted by R3gnar Bohlin. and music from Peer Gynt conducted by Michael Tilson Thomas; Tigrane in a US tour of Radamisto with Harry Bicket and The English Concert; the Mendelssohn and Bach Magnifkots for her debut with the New York Philharmonic; Iphis in a tOOT of Handel'sJephtho with Harry Christophers and Handel and Haydn Society, and Zerlina in Don Gwonru", conducted by Marc Minkowski at the Festival d'Aix-en- Provence.
Baritone JONATHAN LASCH has been described by critics as possessing a voice of ' arresting color and heft' that is "thrillingly resonant and finn-lined.' ' handsome: ' robust," resolutely strong,' and ' penetrating.' In l O l l Mr. Lasch performed Captain Corcoran in RM.S. Pinafore with Piedmont Opera. Scarpia in Tasca for Opera Saratoga's Pasta and Puccini Night and joined the Aspen Opera Theater Center to perform the role of Ford in Falstaff. This season. he will also perform the roles of Keith. Earl and the
Fatherin This is the Rill Spenking with Opera Memphis.
Mr. Lasch has performed as a soloist in Faure's and DurufiE~'s Requiems, Handel's Mesillh. Henry Mallicone's Bentitude Mass, Adam in The Crootim, The Fi~ Mystical Songs. and Ihver Beach with the Emerson String Quartet. Hewas featured as a recitalist in Spain (Leon. Salamanca. Soria. and BayOM La Real) in the summers of 2004, 2006. and 2007. Mr. Lasch has been fortunate to learn from some of the best training programs in the UShavingparticipated in the YoungArtist Programs at Glirrunerglass Opera. Seattle Opera. Portland Opera. Chautauqua Opera. and Connecticut Opera. all while rounding out his academic studies with The Hartt School/University of Hartford (BM and MM) and CCM/University of Cincinnati (Artist Diploma). Mr. l.asch continues his studies as a DMAcandidateat the University of Michigan as he continues a professional performing career.
Italian bass-baritone LUCA PISARONI has established himself as one of the most captivating and versatile singers of his generation. Since his debut at the Salzburg Festival at age 26 with the Vienna Philharmonic under Nikolaus Hamoncourt. he has performed at many of the world's top operahousesandconcerthallsworldwide.
Besides his activities in opera and concert. Mr. Pisamni is an ardent and dedicated recitalist having performed at venues including Carnegie Hall the Ravinia Festival Amsterdam's Concertgebouw, the Edinburgh Festival. and London's Wigmore
UMS ARCHIVES
Hall Recent media releases include an EMI DVD of Ihn Gmanni and Rinaldo ITom the Glyndebourne Festival I.e Noz~ di F~aro from Opera National de Paris, and a Deutsche Grammophon recording of Ihn Gmanni in an all-star cast with the Mahler Chamber Orchestra conducted by Y annick Nezet- seguiIL Mr. Pisaroni lives in Vienna with his wife, Catherine.Their golden retriever, Lenny 20,and miniature dachshund. Tristan. are the singer's constant traveling companions.
American soprano BRENDA RAE is currently a member of the ensemble at Oper Frankfurt. nus season. she will sing the role of Zerbinetta in Ariadne aUf NOXa> for her debut with the Hamburgische Staatsoper, followed by a debut at the Paris Opera as Anne Trulove in The Ruke'sPrqjress. Ms. R3e makes a return to the USwith two important debuts: Polissena in Rudamisto at Carnegie Hall (as part of a European andAmerican tOIlI" with The English Concert and Harry Bicket) and in the summer as Violetta in In Traviatu at the Santa Fe Opera.In Frankfurt. Ms.R3e will continue her exploration of the Baroque repertoire with her deoot as Qeopatra in a new production of Giulio Cesare and will sing the title role in Doniz.etti's Mario Stuardo in concert. In the spring she will return to Bordeaux for Pamina in Die ZauberfJiite. FurtherEllI"opeanconcertdatesofRa:lamisto will include London. Paris. BirminghaIl\ and Toulouse, and in the early summer she will make her Schubertiade debut in Schwarzenberg. Austria In the future, Ms. R3e will return to the Oper Frankfurt and the Bayerische Staatsoper in leadingroles.
This afternoon's performance madcs The English Concert's third appearance under UMS auspices. TheOrchestra made its VMS debut in January 1986at RackhamAuditorium. and most recently appeared under VMS auspices in March 2000 at Hill Auditorium.
This afternoon's concert marks David Daniels' 12th appearance under UMS auspices. A U-M alumnus. Mr. Daniels made his UMS debut in Handel's Messiah in December 1994. and most recently appeared under UMS auspices in January 2004 at Hill Auditorium's reopening concert.
VMS welcomes Maestro Harry Bicket. Patricia Bardon. Joelle Harvey, Jonathan Lascl\ Luca Pisaroni, and Brenda Rae,who make their VMS debuts thisaftemOOIL
THE ENGLISH CONCERT (continued)
Harry 8icket, Director and HarpsidICrd
NadjaZwiener, l1!ader
VIOLIN I
VIOLONCELLO
J""""Crou in a FictionaJ City (Prix D'Italia).
