UMS Concert Program, April 4, 2013 - April 12, 2013 - Darius Milhaud's "Oresteia of Aeschylus"; Esperanza Spalding; 1927; Takacs

HILL AUDITORIUM I 100 YEARS
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UMS PROGRAM BOOK WINTER 20ll I UNIVERSITY OF MICHIGAN, ANN ARBOR
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WELCOME.
" Welcome to this UMS performance. Since 1879, the people of southeast Michigan, includinl our students, faculty, and staff, have experienced remar1table moments through UMS's presentations 01the world's finest perlormersofmusic,theater,anddance.This season. we are proud to celebrate 100 years of UMS presentations in Hill Auditorium, a historic and prized venue on our campus. Enjoy the performance."
11\.., k.... dt.,• Mary Sue Coleman
President, University of MicJtigan
"With ellceptional performances, the centenary of Hill Auditorium. and an amazing array 01 events that we hope will transfOfm, elevate, and transcend. this 134th season of UMS is something truly special. Thank you for bein. present,"
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Kenneth C. Fischer UMS President
~ l 'm d e U e n t e d t o w e l c o m e y o u t o t h i s U M S performance as chair of the UMS Board of Directors. We thank you for being here and encoura(eyou to get even more involved with UMS throuah participation in our educational opportunities, by maleinc a elft, or by adding more UMS events to your calendar. Thank you."
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i-idJ. H'flg Chair, UMS Board of Directors
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F(:I"Jl2n(\o Alberdi Jennifer Anderson Christopher BalWd Mourice Binlww Cindy Bott
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H O N IG M A N .
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......"'" Kristopher Korwn
CONNECTING AUDIENCES & ARTISTS IN
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We want you to use this guide as a resource. Dig deeper. Get to know the artists. Figure out how it all comes together. We believe that the performing arts are extraordinary on their own, but we encourage you to explore, gain perspective, and understand the depth behind the experience. This book is designed to help you learn more about UMS, the community, and the artists on stage.
6 2013 WINTER SEASON CALENDAR
BE PRESENT. 8
LEADERSHIP . 14
UMS LEADERSHIP DONORS
THE EVENT PROGRAM.
25 THE EXPERIENCE THE PERFORMANCES
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SUPPORT . 31
GENEROUS UMS DONORS
51 HOW DO I BUY TICKETS'
GENERAL INFO. 53
EDUCA TION 10 HISTORY
~
POLICIES 55 GETTING INVOLVED
"z 8 - 1 3 13 17- 18 21 25-26 27
National Theatre of Scotland: ThQStrangQ Undoing of PrudQnda Hart Detroit Symphony Orchestra - Leonard Slatkin. conductor Gabriel Kahane & yMusic From Cess Corridor to thQ WOrld: A Tribuhl to DQtroit's Musical GoldQnAgQ Martha Graham Dance Company
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UMS BOARD OF DIRECTORS
The UMS Boord of Directors Is a group of elected volunteers devoted to the performing arts and to our community. Their hard work ensures thot UMS is able to offer outstanding performances year after year.
David J. Herzig 0>0"
Stephen G. Palms VIc" Choir
Anne Glendon Seaetory
David N. Parslgian Treasurer
Rachel Bendit
OJ Boehm
Janet callaway David (anter Marlnjamin Brilten (lefl) and tenor Peter PI!a1S, photoBrapher:Censored by Edward and Natalie Sura.-ell and Howard Hanna Real
Estate Services. Media partnership is pra.ided by W:;TE 91.3 FM.
The Takacs Quartet appedI"S by arransement with SeIdy Cramer Artists and records for H)operion and Decca/London Records.
The Takacs Quartet is Quartet-in- Residence at the Uniwrsity of Colorado in Boulder and are Associate Artists at W'iSITlOll! HaU, London.
For more information, pleasevisit www.takacsquartet.com.
NOW THAT YOU'RE IN YOUR SEAT...
Now that the expression "late quartet" has become the title of a Hollywood movie (which. rnoreO'ler, revolves around a performance of Beethoven's Op.131l it is fair to assume that the implications of the term are well understood.In this case, Nlateness· refers to the fact that with advancing years. many composers' styles became more serious andmore profound i n the film. the musicreflects the issues the members of the quartet encounter as they. too. reach a certain age .
