UMS Concert Program, 30 April 1991: A Benefit Concert For The University Musical Society -- Metropolitan Opera Orchestra
30 April 1991
When tonight's concert begins, you will be witnessing two historic University Musical Society occasions. First, this is the premier concert performance of the Metropolitan Opera Orchestra outside of New York. Second, this is one of the warmest moments in the relationship between the University Musical Society and its patrons, as we declare this evening's concert one of the most loving and generous shows of support by UMS patrons in the history of the Society.
Special thanks go to you, the concertgoers, from the Musical Society Board of Directors, staff, and dedicated volunteers who have worked diligently to make this evening a great success. It is your commitment to excellence that makes possible not only this concert but also sustains the entire concert season through your contributions.
Kenneth C. Fischer Executive Director University Musical Society
Among Ann Arbor's greatest assets is its cultural life, a large portion of it nurtured and maintained by the University Musical Society for 112 consecutive concert seasons! As a member of this University community for over 20 years, I have enjoyed many of these continually topnotch presentations. Now, as President of the University of Michigan as well as a Director of the University Musical Society, it is my privilege to welcome you to this evening's glorious event.
Ann Arbor, with its magnificent Hill Auditorium, is a favorite performing venue for artists the world over. Sooner or later most of them arrive on our campus, many to return again and again throughout their careers. This evening, we will experience a "first" as James Levine and the Metropolitan Opera Orchestra make their Ann Arbor debuts, and we'll savor a very special homecoming for the esteemed, worldrenowned soprano Jessye Norman.
Ann Arbor and the University of Michigan can indeed be proud!
James J. Duderstadt
University of Michigan
University Musical Society
Metropolitan Opera Orchestra James Levine
Artistic Director and Conductor
Tuesday Evening April 30,1991 at Eight O'clock Hill Auditorium Ann Arbor, Michigan
Three Pieces for Orchestra, Op.6
Reigen: Anfangs etwas zogernd Leicht beschwingt
Marsch: Massiges Marschtempo
La Mortde Cleopatre, scene lyrique for Soprano and Orchestra
Allegro vivace con impetoRecitativoLentocantabileRecitativoMeditation. Largo misteriosoAllegro assai agitatoModerato. Recitativo misurato
A Siegfried Idyll
Immolation Scene, from Gotterdammerung
This performance by the Metropolitan Opera Orchestra is made possible by a generous and deeply appreciated gift to the Metropolitan Opera Association from Ms. Cynthia Wood.
Yamaha is the official piano of the Metropolitan Opera Orchestra.
The Metropolitan Opera Orchestra and James Levine are represented by Columbia Artists Management Inc., New York City.
Jessye Norman is represented by Shaw Concerts, Inc., New York City.
Thirtyninth Concert of the 112th Season Special Benefit Concert
Three Pieces for Orchestra, Op.6 Alban Berg
Born Vienna, February 9,1885 Died Vienna, December 24,1935
Born to an uppermiddleclass family, Alban Berg resided all his life in his native Vienna. A passionate musiclover and selftaught composer as a youth, his brother showed Alban's early manuscripts to Arnold Schoenberg, who was advertising in 1904 for composition students. Schoenberg immediately recognized the natural talent of the nineteenyearold and started him on a rigorous course of study. At about the same time, Anton Webern, a universitytrained scholar, also began studying with Schoenberg. The music of Schoenberg was at that time steeped in the Romantic tradition of Wagner, Mahler, and Strauss, but as he developed new theories and techniques, his eager students followed him, and together they formed the "Second Viennese School": the twentiethcentury successors to Haydn, Mozart, and Beethoven. Initially they worked together searching for ways to stretch the expressive language of music far beyond the bounds of existing rules, particularly in the realization of a new kind of musical freedom in which a tonal center was no longer a barrier with which to contend. Eventually, all three were to succeed each with his own personal musical language.
Berg's Three Pieces for Orchestra, Op.6 are scored for large orchestra with
generous percussion resources and with strings divided into five sections.
Dedicated to Schoenberg, they are essentially postRomantic, despite their
extreme chromaticism, unusual chord progressions, and considerable
dissonance. The Praludium is colorful and impressionistic. It grows out of
the sound of unpitched percussion, settling around Eflat, and offers some
thematic development before retreating to its beginnings. The second
movement, Reigen ("Round Dance"), contains both a waltz and a Landler,
coexisting in a synthesis of the old and the new. Interestingly, Reigenwas
also the name of a notorious play of the time by Arthur Schnitzler. Its
subject was ten dialogues of sordid sexual encounters, and glimpses of
Lulu (192935) can certainly be perceived. The final Marsch is the longest
and most powerfully developed instrumental movement achieved by any of
the three composersfriends in their years of free atonality. The Marsch is
grand in style, imaginative, and certainly not without chaos.
Although composed in 191415, the Three Pieces for Orchestra were not to be heard in their entirety until April 14,1930, when Johannes Schiller conducted them in Oldenburg, Germany, where he served as music director. Previously, Webern had conducted Praludium and Reigen in Berlin in June of 1923.