FINN HANLON (Antonio / Lucentio) trained at Royal Welsh College of MllSic and Drama His theater work includes Heruy V; The Winter's Tale (Propeller); Joseph K in The TriaJ (Watford Palace); one-man show Private Peaceful (Edinburgh Festival and NationalTour~JackinTheScarecrowandhis Servant (Southwark Playhouse~ Romeo in RolIl€Oand Juliet (New Wolsey, Ipswich~ Tony in Beautiful Thing (Battersea Arts Centre~ Damis in Tartuffe (Bristol Old Vic); Willie in Blue Remembered Hills (Sherman. Cardiff); Cardinal in 'TIs Pity Shes a Whore (Bristol Old Vic~ Once We WE'J"E' MatheIS (Orange Tree);lronEyehshes (Imaginary Forces~Road (Broadway Theatre); and Alice Through the Looking Qass (2K).Television credits include: Being Human (BBC).Film credits include:Not Me; Tristan andlsolde.
LEWIS HART (First Officer / Servant) trained at Italia Conti Theatercredits include: Cornelius (Finborough Theatre~ Dunsinane (Royal Shakespeare CompanY/National Theatre of Scotland); The 24 HOOT Plays 2012 CThe Old Vic); Mruy Q.Jeen of Scots Got Her Head Chopped Off (Royal Edinl:mgh Lyceum Theatre Company/Dundee Repertory Theatre~ The Enlightenment CaN CThe Old Vic Tunnels); Turning to the Camero (Siege Perilous); life Support (York Theatre Royal StudiO); Miller (Etcetera Theatre~ The Cl:ge (The Pleasance Dome, Edinburgh~ Spotlight Showcase 2010 (Bloomsbury Ballroom). Film credits include: The Hairy Ape (Creature of London); Busking for a Beatdown (London Reign Media); Ten Glorious Seconds (Wall of Angels).
CHRISTOPHER HEYW ARD (Orsino / Tailor 6- Widow) trained at the Guildford School of Acting. Theater credits include: The
American Clock (Finborough Theatre); The Charity that Began at Home, Toms A-Cold. The Conquering Hero. and The Tempest (The Orange Tree Theatre~ The Dead Guy (English TheatreFrankfurt~ TheWomaninBlack (Fortune Theatre, West End~lnspectorMorse: House of Ghosts (UK Tour);S.bOOdku (Theatre 503); TM'lfth N~ht (Oxford Shakespeare Company); An Enemy of the People (An:ola Theatre~ Sauborough .fllir (Jermyn Street Theatre~ Deception (Riverside Studios); The Rrn-ngers Tragedy (Bridewell Theatre~ Newsrevue (Canal Cafe Theatre~ Terrorism (Cochrane Theatre). Television and film credits include: Betsy and Leomud (Iron Box. Films), The Dend Moon (Sky1 Hidden (ChanneI4/0bjective~Inside Out (BBC).Audio credits include:.Doctor MIa: Masters of War (Big Finish Productions).
VINCE LEIGH'S (SirT obyBelch/Sly 6- Petruchio) theater credits include Heruy V; The WInter's TaJe, A MidsullliIl€r Night's Dream, Pocket Dream. Rose Rage, TM'l(th Night(Propeller).Othertheaterworkincludes: AFunny Thing Happened On The Way To The Forum (National Theatre~Otheno (Watermill~ L ysistmta (Richmond/Epidaurus); Kevin in No Remission (Edinburgh~ Cyrnbe!ine, Much Ado About Not~, The Spanish Trl:9edy, and Julius Caesar (Royal Shakespeare Company); The WInters Tale (Headlong); Dea:! Guilty (Apollo West End); P.V.T Wars (Edinl:mgh); Cats (New London Theatre~ Just So (Tricycle); Maxwell The MusicaJ and Tutenkharnun (Imagination~ Moll Flanders (Lyric Hamersmith~ Ten Commandments (The Place~ The Fly (Garrick); and Is There life After High School? (Bridewell Theatre). Television includes: TriaJ and Retribution (Sam Palmor); Touch Of Froot; Silent Witness; New Tricks; Waking The Dend; Miss Marple; Family Affairs (Adam Sheldrake~ Jonathan Creek; Jo Bmnd Thru The Cakehole; and One Foot In The Grave. Film includes: Shadow Man; Passing Through; Broken Heart; and That Sunday. Radio includes:Friday Night Is Music N~ht (BOC Radio 2).
CHRIS MYLES (Molvolio / Baptista) trained at the Central School of Speech and Drama. His theater work includes: Heruy V; The WInters TaJe, Richard IlL The Comedy of Errors, The Merchant of Venice, A MidsullliIl€r Nights Dream. TM'l(th Night, The Taming of the Shrew, The Winters TaJe,
Rose Rl:ge, The Comedy of Errors, Henry V . Other theater: 1936 (An:ola Theatre~ A DolIs Hoose (Northern Stage, Newcastle), Shaw Cornered (Indian tour), NeviIle's Is./and ( W a t e r m i l l T h e a t r e , Newbury~ M a r i e l u i s e (The Gate Theatre). Television includes: Sex and The Neanderthals (France S). Film credits include Lip up Fatty (Leningrad Film Collective~ Virp (Impact Pictures), and Rookery Nookery (Jolly Good Films). Chris is a local councilor in Hackney.