Tonight's program is made up of three quintessentialNlate quartets: Joseph Haydn almost single-handedly turned the string quartet into one of the most sophisticated formsinclassicalmusic.Inhisfinaleffortsinthegenre,writtenwhenhewasinhismid,- 60s. he attained the summit of his quartet-writing:structural perfection is paralleled by an unprecedented range of emotions expressed by the four instruments. Benjamin Britten's third quartet the last composition completed by the English composer born 100 years ago. is unmistakably a farewell to life. while Beethoven's epochal masterpiece in c-sharp minor, as well as the other four he wrote in his final years. were the works that gave rise to the expression "late quartet" in the first place.Every single noteinthethreequartetsheardtonightisamatteroflifeanddeath;standingattheend of their respective careers. each composer attaineda levelof concentration that hadnot been present in their earlier works.These quartets are summations of three lifetimes ofexperienceaswellasprofoundmessagesforposterity.
StringQuartetNo.63inB-flatMajor. Op.76. No. 4"Sunrise' (1797)
Franz Joseph Haydn Born March 31.1732inRohnru,AustTia DiedMay31.1809in Vienna
SNAPSHOTS OF HISTORY..IN 1797: •~eondefeatsAustriilintheBattleofRivoli
in Italy ·Jane Austen po..blishes her now! FIrSt Imrxessions
(later po.bIished as Pride and Prejudic{!) •John Adams becomes the second President of
,,",US
•BeethoYenwrites his Pklno SonGta incmilor C-Pathetique'1
•Franz Scho.bertis 00m
In theviewof many, Op.76, No. 4 is the finest amongHaydn's83quartets.R3rely, ifever,did heequalitsluminousspiritualityanddepthof feeling. Perhaps Haydn intended this quartet. with its prominent viola part, for his awn use, sincehewasalsoanavidquartetviolist.
The nickname, ' Sunrise: widely accepted in the US and England but seldom used elsewhere, comes from the very opening of the quartet. where the first violin traces a loving curve of ascent above a soft sustained chord. much as the sun gloriously rises to bathe the earth in its radiance. There are two more motifs in the first group:one stated by the viola amidst long held notes in the violins and cello; the other, a repeated rhythmic figure combinedwithnmning 16th- note passages. The second subject starts with the cello playing what is essentially a mirror image- descendinginsteadofascending-of the first subject opening. It continues with an outgrowth of the first subject's last motif. The concluding theme of the exposition is a witty interplay of notes on and off the beat. Although the remainder of the movement can be divided into the customary development, recapitulation, and coda. Haydn creates such a strong feeling of inner cohesion that the overall musical effect is one of sustained. unifiedflaw.
The second movement is one of the slowest and most morose of all Haydn adagiOS. Not conforming to any standard structural organization, it is best described as a free fantasia on the opening five-note motif. Uniformly soft, with only occasional accents. the movement provides little solace and ends in bleak despair.
After two such strong movements,
the unsophisticated peasant charm of the ' Menuetto' offers a welcome respite.With great rhytlunicverve. Haydn bJilds this entire section on the opening motif. The trio that comes in the middle apparently also has its origin in folk music. but the outlook is not nearly so sunnyand cheerfulOver a sustained droneintheviolaandcello,theviolinsplay the rather oppressive melody with its heavy accents. The "Menuetto' returns at the end of the trio.
The ' Finale' is written in the carefree style of Haydn's earlier quartets. The melody is believed to be an adaptation of an English folk song. perhaps one he heard on his trip to London. Organized in three-part form, the middle section is in minor, but with no lessening of its overriding vivacity. To heighten the movement's exhilaration and good humor, Haydn marks the coda (which is a technical minefield for the players) 'Pili allegro: or'faster: andthen'Pilipresto: ' faster yet.' for a thrillingconclusiOIL
Program note h!lMelvin Berger.