La Mort de Cleopatre, scene lyrique for Soprano and Orchestra Hector Berlioz
Born La CoteSaintAndre, December 11,1803 Died Paris, March 8,1869
With the composition of La Mort de Cleopatre, Hector Berlioz made his third try at winning the coveted Grand Prix de Rome, the great honor and bene?faction that France annually bestowed on its young creative artists between 1803 and 1968. For the prize in composition, the contestants were secluded with copies of a poetic text that all of them were to set to music. The composition was an important part of artistic life, but its place in history is mixed. SaintSaens and Ravel, both of them superb technicians among other things failed to win. Other fine French composers preferred not to enter the competition, for the prizewinners were more often distinguished for academic excellence than for originality of invention. In 1827 and 1828, the jury thought that Berlioz' work was inferior to that of JeanBaptisteLouis Guiraud and of a certain RossDespreaux, to whom it awarded its prizes. (Guiraud's son, Ernest, who was born in New Orleans, in 1859 became the only composer of American birth who ever won France's Prix de Rome.) Berlioz told the story of the 1829 competition in letters to his family and friends, and he retold it years later in his memoirs. La Mort de Cleopatre is a scene lyrique, which is the French equivalent of "operatic scene" (not "lyric scene"), and the text was by an obscure minor poet, P.G. Vieillard (whose name means "old man" or "old fogey"). The soprano who was to sing the newly written piece for the jury was suddenly called to the rescheduled dress rehearsal for the premiere of Rossini's Guillaume Tell and sent her inexperienced, illprepared younger sister, who was still a Conservatory student, to sing the difficult part. The vieillards of the jury were mystified by Berlioz' new musical vocabulary and hardly understood what he was seeking to express in it. They refused him the Grand Prix, but at least they spared him the indignity of awarding it to some nonentity. There was no prize at all in 1829; provision was made for two awards in 1830, one of which was to be his at last. Ironically, Berlioz found that he did not care much for Rome and the Academy, but the trip there, and his travels on the Italian peninsula, turned out to be of great importance in his life and work.
The painter Ingres and the sculptor Pradieu, who were on the 1829 jury, thought the votes of the musicians unfair under the circumstances, even though, as Berlioz wrote to his father, they had only a very limited under?standing of the problems. The director of the Conservatory, Cherubini, with whom Berlioz had had differences, voted for Cleopatre, but the composer thought he had probably done so for the wrong reasons. Illness prevented Berlioz' sympathetic teacher Le Sueur, from voting. The votes of the popular opera composers Auber and Boieldieu had more to do with the politics of aesthetics than with the merits of the composition. When it was over, Auber [pro] warned Berlioz that his advanced style would endanger his career, and Boieldieu (confra) said that the jury wanted Berlioz to have the prize but simply could not vote for what it had heard in the music. The fashion of the moment was different, Berlioz wrote years later in his memoirs (here abridged from the translation by David Cairns): "Soothing music was what Paris wanted, even in violent situations; music that was not too dramatic, but rather colorless, safely predictable, modest in its demands on the performer and listener alike. There was no point in writing their kind of music. Why not my own kind, from the heart The subject was 'Cleopatra after the Battle of Actium' [the naval encounter in which she was defeated by Octavian in 31 bc]. The Queen of Egypt clasps the asp to her bosom and dies in convulsions; but before dying, she invokes the spirits of the Pharoahs and in
holy fear demands to know if she may hope to enter those mighty vaults erected to the shades of monarchs distinguished for fame and virtue. Here was an idea worth expressing. The music came easily to me. I wrote what I believe was an imposing piece, the rhythm original, the progressions rich and somber, and the melody unfolding slowly and dramatically in a long sustained crescendo."
Cleopatre was published for the first time in 1903, but 30 years later a British biographer of the composer wrote that he knew of no performances of the work since the jury heard it in 1829.
C'en est done fait! Ma honte est assuree.
Veuve d'Antoine et veuve de Cesar,
Au pouvoir d'Octave livre,
Je n'aipu captiverson farouche regard.
J'etais vaincue, etsuis deshonoree.
En vain, pour ranimer I'eclat de mes attraits
J'ai profane le deuil d'un funeste veuvage.
En vain, en vain de I'art epuisant les secrets,
J'ai cache sous des fleurs les fers de I'esclavage;
Rien n'a pu du vainqueur desarmer les decrets.
A ses piedsj'ai traine mes grandeurs opprimees,
Mes pleurs meme ont coule, sur ses mains repandus.
Et la fille des Ptolemees
A subi I'affront des refus.
Ah! Qui'ils son loin ces jours, tourment de mas memoire,
Qu sur le sein des mers, comparable a Venus,
D'Antoine et de Cesar reflechissant la gloire,
J'apparus triomphante aux rives du Cydnus!
Actium m'a livree au vainqueur que me brave.
Mon sceptre, mes tresors ont passe dans ses mains; Ma beaute me restait, etles mepris d'Octave Pour me vainere ont fait plus que le fer des Romains. Au comble des revers, qu'auraisje encor a craindre
Reine coupable, que distu
Du destin quim'accable estce a moi de me plaindre
Aije pour I'excuser les droits de la vertu
J'ai d'un epoux deshonorare la vie.
C'est par moi, qu'aux Romains I'Egypte est asservie,
Est que d'lsis I'ancien culte est detruit.