GARY SHELFORD (Morio/Hortensio) trainedatlAMDA..Theaterworkincludes: The Winter's TaJe, Heruy V (Propeller~ The Stock Da'wa (Hampstead Theatre~ Mad About The .Boy (National Theatre Studio/West Yorkshire Playhouse); The Slvp (Bristol Old Vic~ The Grapes of Wrath (Mercury Theatre~ The TID Horiznn {Theatre 503~ The Internationalist (The Gate~ Shoot Get Treosure: Repeat (The Gate/National Theatre~ Angry Young Man (Trafalgar Studios~ PrE'SE'IltTeIlSE' (Nabokov); AccidentnJ Droth of An Anarchist (Mercury Theatre); Animal Farm: One Man Show (Assembly Rooms Edinburgh & World Tour~1 in 5(HampsteadTheatre & YoungVic); Hamlet
LIAM O'BRIEN (Feste/Tranio) is from Limerick and began his career working and tOuring extensively with the city's Island TheatreCompanywithproductionsincluding inHam1et(CreationTheatreCompany~v.lho's
BorrQM'dRobes, The Trickster, CUr Town, The Taming of the Shrew, The Glass ME'llagerie, and f!'Iery production of PigWWn (nominated BestProductionIrishTimesTheatreAwards). Other theater: Romeo 6- Juliet, Come Up and See Me Sometime (Pavilion); One Flew Over The wckoo's Nest (Andrew's Lane); Trans.lotions (Library Theatre, Manchester- BestProductionMENAwards2003~Drothof a Salesman (Bolton Octagon); Walking Awny (Amalgamation); The RutFbck (USA/UKWest End Tour); CoroJs with the Stars (Royal Albert Hall);St01les in his Pockets (Orchard); his awn annual Crooning at Christmas (2004); and most recently The Mill (Mephisto. Galway). Liam co-founded Bottom Dog Theatre Company and has produced all of their shows. He holds a SA in English and Media (Hons) from UI.. and an associate diploma in acting from the London College of Music. He studied with Steppenwolf Theatre in the US in 2010under Jeff Perry, Kim Rubinstein. and Alexandra Billings and was selected for the Next Stage program at the Dublin Theatre Festival 2010.
BENJAMIN O'MAHONEY (Sea Coptoin / Grumio 6- Pedant) trained at
the Drama Centre lnndon. Theater credits include: v.lhat You Will (Shakespeare'sGlobe); Bollroorn Blitz (Hull Truck); The Cherry Orchard (Rose Theatre. Kingston~ King Lear (Shakespeare at the Tobacco Factory~ 24 H o u r P . I o y s 2 0 1 1 (OldVic~PeopleLike U s ( T h e Vineyard. Broadway); Unrestless (The Old Vic); The Emperor Self (Arcola). Film credits include: Max 6 (Electric Cinema); Chloe (Ghost Images~ The Other Boleyn Girl (Sony Pictures).
Harry (Pleasance L:mdon); Ambian Nights (Creation Theatre Oxford~ The Triwnph of Love (The Watermill); A Midswmner N~ht's Dream (Bloornsl:wy); Sha:les (Albery); Asleep Under The Ihrk (Cheltenham Everyman); They Shoot Horses Don't They (Apollo. West End);Matches for Monkeys (Chelsea Theatre); Market .Boy (National Theatre Studio); No Mans Lund; Pinter's Sketches and Press ConferE'llCE', written and directed by Harold Pinter (National Theatre). Television work includes: Luther, SiJE'llt Witness, HoJby City, My Family, The Quartennass Experiment (live), and Eastenders (all BOC lV). Film work includes: Bridget JonE'S: The Edge of RE'OSOIl (Universal); The Scampi TmiJ (Couch Potato Prod.~ CMrlotte Grey (Ecosse Films); APortraitofLond01ldirectedbyMikeFiggis; and S.Iopper written and directed by Chewitel Ejiofor.
DAN WHEELER (Seblstian / Knte) trained at lAMDA Theater includes: This Land - The StoIY of Woody Guthrie (West Yorkshire Playhouse(Z.oo Southside Edin1:mgh); Symph01ly (Nabokov Theatre outdoor tourfI..atitude Festival~ As Yoo Like It(TheSpaceGreenwich~ W r n d i n t h e W i l l o w s (Northern Stage); Ernest and the PaJe MOO1l (Les Enfants Terribles national tour~ Peter Pan (Kensington Gardens and 02); Predoos Bane (Interplay Theatre national tour). Film includes: Fascinatnn Pictures' BJackout (CannesShortFilmCorner/Shriekfest- Best Horror Short); Letizia Pez:z.ali's The GardE'll (Saint Petersburg International Youth Film Festival). Dan also works as a voiceover artist and as a musician playing a variety of instruments.
