Complete Series: 3994
Power Center For The Performing Arts Ann Arbor, Michigan
The University Musical Society
The University of Michigan
Sandra Applebaum Dana Arey Elaine Austin Beth Bayuk
Dianne Brace Karen Brown Alba Calzada Joanne Danto
Marcia Darhower William DeGregory Gregory Drotar Viorica Ene Tamara Hadley Mark Hochman David Jordan Linda Karash
David Kloss Dane LaFontsee Barry Leon Sherry Lowenthal
Michelle Lucci James Mercer Melissa Mitchell Edward Myers Anya Patton Melissa Podcasy Robin Preiss Lawrence Rhodes
Constance Ross Barbara Sandonato Janek Schergen Jerry Schwender Gretchen Warren Missy Yancey
Benjamin Harkarvy, Artistic Director
Barbara Weisberger, Executive Artistic Director
Robert Rodham, William Thompson, Ballet Masters
Fiona Fuerstner, Ballet Mistress Maurice Kaplow, Music Director Nicholas Cernovitch, Lighting Designer
with the Pennsylvania Orchestra
Tuesday Evening, March 30, 1976, at 8:00
Power Center for the Performing Arts
Ann Arbor, Michigan
This performance is part of a halfweek dance residency, receiving support from the National Endowment for the Arts and the Michigan Council for the Arts.
Thirteenth Program Fifth Annual Choice Series, Power Center Complete Programs 3994
Choreography by Benjamin Harkarvy Costume Design by Nicolaas Wijnberc Lighting by Nicholas Cernovitch
Music by Antonio Vivaldi
Concerto in D minor, "Madrigalesco"
and Concerto in D minor, Op. 3, No. 11
This ballet evokes a world of manners, attitudes, and sentiments suggested by various paintings of the Italian Renaissance.
Sherry Lowenthal Marcia Darhower Edward Myers Barry Leon
Dana Arey Karen Brown Tamara Hadley Constance Ross Gregory Drotar William DeGregory David Jordan Mark Hochman
Peter Zazofsky, Violin Mark Ward, Cello Elsa Nilsson, Violin Karl Fogmeg, Harpsichord
GRAND PAS DE DEUX ("Nutcracker," Act II)
Choreography after Lev Ivanov Music by Peter Ilyitch Tchaikovsky
The choreography of the Grand Pas de Deux from Act 2 of the Pennsylvania Ballet's production of the complete "Nutcracker" is by George Balanchine and was created in 1954. The version seen in this series of performances follows the original setting by Lev Ivanov for the 1892 production. It is a superb example of the classical style of the Imperial Russian Ballet at the end of the 19th century. Eloquence, nobility of style and great virtuosity are its hallmarks. The inspiration which Ivanov and Marius Petipa drew from their collaboration with Tchaikovsky is also to be admired in comparable dances in "Swan Lake" and "The Sleeping Beauty."
Choreography by Hans van Manen
Set and Costume Design by Jean Paul Vroom
Lighting by David K. H. Elliott
Music by Camille SaintSaens "Septet for Trumpet in Eflat," Op. 65 "Etude in Waltz Form," No. 6, Op. 52
"Septet Extra" is that seldomfound, but constantly soughtafter work of humor. This humor of van Manen reveals itself most often through the unexpected gesture, pattern, incongruous rela?tionships, and a sometimes Marx Brotherslike slapstick.
Marcia Darhower Barry Leon
Dana Arey Karen Brown Sherry Lowenthal Anya Patton Gregory Drotar Mark Hochman David Kloss Janek Schergen
Dana Arey Karen Brown Sherry Lowenthal Mark Hochman Gregory Drotar Janek Schergen
Third Movement Marcia Darhower Barry Leon Janek Schergen David Kloss
Fourth Movement Entire Cast
Fijth Movement Karen Brown David Kloss
and Entire Cast
THE FOUR TEMPERAMENTS
Choreography by Georce Balanchine Lighting by Nicholas Cernovitch
Music by Paul Hindemith Solo Piano--Karl Fogmeg
As explained in Balanchine's text, "Great Ballets," this work is "an expression in dance and music of the ancient notion that the human organism is made up of four different humors or tem?peraments. Each one of us possesses these four humors but in different degrees, and it is from the dominance of one of them that four physical and psychological types--melancholic, sanguinic, phlegmatic, and choleric--were derived." Premiered in 1946 by Ballet Society (predecessor of the New York City Ballet), "The Four Temperaments" represents another facet of the Balanchine spectrum seen in the repertory of the Pennsylvania Ballet. It is an essay in pure sculpture--only classical dancers could acceptably perform "The Four Temperaments."
First Theme Marcia Darhower Mark Hochman
Second Theme Tamara Hadley Janek Schergen
Third Theme Alba Calzada Dane LaFontsee
Constance Ross Karen Brown Sandra Applebaum Dianne Brace Anya Patton Robin Preiss
Joanne Danto Edward Myers Yiorica Ene Linda Karash Melissa Podcasy Melissa Mitchell
Janek Schergen Dana Arey Anya Patton Sandra Applebaum Missy Yancey
Gretchen Warren Ensemble
Pennsylvania Ballet.........Wednesday, March 31
Waverly Consort, "Las Cantigas de Santa Maria" . . . Thursday, April 1
Don Cossacks of Rostov..........Sunday, April 4
Sitara, Kathak Dancer..........Tuesday, April 6
Vladimir Horowitz, Pianist.........Sunday, April 11
Four Concerts in Hill Auditorium--April 28, 29, 30 and May 1
The Philadelphia Orchestra Eugene Ormandy, Conductor
The Festival Chorus Aaron Copland, Guest Conductor
Andre Watts, Pianist Marilyn Horne, Soprano
-Festival Prelude -The Start of a Perfect Evening
A cocktail and dinner party in the Power Center Lobby
at 6 o'clock preceding the Wednesday night concert
(Dinner ticket, $15 per person)
Wednesday: Haydn: Symphony No. 31 ("Hornsignal"); Leslie Bassett: "Echoes from an Invisible World"; Weber: Invitation to the Dance; Copland: Suite from Billy the Kid; Ravel: La Valse.
Tickets from $4 to S12
Thursday: Sibelius: Symphony No. 7 in C; MacDowell: Piano Concerto No. 2; Strauss: Death and Transfiguration; Gershwin: Rhapsody in Blue. (Sold out.)
Friday: Copland: Fanfare for the Common Man, Clarinet Concerto (Anthony Gigliotti), Suite from The Tender Land (Festival Chorus) ; Barber: "School for Scandal" Overture; Ivcs: Decoration Day; Schuman: New England Tryptich. (Sold out.)
Saturday: Beethoven: Overture to "Coriolanus"; Persichetti: Symphony No. 4; Ravel: "Sheherazade" Song Cycle; Rossini: "Una voce poco fa" from 11 Barbierc di Siviglia; Strauss: Rosenkavalier Waltzes.
Tickets from $4 to $12
New 197677 Season International Presentations of Music and Dance
will be announced in April. Inquire in our Burton Tower office lor new brochure with complete information.
To insure the ongoing cultural presentations of the University Musical Society in these times of increasing financial demands, a new membership organization called Encore has been formed, embracing all current contributors to the gift program (established in 1968) and reaching out to all concertgoers who wish to see these many fine performances continued. The privilege of advance notice for all events is given to Encore members, in addition to other courtesies extended throughout the year. For further information about Encore and membership categories, contact the office of the Musical Society in Burton Tower.
UNIVERSITY MUSICAL SOCIETY
Burton Memorial Tower, Ann Arbor, Michigan 48109 Phones: 6653717, 7642538