Quel asile chercher
Sans parents! Sans patrie!
II n 'en est plus pour moi que I'eternelle nuit!
So it is over! I am assured of shame.
The widow of Anthony and the widow of Caesar
Is delivered into the hands of Octavian.
It could not soften his stern look.
I was conquered, and I am dishonored.
It was in vain that, to relight the brilliance of my beauty,
I profaned the mourning of my dreary widowhood.
In vain, in vain, exhausting the secrets of artifice,
I hid under flowers the fetters of slavery.
Nothing could disarm the conqueror's decrees.
I dragged my downtrodden grandeurs to his feet.
My tears poured over the hands he held out,
And the daughter of the Ptolemies
Suffered the affront of refusal.
Oh, how distant are those days that torture my memory,
When, like Venus, from the depths of the sea,
Reflecting the glory of Anthony and Caesar,
I made my triumphant appearance on the banks of the
Actium delivered me to my vanquisher, who now
My scepter, my treasures, were handed over to him.
I still had my beauty but Octavian's scorn
Did more to conquer me than the Romans' swords.
With my reserves at their worst, what would I still have
Culpable queen, what are you saying
Is it for me to complain of the fate that is overwhelming
Have I a claim of courage that makes up for it
I dishonored the memory of my husband.
It is because of me that Egypt has been subjugated by
And that the ancient cult of Isis has been destroyed.
Where to seek refuge
Without family, without fatherland!
There is nothing else for me, but eternal night!
Grands Pharaons, nobles Lagides,
Verrezvous entrersans courroux,
Pour dormir dans vos pyr amides,
Une reine indigne de vous
Aon.'... Aon, de vos demeures funebres
Je profanerais la splendeur.
Rols, encor au sein des tenebres,
Vous me fuiriez avec horreur.
Non, j'ai' d'un e'poux deshonore la vie.
Sa cendre est sous mes yeux, son obre me poursuit
C'est par moi qu'aux Romains I'Egypte est asservie.
Par moi nos Dieux on fui les murs d'Alexandrie, Et d'lsis le culte est dirit.
Osiris proscrit ma couronne, A Typhonje livre mes jours! Contre I'horreur qui m'environne Un vil reptile est mon recours.
Dieux du Nil, vous m'avez trahie! Octave m'attend a son char, Cleopatre en quittant la vie' Redevient digne de Cesar!
Great Pharaohs, noble Lagides,
Will you, without wrath, allow to enter and
To sleep in your pyramids
A queen unworthy of you
No! No! Your funereal resting places'
Splendor would be profaned by me.
Kings there in the heart of darkness,
You would flee from me in horror!
No, I have dishonored the memory of my husband.
His ashes are before my eyes; his shade is pursuing me.
It is because of me that Egypt has been subjugated by
Because of me our gods have fled Alexandria's walls
And the cult of Isis has been destroyed.
Osiris has proscribed my crown. To Typhon I give up my life. Against the horror that surrounds me A vile reptile is my last resort.
Gods of the Nile, you have betrayed me! Octavian is waiting for me in his chariot, Cleopatra, in leaving this life, Becomes worthy of Caesar again!
A Siegfried Idyll Richard Wagner
Born Leipzig, May 22,1813
Died Venice, February 13,1883
It is hard to believe that the composer who felt love as the wild destroying passion of Tristan und Isolde, in which love and death are one, could ever have known domestic content. But years later, Wagner did know a period of peace and domestic fulfillment. In November 1870, his heart overflowing with gratitude, he composed a birthday present for his wife Cosima: the blissfully contented music we know as ,4 Siegfried Idyll. Here, at last, love no longer meant night and death, but birth and dawn. It referred to their tiny son Siegfried ("Fidi").
Cosima's birthday fell on December 25. In the Wagner household, this combined birthday and Christmas present was dubbed the Treppenmusik ("staircase music"), because the first performance was played on the staircase of Villa Triebschen, their home on Lake Lucerne. Wagner took the greatest precautions to make the birthday performance a surprise. Early Christmas morning, the fifteen players of the tiny chamber orchestra took up their places silently on the stairs of the villa, with Wagner, who was conducting, at the top.
It was long supposed that all the themes of the Idyll, except for an old German lullaby, were taken from Wagner's opera Siegfried. Its first and principal theme is the peaceful melody that introduces Brunnhilde's words in the last act: "Ewig war ich" ("Deathless was I"). But this melody does not come originally from the opera. It comes from the sketches for a string quartet that Wagner had planned as a present to Cosima, years earlier at the time when they were falling in love. So this reference to their first attachment, in the work celebrating their domestic felicity, had sentimental meaning for both Wagner and Cosima beyond the beauty of the music itself. A group of soft, caressing themes leads to the old German cradlesong "Schlaf, Kindchen, schlafe" ("Sleep, Little Child, Sleep"), which is piped very simply by the oboe. But the allusions of these innocentseeming themes are anything but simple. Ernest Newman, the great English Wagner authority who untangled the sources of the Idyll, pointed out that this lullaby was jotted down in Wagner's diary before Siegfried was born, and that it referred not to Siegfried but to little Eva, then almost two years old. We may never know the full extent of the private allusions of the Idyll. Is it only a coincidence, for example, that the lullaby repeats the notes of the Idylfs first theme, but reversed, as if seen in a mirror
The first theme returns, the strings put on their mutes, the music shifts dreamily into a distant key, and after some rhythmic hesitations, the woodwinds introduce the melody "0 Siegfried, herrlicher! Hortder Welt!" which Brunnhilde sings to Siegfried in their great love duet. This, too, came originally from the string quartet sketches of 1864. These melodies work up to a brief climax, which is suddenly cut off, and a solo horn introduces the more energetic theme associated with Siegfried as a young man. The song of the bird from the forest scene and other themes from the opera bring another short climax. Then the hushed mood of the lullaby returns, with the first themes clothed in even more glowing poetry. The end is like the beginning of a peaceful sleep.