StringCluar1etNo.a Op. 94 (1975) Benjamin Britten BomN~mber2Z 1913in~oft,
England DiedDecember 4, If/76in AldebW"gh
SNAPSHOTS OF HISTORY...IN 1975: •The Vietnam War ends as the Comrrunist forces
captlSe Sail/OO • Britten's friend Dmitri Shostakovich dies • E.L Doctorow po.bIishes RagtirrK! • Milot Forman releases the film ()n{! Re.v CNer the
Cuc/(oo's Nest • Andrei Sakhilrov receives the Nobel Peace Prize
A valedictory work if ever there was one, Britten's String Quartet No.3 was written by a dying man. Ever since his open-heart surgery in 1973, Britten was for all intents and purposes an invalid. requiringround-the- clock nursing care and unable to work for more than a few hours a day. It was also the first composition in a long time that Britten wrote without a commission. The group that premiered the work (after Britten's death), the Amadeus Quartet, had had a previous connection to the composer who had collaborated with them as a pianist at an earlier Aldeburgh Festival; yet they didn't
start working on the piece until 10 months after its completioIL (They played it through for BritteninSeptember 1976.)
Critics have called this work the pinnade of Britten's chamber music output, and pointed out its many connections to the composer's final opera Death in Vertice completed in 1973. The opera was based on Thomas Mann's celebrated short story about the writer Gustav Aschenbach who, at the end of his life. discavers t he ultimate image of beauty in the person of the young boy Tadzio. Qearly, this was the most directly autobiographical of Britten's operas. Britten rarelyquotedhisownmusicinhisworks, but in this case, his preoccupation with the musical material of Deatll in Venice didn't
end with the completion of the opera. and motives from it appear in the fifth and last movement of the quartet. It is also significant that in November 1975, his friends took the ailing composer to Venice one last time, and it is there that the movement in question was
completed. Throughout the work, the quartet
idea - four instruments blending their voices - is contrasted with the idea of individual expression. The first movement is titled 'Ouets' after its preferred texture; the third movement is 'Solo,' with the first violin soaring the heights alone, and the last movement begins as a ' Recitative' in which all four instruments take turns as soloists In between such intense arioso moment~ movements two and four (' Ostinato' and ' Burlesque1 feature the players as a unified group.
The quartet may be a valedictory work, but it is also a prophetic composition, giving the lie to any notion of Britten as a ' conservative" composer. At 62 and with his health destroyed, Britten was more adventurous than ever, both harmonically and. in terms of texture. At one point in the third movement, the viola plays arpeggios on the -wrong" side of the bridge; e1SE.Where. the harmonics of the four instruments produce the most uncommon and eerie combinations. Particulbdia contenl
Cello Quintet with American cellist ~l"'~~~!lt5:~;,;;;:::j RalphKirshbaum.TheSchubertQuintet ~
The Quartet is knovm for innovative programming. In 2007 with Academy A ward-winning actor Philip Seymour Hoffman, it performed Everyman in Carnegie Hall inspired by t he Philip Roth novel. The group collaborates regularly with the Hungarian folk ensemble Muzsikas, performing a program t hat explores the folk sources of Bart6k's music.The Takacs performed a music and poetry program on a 14-city US tour with the poet Robert Pinsky.
The members of the Takacs Quartet are Christoffersen Faculty Fellows at t he University of Colorado Boulder. The Quartet has helped to develop a string program with a special emphasis on chamber music, where students work in a nurturing environment designed to help them develop their artistry. The Quartet's commitment to teaching is enhanced by summer residencies at the Aspen Festival and at the Music Academy of t he West, Santa Barbara. The Takacs is a Visiting Quartet at the Guildhall School of Music and Drama London.
The Takacs Quartet was formed in 1975 at the Franz Liszt Academy in
UMS ARCHIVES
Budapest by Gabor Takacs-Nagy, Karoly Schranz, Gabor Ormai, and Andras Fejer, while all four were students. It first received international attention in 1977, winning First Prize and the Critics' Prize at t he International String Quartet Competition in Evian, France. The Quartet also won the Gold Medal at the 1978 Portsmouth and Bordeaux Competitions and First Prizes at the Budapest International String Quartet Competition in 1978 and t he Bratislava Competition in 1981. The Quartet made its North American debut tour in 1982. Violinist Edward Dusinberre joined t he Quartet in 1993 and violist Roger Tapping in 1995.Violist Geraldine WaltherreplacedMr.Tappingin2005.In 2001 t he Takacs Quartet was awarded the Order of Merit of the Knight's Cross of t he Republic of Hungary, and in March of 2011 each member of the Quartetwas awarded the Order of Merit Commander's Cross by t he President of t h e Republic of Hungary .