ARTHUR WILSON (Curio e. Priest / Bianca) trained at the Royal Scottish Academy of Music & Drama. Theater work irdudes: lohn Darling in Peter Pan (Three Sixty, Kensington Gardens. and UStour~Hard Tunes. If I Were You. Toms Midnight GJrden (libIary Theatre. Manchester~ Resurrection (Oran Mar, Glasgow~ The Borrowers (Citizens Theatre~ Recent lV/fihn work includes: Low 6Order:UK(IlV).SecofSouls(SOC).andOpus (Ta1ITaleFilms~
DUGALD BRUCE · LOCKHART (Associate Director) trained at RAn\. As associate dir«t:or for Propeller his credits include Pocket Comedy and Pocket Heruy V. He was assistant director on The Winters Tale. His acting work for PrqJelier includes: Heruy V, The Winters Tale, ComedyofErrors. Richard IlL Taming of The Shrew, Twelfth Night. A Midsummer Night's Dream, Rose Rage. Other theater work includes: The 39 Steps (Liverpool Aayhouse/Tourt The Prime of Miss JeClIl Brodie (Northampton Royal Theatret For King and Countzy (Aer, Plymouth Theatre Royal and Tour); Deep Blue Sec (Bath/Vaudeville Theatre, London~ Les Liaisons r:bngereuses (Royal Lyceum Theatre~ Faust (Critics Award for Theatre in Scotland "Best Actor" nomination for his role as Mephistopheles. Rota! Lyceum Theatre~Cot on a HIX Tin Roof{Nottingham Playhouse Theatre~ Twelfth Night (English Touring Theatre~ Heruy V and The Comedy ofErrors {Watemill1 Theatre and Tour~Three Girls in Blue (White Bear); The Prince's Ploy (Royal National Theatre~ Reader (Traverse Theatre~ Hewy VI (RSC); and A Streetcar Named Desire (Byre). Dugald teaches and ~ at drama schools in lDndon as well holding Shakespeare and devising workshops for the school curriculUm across the UK and internationally.
DAVID GREGORY (Sound Designer) trained at the Central School of Speech 8:1 Drama. David's previous productions for Propeller include: .Fbcket Henry V. Heruy V, The Winters Tale, Richard UL and. The Comedy of .Errors (UK and international t ours). As a scund designer his most recent credits include: The Physrist (River Side Studios); Henna Night (Pleasance Theatre~ 24HourPlays- CelebrityGaJoand24Hour Phys- NewVoices(OldVic~WagesOfThin (Old Red lion, nominated for Off West End.
SoundDesignoftheYear 201OtOrdinruyLads (Etc Theatre); Sldden Loss of Dignity (Bush Theatre. Latitude Festival and UK Tour};S-ZJ ( F i n b o r o u g h T h e a t r e . T u n e OutCriticsChoice~ Waiting for Romeo (PI.easance, london 6.l Edinturgh~ Strippers CIIld Gentlemen (ICA~ The Zoo (F"mborough Theatre~ and An Artist and a Mariner (Minp1rt!l5t~M...agl'r Sp.ciali.odTrw.v.Il..td.ConpmyT""",1
n... UK Iror ;" fur.J.d by tho Art. CJ.ndl of England . nd "P"noored by C.5hn.>wwa. first p",..nted.t tho n.". tr" ~ Norwicil onJonllaIY 24. 2013.
With thanb t",So.nd", eo:.. at SIz&tingandPllhlidtg wmwou." Bdurn:h1 Consultnnt
Angi. J("nd. lI,A. .istnntrothe E d itOl'll M;mu.1H.,.1an,ftoductjaiPhot~
Cathy Ba)a,r.Dl'W/q>m'ntM. !pOdoLy adaptod t.rt. includ. ""«rpt. from th. prompt t t ptondpro pWtishes his poem The
Afternoon 0{ a Foun
finally sign off on his First Symphony, and even then it was only pr(lYisionally, since he would revise it further prior to its publication the following year. He was 43 years old and hadbeens~with thepieceonandoff forl4 years.
The symphony's "purpose' is essentially articulated in its outer movements; against these. the second and third stand as a two- part intermezzo. throwing the weighty proceedings that SIlITOund them into higher relief.Thefourmovements proceed according to a key arrangement of ascending thirds (remembering that A-flat is the enharmonic equivalent of G-sharp): the first movement in c minor, the second in E Major, the third in A-flat Major, and the finale in c minor again. In this regard we find that Brahms was not following any model he coold have found in Beethoven's symphonies,. which for the most part still operated according to the harmonic relationships of the Qassical era. which tended to set movements in the work's over-riding tonic key or at the degree of a fourth or fifth away. In contrast. Brahms here explores an architecture based on thirds
- relationships that increasingly interested composers as the 19th century progressed. an evolution in harmonic practice that would shortly lead to radical new stances about the nature of tonality itself.