Copyright OThe Philharmonic Symphony Society of New York, Inc., 1985
Reprinted by permission.
Immolation Scene, from Gotterdammerung Richard Wagner
Born Leipzig, May 22,1813 Died Venice, February 13,1883
The lifeless body of Siegfried lies on its bier in the hall of the Gibichungs beside the Rhine. Gunther, too, is dead, felled by the sword of the brutal and madly ambitious Hagen, who is now astonished by the threatening, supernatural gesture of Siegfried as he tried to seize the Ring from the corpse's finger. In this moment of spellbound horror, the transfigured Briinnhilde advances with tranquil majesty. The Rhinedaughters have made clear to her the whole vast tangle of fate and sin and tragedy that has enmeshed them all. After long contemplation of Siegfried's body, she turns to the awestruck men and women and begins a great address, filled with lofty eloquence, grief, passion, solemnity, and exaltation. She addresses her last, infinitely sorrowful words to her father, Wotan. Her sacrifice accom?plishes the affirmation of her last words, that love is the one eternal and enduring good, as she leaps upon her horse and together they gallop into the flames of the great hero's funeral pyre.
Briinnhilde: (to the vassals)
schichtet mir dort
am Rande des Rheins zu Hauf!
Hoch und hell
lodre die Glut,
die den edlen Leib
des hehresten Helden verzehrt!
Sein Ross fuhret daher,
dass mit mir dem Recken es folge:
denn des Helden heiligste
Ehre zu teilen
verlangt mein eigener Leib.
Vollbringt Brunnhildes Wort!
Pile upon high
there on the bank of the Rhine!
High and bright
let the flames rise
that shall consume the noble body
of the greatest of heroes!
Bring his horse here,
that with me he may follow the brave warrior:
for my own body
yearns to share
the hero's highest honor.
Carry out Briinnhilde's command!
(The men begin to build a funeral pyre)
Wie Sonne lauter strahlt mir sein Licht: der Reinste war er, der mich verriet! Die Gattin triigend
treu dem Freunde von der eignen Trauten
einzig ihm teuer
schied er sich durch sein Schwert.
Echter als er
schwur keiner Eide;
treuer als er
hielt keiner Vertrage;
lautrer als er
liebte kein andrer:
und doch, alle Eide,
die treueste Liebe
trog keiner wie er!
Like clear sunshine
his light shines upon me:
purest of beings was he
who was traitor to me!
False to his wife
true to his friend
from his own true love
his only beloved
he barred himself with his sword.
More loyally than he
none ever swore vows;
more faithfully than he
none ever kept compact;
more "pure than he
none ever loved:
and yet all vows,
the truest love
none like him has betrayed!
Wisst ihr wie das ward
0 ihr, der Eide
Lenkt euren Blick
aufmein bluhendes Leid:
erschaut eure ewige Schuld!
Meine Klage hdr
du hehrster Gott!
Durch seine tapferste Tat
dirso tauglich erwunschst,
weihtest du den,
der sie gewirkt,
dem Fluche, dem du verfielst.
der Reinste verraten,
dass wissend wiirde ein Weib!
Weiss ich nun, was dir frommt
Alles weiss ich:
alles ward mir nun frei!
Auch deine Raben
hb'r' ich rauschen:
mit bang ersehnter Botschaft
send' ich die beiden nun heim.
Ruhe! Ruhe, du Gott!
Do you know how that was
0 ye, the eternal guardians of vows, turn your eyes
on my fullflowing grief:
behold your everlasting guilt!
Hear my charge,
most venerable god!
Through his bravest deed,
thou didst doom him,
who had performed it,
to the curse which had befallen you.
He, truest of all,
had to betray me,
that a woman might find wisdom!
Have I learned all that avails thee
All things, all
now I know:
all is clear to my eyes.
The wings of thy ravens
1 hear rustling:
I send them home to thee,
with news both feared and longedfor.
Rest! Rest thou, Oh God!
(She signs to the vassals to lift Siegfried's body onto the pyre; she draws the Ring from his finger and looks at it meditatively.)
Mem Erbe nun
Dein Gold fass'ich,
des Rheines schwimmende Tochter,
euch dank'ich redlichen Rat.
Was ihr begehrt,
ich geb' es euch:
aus meiner Asche
nehmt es zu eigen.
Das Feuer, das mich verbrennt,
rein'ge vom Fluche den Ring;
ihr in der Flut
loset ihn auf,
und tauter bewahrt
das lichte Gold,
das euch zum Unheil geraubt.