Follow t he Quartet on Facebook at www.facebook.com/takacsquartet .
This evening's concert marks the Takacs Quartet's 16th appearance under UMS auspices following its UMS debut in February 1984.The Quartet most recently appeared during the 2010-11 season performing three Schubert cycle concerts at RackhamAuditoriurn.
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PatlldaMooradian Malt and Lesley Mcizoia Vlr£lnia Mo..wphy and DavId Uhlmann Drs.I..DuIsandJulieJaffeeN~ SUzanneSchkJedert>eriland)otln DeniseThaiandDITU"a Thomas~Net"", CharlesR.Schmltto.>randAIynRavItz PeterT~andHannahSon!!
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Mary AM Whipple Jim and Mary WhIte Mac and Rosame Whltetlou",,' Alan and L....., WhItI\eId Nancy Wlernlk Charlotte A. Wolle l'I1s andStan~"" Franc... WI1~hI Mayer and joan Zaid PanZhenil Gal and DavId lUI;
Anne ParsomandKarlaVandersypen
Ananda Sen and Mouwml BaneIjee MattheYlr ShapIro and Susan Garel;z DavId and Elvera ShappIrIo ell and CtwIs Shetl
TSUIl\JYMU and Harue Wada Tom and Mary WakeI\eId' )adara H. Wall£len RIchard and M a d e Io n -.· RIchard and Ludnda Wl'!ennlller
Patrick and carol Shmy Gear£l ~5~o(UMS~ •.
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 arts unite us all.
The power of the arts is to unite commlllrlies. givirP;J usa rush of emotion we want to share wrth others. At lklrted Bar;; &Trust. we're unrted in oor mission to acti'A'lyshow oor support for the arts. and for the manyvibranl communities we seM'.l.efscomJKIsesollllions together.
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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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Dr. and !>if" Fredrkk O'OetI Mr. and Mrs. Denni, M Power, Mr. and Mr.. Mkhael Radock Mr. and Mr.. jacI:: RIckett, Mr.andMr..WIllardLR~. PNe and AmI Rosenthal Mar~a,et and Ha,keU Roth,teln Irmaj.Sl::ler>ar Helbert E. Sloan Art and EllzabethSoiomon Roy and)oAn Wetzet Ann and Clayton WlltMle Mr. and Mr.. Ronald G. Zollar
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carol and Herb Am,t... Mr. Nell P. Anderson Dr.andMrs. David G.Anderson
catherine S. A/,,,,..,, """"""'"'
Bart>araandL....l'IIrt
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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Francl, Wllley Ketsey (1858- 1927) )usHne Olson Kulka Kay Rose l.ands Dofotl>i A. Lapp
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
46 Center for Plastic and Reconstructive Surgery 17
26 Charles Reinhart Co. 38 Realtors IFC
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Rotary Club of Ann Arbor Sesi Motors Sheraton Ann Arbor Silver Maples of Chelsea Smith Haughey Rice & Roegge
The Gilmore Tom Thompson Flowers Toyota United Bank and Trust University of Michigan Credit Union University of Michigan Health System University of Michigan Museum of Art
18C WEMU 32 WGTE 40 WKAR
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KUMQN' MATH . READING . SUCCESS.
Academic Enrichment
Pre-K - 12th Grade www.kumon.com
FREE PLACEMENT TESTING
Kumon of Ann Arbor - East 2741 Plymouth Road Ann Arbor, MI 4810S 734.761.4648 Instructor - Tzy-Wen Gong
National Public Radio mixed with local public knowledge.
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What crosstown rivalry?
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# UMSLOBBY
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so,WHAT DID YOU THINK?
UMSLOBBY.ORG
JOIN US IN THE LOBBY! Tell uswhatyou think on umslobby.org. whereyouU also find artist exclusives and behind-the-scenes videos and photos.
SOCIAL
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~UMS 2013