"My symphony is long and not particularly lovable: wrote Brahms to his fellow composer Carl Reinecke when this piecewasunveiledHewasrightabout itbeing long. atleastwhen compared toother"typical' symphonies of his era. He was probably also right about it not being particularly lovable. Eventhewarmthofthesecondmovementand the geniality of the third are inteITl.lJ)ted by passagesofanxiety,andtheoutermovements are designed to impress rather than to charm. Brahms's First is a big. 1:mly symphony, certainlywhencompared tohis next two. It is probably no more lovable than Michelangelo's The Last Judgment. Shakespeare'sKing Leru-, orGoethe'sFmlst.
Program notes by James M Keller, N€'I'I'YQl"k Philharmonic Program AnnotatQl", The Leni andFWerMOlJ ChoU.
For artist biographies and an orchestra roster, please refer to page 4 0 in this program book.
UMS ARCHIVES
lhis weekend's concerts mark the New York Fhilharmonic's 17th and 18th appearances under UMS auspices. The Or.
Credit Suisse is the Global Sponsor 01 the New York Philharmonic. Breguel is the Exclusive Timepiece 01 the New York Philharmonic. The New York Philharmonk appears by arrangement with Columbia Artists Management, Inc.
NOW THAT YOU'RE IN YOUR SEAT...
lbis concert will be something of an emotional roller-coaster: a witches' sabbath the religioJs f e r v o r o f a k i n g f r o m t h e O ld T e s t a m e n t a n d a t o r m e n t e d . R o m a n t i c s o u l d e s p e r a t e l y s e a r c h i n g for themeaningof life. Whoever said that musicisincapable ofexpressing emotion and can only speakaboutitself?Mussorgsky,Bloch.andTchaikovsky- andmanyothers- wouldcertainty disagree..Yettheydidfar morethanmerely"express"theiremotions:theygavethoseemotionsa compellingartistic form and made sure that we f~1them too. every inch of the Wirf.(Peter LaId)
Night on Bald Mountain (1867/1006) Modest Mussorgsky Born March 21, 1a39 in KoreYc, in the Pskov
districtafRussia Died March 28, 1981 in St. Petersburg. Russia
Art. Nikolai Rimsky- Korsakav BornMarch18,1844in Tishkin. near
Navgcrod, Russia DiedJune21,1900inLiubensknearSt.
Petersburg
SNAPSHOTS OF HISTORY... IN 1867: •The us pu-chases Alaska. from Russia • Veldi's ope!a Dan Corlas PfeI'l1ie1es r. Paris •johann St1a1.JSS. Jr. writes the 8M! Donube waltz • Kat t.'ax publishes Dos Kooitct • Alfred NObel patents ctynan"i1Q
According to Sl;wic folk legends. Midsummer Night has seen quite some canying-on The pre-Otristian Ukrainians celebrated it as a fertility festival that if it sua:eeded in satisfying the gad Kupala. would assttre a good harvest a few months later. When the Quistian church arrived it tried to eradicate pagan festivals of this sort but often subswned them into Christian events. in this case. the Feast of the Nativity of St John (Ivan) the Baptist. which feU about then in the church calendar. Even the name of the new consolidated celebration. Ivana Kupala, reflects this hybrid origin. The occasion was generally jayws but it had an ominous underbelly. On that night (July 5- 6, a c c o r d i n g t o t h e n e w R u s s i a n calendar~ water nymphs tried to lUre the unwary to their deaths in lakes and rivers and all manner of frightening supernatural beings cavorted about the forests posing danger to anyone who might encoonter them Much of this activity centered an the so-called Bald Mountain. where all sorts of demons. witches. and sorcerers gathered in orgiastic f~. with their leader. the satanic Chemobog. often taking the form of a blackgoat.
On October a. 1860, the 21-year-old Modest MlJS50rgSky wrote to his mentor, the composer Mily 8aJ.altirev:
I have n>ceived an extremely interesting commission. which I must prepare for next summer. It is this: a whole act to take place on Bald Mountain (from Mengden's drama The Witch~ a witches' Sabbath separate episodes of sorcerers. a solellUl man::h for all in this nastiness a finale- theglorificationoftheSabbath in which Mengden introduces the commander of the whole festival on Bald Mountain. The libretto is very goc:xi I already have some material for it: it mayturnouttobeaverygoodthing.
(Baron Mengden remains obscure. and his play The Witch has disappeared entirely.) Nothing came of this project until same years later.In1866.Mussorgskywroteto8aIakirev. "rvebeguntosketchthewitches- amstuck atthedevils- theprocessionofSatandoesn't satisfy me yet.' But this time Mussorgsky perseveral. and on July 17, 186'7, hewrote to his friend Nikolai Rimsky- Korsakav:
On the 23rd of June. on the Eve of St. John's Day. I finished, with the help of God, St. Johns Night an.B::r.Jd Mountain - a tone picture with the foUawing program: (1) assembly of the witches. their chatter and hubbub; (2) cort~e of Satan; (3) unholy glorification of Satan; and (4) witches' Sabbath. I wrote the score just like that without any preliminary rough draft - I began on the 10th day of June. and by the 23rd there was joy and triumph" ['The dates Mussorgsky uses refer to the Russian calendar·1
He then went on to acknowledge his indebtedness to certain passages of Rimsky- Korsakl.'N's scores. That must have brrught
Rimsky-Korsakov considerable delight. since he was only 23 years old. five years younger thanMussorgsky.