My heritage now
I take for my own.
I grasp the gold,
and give it away.
Ye wise sisters
of the watery deep,
ye swimming daughters of the Rhine,
I thank you for your good counsel.
What ye desire,
I give you now:
out of my ashes
take it for your own.
May the fire that burns me
cleanse the Ring from the curse!
in the stream,
and ever keep safe
the pure, shining gold
whose theft wrought such evil.
(She has put the Ring on her finger, and now takes a firebrand from one of the men.)
Fliegt heim, ihr Raben!
Haunt es eurem Herren,
was hier am Rhein ihr gehb'rt!
An Briinnhildes Felsen,
der dort noch lodert
weisetLoge nach Walhall!
Denn der G otter Ende
dammert nun auf:
so werf'ich den Brand
in Walhalls prangende Burg!
Fly home, ye ravens!
Tell your lord
what you heard here on the Rhine!
Fly past Brunnhilde's rock,
where Loge is still flaming, and bid him go to Valhalla! For the end of the gods is now dawning: see 1 throw the firebrand into Valhalla's glorious citadel!
(She hurls the brand onto the pyre. Two ravens fly up and disappear in the background. She turns to her steed.)
Grane, mein Ross, sei mir gegrusst! Weisst du auch, mein Freund, wohin ich dich fiihre Im Feuer leuchtend liegt don dein Herr, Siegfried, mein seliger Held. Dem Freunde zu folgen, wieherstdu freudig Lockt dich zu ihm die lachende Lohe Fiihl' meine Brust auch, wie sie entbrennt; helles Feuer das Hen mir erfasst. Ihn zu umschlingen, umschlossen von ihm, in machtigster Minne vermahlt ihm zu seinl Heiajaho! Grane! Griiss'deinen Herren! Siegfried! Siegfried! Sieh! Selig griisst dich dein Weib!
Grane, my steed,
greetings to you!
My friend, do you know
whither I lead you
In the bright fire
there lies your master,
Siegfried, my blessed hero.
Are you neighing,
Eager to be following your friend
Do the laughing flames
Feel my breast, too,
how it is burning;
seize on my heart.
To clasp him to me,
to be held fast in his arms,
to be united with him
by the power of love!
Greet your lord!
Siegfried! Siegfried! See!
Your wife greets you joyfully!
(She swings herself onto the horse and makes it leap into the burning pyre. The Rhine overflows its bank in a mighty wave bearing the Rhinedaughters on its crest. At their appearance, Hagen is seized with alarm. Crying out "Away from the Ring!,"he plunges frenziedly into the flood. Woglinde and Wellgunde throw their arms around Hagen and draw him into the depths; Flosshilde holds up the recovered ring exultantly. The fire?light grows in the heavens until the flames are seen to seize upon Valhalla itself and the gods, assembled there as described earlier by Waltraute.)
English translation by G. M. Holland; reprinted courtesy of London Records, a Division of PolyGram Classics and Jazz, Inc.
is artistic director of the Metropolitan Opera, the first in the company's history. He was appointed principal conductor in 1973, music director in 1976, and artistic director in 1986. During his tenure at the Met, he has inaugurated the Emmy Awardwinning live opera performance series for television, guest artist recitals, and a unique program for the development of young singers. He has conducted more than sixty different operas at the Met, including the Metropolitan premieres of Berg's complete Lulu, Verdi's Vespri Siciliani, Weill's Rise and Fall of the City of Mahagonny, Stravinsky's Oedipus Rex, Gershwin's Porgy and Bess, Mozart's Idomeneo and La Clemenza di Tito, and Schoenberg's Erwartung.
During 199091 he conducted new productions of Un Ballo in Maschera, Die Zauberflote, and Parsifal, as well as revivals of Don Giovanni, Porgy and Bess, La Clemenza di Tito, and Luisa Miller. He also led the Gala Performance celebrating the 25th anniversaries of the Met debuts of Mirella Freni, Alfredo Kraus, and Nicolai Ghiaurov. Next season at the Met he will conduct the world premiere performances of John Corigliano's The Ghosts of Versailles, a new production of Elektra, and revivals of Don Carlo, Don Giovanni, Die Entfuhrung aus dem Serail, Idomeneo, Le Nozze di Figaro, Parsifal, and Die Zauberflote.
With the conclusion of the Met season, he is conducting the Met Orchestra in its first concert tour, with performances in Ann Arbor and Columbus, Ohio, prior to a concert in New York's Carnegie Hall with soloist Jessye Norman as a part of the hall's Centennial Celebration.
During 199091, Mr. Levine also conducted New York's Music for Life benefit concert and is heard as pianist in recital with soprano Dawn Upshaw. On May 5, he and Zubin Mehta will conduct the New York Philharmonic at Carnegie Hall to celebrate the exact date of the hall's opening 100 years ago.
In addition to his activities at the Metropolitan, James Levine is well known for his longterm relationships with three musical organizations: the Berlin Philharmonic, the Vienna Philharmonic, and the Ravinia Festival, summer home of the Chicago Symphony.