For all his enthusiasm. Mussorgsky never tried much to get the piece played. He kepttinkeringwithitcreatingfirstarevision with chorus in 1872 and then another for use asanintennezzoinhisoperaSorochintsJRuI. It was not heard until 1886, five years after the composer's death. when it was given in a new orchestral revision (without chorus) prepared. by Rimsky-Korsakov, who claimed to have worked not only from the known Mussorgsky versions but also from now-lost materials that (he said) related to a very early manifestation of Mussorgsky's conception. an othelWise unknown version for piano and orchestra.
Although Rimsky-Korsakov's well- intentioned posthumous revisions of several of Mussorgsky's works have come under criticism. particularly for 'civilizing"' the native grit (Rimsky might have said coarseness) of Mussorgsky's style, his is the version of Night on Bald Mountain that has been most routinely presented over the years. and which is employed in this perfonnance. Another reali23tiol\ by the conductor l..mpold Stokowski. was also much heard in its day as a part of the soundtrack for the 1940 Walt Disney movie Fantnsia.
Schelomo:A Hebrew Rhapsody for Violoncello Solo and Orchestra (1916)
ErnestBloch
.Born July 24,1880in Geneva. Switzerhnd DiedJuly 15, 1959in Rntland, Oregon
SNAPSHOTSOF HISTORY... IN 191& •The battle ofVerdlS\ one of the t:kxx!iest battles
of WoridWar I. is fou~t • A l b e f t E i r Y> t e i n p l b l i s h e s h i s g e o e r a i t h e o r y o f
relativity
•JamesjoyceplblishesAPoitra{q theMistos0 Y ounaMon
• Carl Nielsenwrites his Fourth Symphony. "The Inexti nguishable"
•CharlesIvescompleteshisFourthS~y. unperformed initsentietyu nti 1965
Ernest Bloch began his musical studies in his native Geneva. where hiscomposition teacher was Emile Jaques-Daicroze (the "inventor' of Eurythmics), and he soon went on to an
international education through studies in Brussels (where he took violin lessons from Eugene YsaYe~ Frankfurt. Munich. and Paris. His career was going nowhere when in 1916 he got the opportunity to travel to the US to direct music for a tOuring dance company. The troupe went bust. rut Bloch landed a position teaching music theory and composition at the newly founded Mannes College of Music in New York Following several years teaching there, he moved to Ohioin1920toserveasthefoundingdirector of the Qeveland Institute of Music.Hewould remain for five year~ after which he moved west to assume the directorship of the San Francisco Conservatory (1925-30).His family joined him in the US and he began a stint asan American composer. Althoogh he assumed American citizenship in 1924, he would return to SWitzerland for most of the 1930s. In 1940, fearing the intense anti-Semitism of Europe and needing to keep an American presence to maintain his cifuenship. he accepted a professorship at the University of California. Berkeley. After retiring from Berkeley in 1952. he moved to Agate Beach. a breathtaking spot on the Central Oregon coast where he lived in considerable seclusion and collected mushrooms. agates. andsuchawardsastheGoldMedalinMusicof the American Academy of Arts and Sciences and the Henry Hadley Medal of the National Association for American Composers and Conductors.
ltwas perhaps a blessing that for all his cosmopolitan experience, Bloch developed as a composer principally oo.tside the mainstream of 2Oth-century Modernism. He developed a personal voice that does not bear allegiance to any particular school of composition or mimic any of the mainstream masters. although he was aware of - and drew inspiration from - the developments that were occurring outside his sphere. For whatever reason. Bloch's compositions on Jewish themes - including Schehrno, MeditationMbm.ique,BaalShem.andSacred Service - are his most frequently heard compositions, SO much SO that many music lovers assume that references to Jewish traditional music pervade his entire oeuvre. Thisidentitywasfurtherenforcedby thelogo the composer attached to all his published works: the six-pointed Star of David next to his initials. E.B.ln fact. Bloch's overtly Jewish piecesaretheexceptionsinhisoeuvre,andhis
catalogue would be better characterized as a showcase of adistinctive brand of Modernism. Doubtless his iOOividualism contributed to his own S\lCa?SS as a composition teacher. nourishiI18 the talents of such diverse students as George Antheil Roger Sessions, Douglas Moon', Randall Thompson. Theodore Chanler. Quincy Porter. and Leon Kirchner. amongmanyothers.
Schebno dates from the moment when Bloch was giving up on a European career and beginning to look across the ocean to America His daughter. the lutenist Suzanne Bloch. reported that the piece was sketched slowly. inspired by the dark and pessimistic passages in the Book of Ecclesiastes: 'rhave seen all the works that are done under the sun. and behokl. all is vanity and vexation of spirit. ,. V anityof vanities. all is vanity.'