Each season, Mr. Levine conducts the Berlin Philharmonic in several programs in Berlin; he has also led the orchestra at the Whitsun Festival in Salzburg, on tour in the United States in 1986, at the Lucerne Festival, and in their historic concert in East Berlin in 1989. In November 1990 his Berlin programs included Schumann's First Symphony and Cello Concerto, with American cellist Matt Haimovitz in his Berlin Philharmonic debut, and in February 1991 he led masses by Mozart and Haydn (which were recorded live by Deutsche Grammophon). Already available are Berlin Philharmonic recordings including Berlioz' Romeo et Juliette and Les Nuits d'ete, Haydn's Die Schopfung, and music by Richard Strauss, Mozart, Robert Schumann, Mendelssohn, SaintSaens, Sibelius, Dvorak, Schoenberg, Berg, and Webern.
Following his Berlin performances in November, he went to Dresden, where he conducted the Staatskapelle in music of Brahms, Webern, Dvorak, and Richard Strauss, and recorded Dvorak's Symphony No. 8 and Slavonic Dances, Op.46, with the Staatskapelle.
Since his debut with the Vienna Philharmonic more than a decade ago, Mr. Levine has been one of the small number of conductors invited each year to lead the orchestra in concerts on its limited subscription series in Vienna. He returned there in December 1990 to accompany Jessye Norman in recital and to complete recording all the Mozart symphonies. He also performs with the orchestra during the Vienna Festival and, annually since 1976, at the Salzburg Festival as well. During the summer of 1991, he will return to Salzburg to lead two performances of Beethoven's Missa Solemnis with the Vienna Philharmonic. These performances will be recorded live by Deutsche Grammophon (DG). At the same time, DG will release its recording of the complete Mozart symphonies, commemo?rating the 200th anniversary of Mozart's death. This marks the Vienna Philharmonic's first recording of the complete cycle.
Mr. Levine has recorded extensively with the Vienna Philharmonic, including recent performances of Smetana's Ma Vlast and Mozart's Mass in C minor, and Ravel's Daphnis and Chloe. He and Itzhak Perlman have recorded the complete Mozart violin concerti with the orchestra, and Mr. Levine's recording of Ariadne aufNaxos with the Vienna Philharmonic was awarded a Grammy in 1987 for Best Opera Recording of the Year. His most recent recording with the orchestra, Mozart's Cosifan ruffe and late symphonies, were released in August 1990.
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Mr. and Mrs. Addison Brown
Dr. and Mrs. Donald Bryant
Sandra S. Connellan
Caroline K. Cram
Mrs. Stefania E. Frank
Mr. and Mrs. Robert Gilbert
Veronica M. Gregg
William and Linda Harris
Mrs. Jeane Irwin
Jae S. Kim
Lucy H. Leist
James K. Mansfield
Mrs. Ruth Sizer Marshall
Laura J. McTaggart
Julie C. Meyer
James M. Miller
John A. Nit
Bernice M. Olszewski
Ronald C. O'Neill
Helen D. Rose
Susan Carol Schneider
Mathilde A. Seider
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Dr. and Mrs. Robert E. Speer
Ward H. Squires
Mr. and Mrs. James E. Stephenson
Mrs. John D. Stoner
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Leslie and Tadataka Yamada
Mr. and Mrs. Richard Ament
Marjane I Baker
Gail Davis Barnes
Mary Ellen Bearden
Maurice and Linda Binkow
Nancy J. Cressy
Anne J. Curtin
Dr. Francis M. and Shirley H. Daly
Henry E. Dees
Frank M. Frierson
Martha G. Froseth
Mrs. Rita Goll
James M. Hart
Hortense B. Howard
Beth and Timothy Hsu
Charles F. Hutchins
Harold and Claire Korn
Mr. and Mrs. George H. Kuper
Gloria L Larkin
Joan and Ralph Lehner
Carolyn M. Mawby
Mary E. D. McConville
Frank McCoy and Rosanne Jones
Ronald K. Morrison
Mr. and Mrs. Grant Odhner
A. M. Pabin
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Henry J. Prebys
Doug and Kathy Roberts
Tim L. Rosa
William M. Sawyer
Mr. and Mrs. Marcel Thirman
Robert D. and Linda M. Wallin
Lois Elaine Watson
Larry Allen Wolf
Since 1973, James Levine has been music director of Chicago's Ravinia Festival, where he leads the Chicago Symphony each summer in about a dozen programs and appears as pianist in concerti, chamber music, and vocal recitals. He records regularly with the orchestra, most recently music of twentiethcentury American composers (Cage, Carter, Schuller, and Gershwin, among others); Bartok's Concerto for Orchestra and Music for Strings, Percussion and Celeste; Hoist's The Planets; the cello concerti of Edouard Lalo and Camille SaintSaens with Matt Haimovitz; and the five Beethoven piano concerti, recorded live in concert with Alfred Brendel.
Mr. Levine had the honor of conducting the centennial production of Parsifal at the Bayreuth Festival from 1982 to 1988; a live recording made in 1985 is available on Philips Records. He returned to Bayreuth in 1989 and 1990 to conduct Parsifal in a new production by Wolfgang Wagner and returns there in 1991 for the same work. It was also recently announced that he and director Alfred Kirchner, director of Berlin's Schiller Theater, will present a new production of Wagner's Ring des Nibelungen at Bayreuth in 1994.