She rerorted that an encounter with the Russian cellist Alexander Barjansky was key to the project. leading him to exclaim. "Why. insteadofahumanvoice.limitedbyatextand language. should not my Ecclesiastes utilize the soaring. unfettered voice of the cello?" Many years after completing the piece. Bloch wrote 'I had no descriptive intention. 1was saturated by the Biblical text andconscirus of the woes of mankind to which 1have always been acutely sensitive. It was much later that 1had the idea of psychoanalyzing my work.' At that point he drafted a lengthy written program largely based on Biblical quotations, stressing that his literary description was an afterthought to what had been conceived in purely musical fonT\. In it he wrote:
One may imagine that the voice of the cello is the voice of King Solomon Ithe name is the English equivalent of the Hebrew SchelomoJ. The complexvoiceof the orchestra is the voice of his age. the world. his experience. There are times when t he orchestra seems to reflect his thoughts, just as the cello voices his words....The rhapsody says. 'I have tastedallofthis...andthistooisvanity."
Symphony No.6 in b minor, Op. 74 "Pathenque" (HE3)
""'"IlykhT""""""", BomMay7.1840in Votkinsk Vyatka
Province. Russia DiedNavember 6: IB93inStPetersOOrg
SNAPSHOTS OF I-IS"TORY_ tl1893: •Ar"lIorWl [).dale's Ninth S)mphortj. orrom the New
Wcrl:I." is p r e r r i e r e d b y t h e New York f ' t i h a r m o n i r :
· Claude ~ · E~ben: 1-l.ifTlX'\'dnd(Sopel"a I-IonseIorn Gretel
Gun by Jimi Hendrix in a special arrangement for cello and orchestra. ThisliveCDwasrecordedatl..ePoissonRouge. formerty the Village Gate. rome to many Hendrixconcerts.
A celloprodigyatagesix. Mr.V oglerfirst studied with his father, Peter Vogler,
,
.
.
.
and subsequently with Josef Schwab. Heinrich Schiff, and Siegfried Palm. At age 20 he became principal cello of the Dresden Staatskapelle. He has won the ECHO Award
'
and the 2006 European Cultural Award.. Mr. Vogler is general director of the Dresden Musikfestspiele and foonder and artistic director of the Moritzburg Chamber Music Fi?stival
NEW YORK PHILHARMONIC .I.LUfGlUIERI',MusicDirectcr .leoYIKIn8Oh
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David 1. Grossman* The HerbertM. Citrin Olair
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Allan, NewYO!l:: state CoIxIFral:: Endowment Fund.
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steInway" the otndiIl PIanoof the NewYaI:: Ilfe£uet" the Exduslve TIrnepiere ot the New YaI:: PhIlharmonIc:.
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FoilaN the NEw YO!I:: Pl"llharmonIc: on lLwnbIr. FaoebooI::. lWItter. Plnterest. and Y oullbe.
Joliene R Ford. Assist(llltto the Music~or
Katherine E.Johnson ~ or, PubikandMediaRelatiocls James Ross, Cl?/f!I" O:mductor
Brendan TImins.Di~or, Touring(llldOperations
LES AMIS DU CREDIT SUISSE
ALAN GILBERT MEETS HIS TOUGHEST CRITIC. HIS MOTHER.
Credit Suisse. Global Sponsor of the New York Philharmonic.
credit-suisse.com/lesamis
GENEROUS UMS DONORS.
LIFETIME GIVING
The donors listed below have provided significant support to UMS over a number ofyears. We recognize those whose cumulative giving to UMS totals $500,000 or more.
Linda and Mau:'ke Blnl::ow Commu:"llly Foundation to Coo..ndl lor Art, and CuI....alAllal,.;
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Mkhj~an Economic OeY Health System The Wallac:e Foundation
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 $50,000
Maxine and Stuart Franl::et Foundation
$100,000 Wally and Robert Kk.1n
MI!leI, canl\eld, PaddodII janeandEdward Sd.....a k Oem" and EUle S"na,
G!em E.watkins Marina and Robert Whitman Ann and Clayton Wlhlte
Photol¥Mark Gjuk:chPhotograplty
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 with any errors or omissions.
• indicates the donor made a contribution to a UMS Endowment Fund
PRODUCER ($500,000 O R MO RE ) Unlvenlly 01 Mktilean RIchard and Ulilan Ive!; T""t'
DIRECTOR ( $ 10 0 , 0 0 0 - $ 4 9 9 , 9 9 9 ) AnoN;moi.J'i F....-.d 01 the ComIT"U"IlIy
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BanIr. (anl'leld. Paddock &. Stone. Nancy Sayles Day Foundation P.LC. AlkeB.00b50n ~,-
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Masco Corporation Foundation THE MOSAIC FOUNOATION (01 R&.
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www.annarborrotary.org
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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 Helbert S. and carol Am,ter Endowment Fund catherine S. An:....e Endowment Fund Carl and Isabelle Brauer Endowment Fund
Hal and Ann Davis Endowment Fund DorIs DuIre Charttable Foo..nc:Iation Endowment Fund Epsteln Endowment Fund Ilene H. For§yth Endowment Fund SUsan and Rkhard Gutow R"""1lade Ventures
Endowment Fund ~ N. and Katherine C. Hall Endowment Fund Norman and DebbIe Herbert Endowment Fund DavId and Phyl"' ~ Endowment Fund )auNet Endowment Fund WlUlarn R. Kinney Endowment Fund
Franc... M...."""' L"'" Choral Union Endowment Fund Natalie Matovlnor;lc: Endowment Fund Medeal eom.........1ty Endowment Fund NEA Matchl~ Fund
ottmar Eberbach Fund. Palmer Endowment Fund Mary R. RomIr-deYU:"I~ Mu,k Appmciatlon Fund Prudence and Armon Rosenthal K-12 Education
Endowment Fund CI">arIe; A. Sink Endowment Fund Herbert E. and DorIs Sloan Endowment Fund )ames and Nancy stanley Endowment Fund SUsan B. Ullrich Endowment Fund UMS Endowment Fund The Wallace Endowment Fund
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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.