Mr. Levine's numerous recordings as a pianist include recitals with Kathleen Battle, Jessye Norman, Jennie Tourel, Matt Haimovitz, and Lynn Harrell; Schubert's Winterreise with Christa Ludwig; and chamber music of Schubert, Poulenc, Beethoven, and Mozart, with principal players of the Vienna and Berlin Philharmonics.
Among his recordings with the Metropolitan Opera Orchestra are Schoenberg's Erwartung and Mozart's Le Nozze di Figaro (both forthcoming), Verdi's Aida, Donizetti's L'Elisir d'Amore, and Wagner's complete "Ring" Cycle. (Das Rheingoldand Die Walkiire, winners of consecutive Grammy Awards in 1989 and 1990 for Best Opera Recording, have already been released, and Siegfried and GotterdammerungwiW be released in the fall of 1991.)
Mr. Levine is featured as conductor of the Vienna Philharmonic and Vienna State Opera Chorus in JeanPierre Ponnelle's film of Mozart's La Clemenza di Tito, the Vienna Symphony Orchestra in Ponnelle's film of Placido Domingo in Hommage a Sevilla, and the Metropolitan Opera Orchestra and Chorus in Franco Zeffirelli's film of Verdi's La Traviata. All are available on compact disc video, as are fifteen live performances from the Metropolitan Opera. (Soon to be released by DG Video are telecasts of Aida and Wagner's "Ring.")
James Levine is a recipient of the key to his native city of Cincinnati and the Smetana Medal, presented by the Cultural Minister of Czechoslovakia, and he received the first Cultural Award of the City of New York. He was the subject of a Time Magazine cover story in 1983, and was named Musician of the Year by Musical America in 1984. He has lectured at The Juilliard School, Sarah Lawrence, Yale, and Harvard. He was the subject of a fulllength film documentary that was telecast in the United States on PBS.
Born in Cincinnati, Ohio, in 1943, James Levine made his debut as piano soloist with the Cincinnati Symphony Orchestra at the age often, at which time he also began intensive studies in music theory and interpretation with Walter Levin, first violinist of the LaSalle Quartet. He attended The Juilliard School, where he completed the undergraduate requirements in one year and stayed on to study piano with Rosina Lhevinne and conducting with Jean Morel. At the invitation of George Szell, he left Juilliard to join the conducting staff of The Cleveland Orchestra at 21, the youngest assistant conductor in the orchestra's history. He made his Metropolitan Opera debut conducting Tosca on June 5,1971.
Mr. Levine now makes his Ann Arbor debut.
Photo: Jorg Reichart
is one of the most celebrated artists of our time, regularly performing with the world's most prestigious orchestras and opera companies, and in recital in the major music centers around the globe.
In September 1990, Miss Norman opened the Chicago Lyric Opera's season in Robert Wilson's critically acclaimed production of Gluck's Alceste, and in December she appeared attheTchaikovsky 150th Anniversary Gala in Leningrad. She also presented a special Christmas concert at the Cathedral of Notre Dame in Paris, which will be televised in the United States next December. In spring 1991, Miss Norman sang her first Kundry in a new production of Wagner's Parsifal, and this month, returns to Carnegie Hall to participate in both its 100th Anniversary Gala and the first orchestral concert given there by the Metropolitan Opera Orchestra and James Levine.
In the spring of 1990, Miss Norman joined Kathleen Battle, James Levine, and members of the Metropolitan Opera Orchestra and Chorus in a Spirituals Gala at Carnegie Hall. She also returned to the Metropolitan Opera as Sieglinde in Wagner's Die Walkure. The pro?duction, filmed as part of the company's complete "Ring" cycle, was telecast in June 1990 on PBS.
In the last year, Jessye Norman has appeared with the Los Angeles Philharmonic, the London Philharmonic, the BBC Scottish Symphony Orchestra, the Leningrad Philharmonic, I'Orchestre de I'Opera de Lyon, and the Montreal Symphony. She has also appeared in recital at Avery Fisher Hall, Boston's Symphony Hall, the Salle Pleyel in Paris, the Salzburg Festival, the Granada Festival (Spain), Roy Thomson Hall in Toronto, Carnegie Hall, the Kennedy Center in Washington, and the Vienna State Opera.
Miss Norman's upcoming summer season includes recitals in Dublin, Birmingham (England), Paris and Toulouse; orchestral concerts in London, Amsterdam, and Oslo, and appearances attheTanglewood, Pollensa (Spain), SchleswigHolstein, Nice (France), Ludwigsburg, Salzburg, Helsinki, Lucerne, and Edinburgh Music Festivals. In fall 1991, she opens the seasons of the Los Angeles Philharmonic, the Toronto, Utah, and San Francisco Symphonies, and performs with the London Symphony Orchestra as part of a series of musical events in London celebrating the 700th anniversary of the Confederation of Switzerland. Recitals in Pittsburgh, Aiken (at the University of South Carolina), New Haven, Brussels, Amsterdam, and Vienna round out the year.