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Solutions Together
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SESI MOTORS
3990 JACKSON ROAD, ANN ARBOR, MI 48103 (73 4 I 668-6100
MEMBER FDIC
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.
Bel and Judith L Endr", Ken and Pemy FIKher SUsan Ruth Fisher Mefedth L.and Neal Fast.... Bevertey and Gerson GeItner Pauland Anne Glendon
SUsan McClar>ahan M. Hasl::e.J1 and Jan Barney Newman
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EUzabeth S. BIshop Kathy Benton and Robert Brewn Linda and Mau:'ke Blnl::ow Mr. and Mr.Ya Evmtt Bryant Pat and Geor~e Chala, Mr. and Mrs.johnAldenCIalt
TRIBUTE GIFTS
RIta and Petr Heydon )olin and Martha Hi Denha,t C'aI~ jean Coulter Crump Mark It Culotta
'"""'"-~ Beatrke Kahn
Cha,1es Rubin Nona It Sahan Donald Pa,,"'"
SUsan It Fisher Kathy and T om GoIdberil
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Florence S. Davis )olin S. Dobson RlJthFajan. BarbaraF",(!USOn PaulW.Mslp M atOYlnov\t MO
Contributions have been made in honor of the following people:
GIFTS-IN-KIND
The following people and organizations have generously provided in-kind donations and support:
Ab£e Hardware Bebe'. Nalls and Spa Kathy Benton and Robert Brown KaltM'yn Bieda
Linda and Mao..nc:e Blnl::ow Blue NIle Restaurant OJ and Oletr Boehm Jim Botslofd and Janke sre""", Bot,IOfd Robert and Vtc:tona Bucl::Ir
(M'les and Judith Lucas Rotxorl and Po>aro;on Macek ",,,,tin and jane M _ Malnstr"'" Venttx...
MD C'>IT>I'IIc: Dey MorIIan & Vorl::
THE MOSAIC FOUNDATlON (01 It & p. Heydon) MIke Moo.xadlan Bonlta Nej~ht>or'; M. Hasl::e.J1 and jan Barney Newman
NlroIa', BooIcs DanIel. and Sarah Nkoll Glbert Omenn and Martha Dartjn~ The Quart... Blstro and ra""m Q.Jest Productionl Frank Maxine and Stuart Frankel Gat", Iw Sable ~ Ma.1rqulst Kensln~on Coo.rt lean and Arnold Klu~e carolyn KniII!~' La PIta F,'-"" Maro Ravean and Melvyn Le,,;t5ky Pameta Lewis ~ An American Rl>st....anl
Salon VOl( LInda San>.Jl'tson and)oel Howell Maya Savarino Sava', State Street cale Sc:hal::oIad Chocolate Fadory lane and Edward Sc:t.J1ak SeIo/ Shevet Gallery Sheraton Ann AIbor Georve and Gladys Shi'1l>y SlMo', Ot'tIank Rlstorante and pjzzena
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2268 S. Main St. Localed by Busch·s (In the oomer (If S. Main St. and Ann Arbor-Saline Rd.
734-998-1245 www.irisdrycleaners.oom
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
www.ums.org IN PERSON
UMS Ticket Office Michigan League 911 North University Avenue Mon-Fri: 9am-Spm Sat: 10am-lpm
Venue ticket offices open 90 minutes before each performance for in-person sales only.
BY PHONE
734.764.2538
(Outside the 734 area code, call toll-free 800.221.1229)
BY MAIL
UMS TIcket Office Burton Memorial Tower 881 North University Avenue Ann Arbor, MI 48109-1011
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.
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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.
Visit CFSEM.org or call1-888-WE-ENDOW
Scan the QR Code 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/P ARKING.
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 umstix@umich.edu. 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.
CHILOREN/ FAMIllES
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.
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GETTING INVOLVED.
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 umsscboard@umich.edu.
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 fohums@umich.edu.
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 kio@umich.edu 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 cstraub@umich.eduor734.647.8009.
UMS ADVERTISING
54 Academy of Early Music 4 42 Alumni Association of the
University of Michigan 48 48 Ann Arbor Public Schools 56
Educational Foundation 34 Ann Arbor Symphony 42 Orchestra 54 24 Bank of Ann Arbor 56 36 Bellanina Day Spa 36
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26 Charles Reinhart Co. 38 Realtors IFC
12 Community Foundation for Southeast Michigan
52 Community Foundation 50 for Southeast Michigan
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~UMS 2013