Born in Augusta, Georgia, Jessye Norman began her professional career as a member of the Deutsche Oper Berlin, making her operatic debut in December 1969 as Elisabeth in Tannhauser. The music world was quick to recognize her extraordinary talent and showered her with countless invitations for concert, recital, and television appearances. Miss Norman toured extensively in the 1970s, performing throughout the United States, South America, Australia, Canada, and Europe. This led to further invitations and regular appearances at various festivals, including Tanglewood, Ravinia, Edinburgh, Flanders, AixenProvence, and Salzburg.
Jessye Norman has sung a widely varied opera repertoire at La Scala, Milan; Teatro Comunale, Florence; the Royal Opera House, Covent Garden; the Vienna State Opera, the Hamburg State Opera, the Stuttgart Opera, the Festival at AixenProvence, and the Philadelphia Opera. Her Metropolitan Opera debut in Berlioz' Les Troyens (in which she sang the roles of both Dido and Cassandra) opened the Metropolitan's 100th anniversary season in 1983. At the Met, her roles have included Jocasta in Stravinsky's Oedipus Rex, Madame Lidoine in Poulenc's Dialogues of the Carmelites, Elisabeth in Wagner's Tannhauser, and the title role in Richard Strauss' Ariadne aufNaxos. During 198889, she made company history appearing in the Metropolitan's first presentation of a onecharacter opera, Schoenberg's Erwartung, paired with Bartok's Bluebeard's Castle, with Miss Norman as Judith, and telecast on PBS' "Live from the Met." The season also included her first Metropolitan Opera Sieglinde in Wagner's Die Walkure as part of the company's complete "Ring" cycle.
In addition to her "Live from the Met" and "Live from Lincoln Center" appearances, Miss Norman is known to television audiences worldwide for the 1987 special Christmastide (a Thames Television and PBS joint production) and for the film Jessye Norman Sings Carmen, a documentary chronicling her recording the Bizet opera, released in 1990. Millions saw her sing the "Marseillaise" at the spectacular Bastille Day festivities celebrating the 200th anniversary of the French Revolution, a performance telecast throughout the world in July 1989.
One of the most distinguished and prolific recording artists of our day, Jessye Norman's discography has won numerous awards, including the Paris Grand Prix National du Disque for albums of lieder by Wagner, Schumann, Mahler, and Schubert. She has also received the prestigious Gramophone Award in London for her outstanding interpretation of Strauss' Four Last Songs, the Edison Prize in Amsterdam, and recording prizes in Belgium, Spain, and Germany. In the United States, Miss Norman won a Grammy Award as Best Classical Vocalist for Songs of Maurice Ravel. Apart from her longstanding association with Philips (which most recently released her Fidelio), Miss Norman has recorded for Angel, EMI, CBS Masterworks, Decca, DG, and Erato.
Miss Norman has been presented many prestigious awards and
distinctions, including honorary doctor of music degrees fron Howard University, the University of Michigan, the Boston Conservatory, the University of the South (Sewanee), Brandeis University, Harvard University, Cambridge University, the American University of Paris, The Juilliard School, Yale University, Western New England College, Kenyon College, the New School for Social Research (New York City), and La Salle University (Quebec). She was also a recipient of the 1990 Albert Einstein College of Medicine Annual Achievement Award.
In 1984, the French Government invested Miss Norman with the title
"Commandeur de I'Ordre des Arts et des Lettres." Also in 1984, the National Museum of Natural History in Paris honored her by naming an orchid for her. In November 1987, she became an Honorary Member of the Royal Academy of Music in London. She is also an Honorary Fellow of Pierson College, Yale University, and Jesus and Newnham Colleges, Cambridge University. In October 1989, she was awarded the Legion of Honour by French President Mitterand, and in June 1990 she was named Honorary Ambassador to the United Nations by U.N. Secretary Xavier Perez de Cuellar.
Jessye Norman's teachers have included Carolyn Grant at Howard
University in Washington, D.C., Alice Duschak at Baltimore's Peabody Conservatory, and Pierre Bernac and Elizabeth Mannion at the University of Michigan.
This evening's concert marks Jessye Norman's sixth appearance under University Musical Society auspices. She participated in the May Festivals of 1973 and 1989, a special benefit concert in 1978, and gave recitals in 1974 and 1986.
Photo: Christian Steiner
The Metropolitan Opera Orchestra
is today regarded as one of the world's finest orchestras. From the time of the company's inception in 1883, the ensemble has worked with leading conductors both in opera and concert performances and has developed into an orchestra of enormous technical polish and style.
The Met Orchestra maintains a demanding schedule of performances and rehearsals during the thirtyweek New York season, when the company performs seven times a week in a repertory that normally encompasses approximately twentyfive operas. Following the New York season, there are frequently tours, both in the United States an abroad, which in turn, are followed by a threeweek series of free concert opera performances in the parks of New York City, Nassau County and New Jersey.
The Orchestra has a distinguished history of performances as a concert orchestra, in addition to its opera schedule. Arturo Toscanini made his American debut as a symphonic conductor with the Met Orchestra in 1913, and also went on to conduct almost 500 opera performances at the Met. Gustav Mahler, during the few years he was in New York, conducted fiftyfour Met performances. More recently, many of the world's greatest conductors have led the orchestra: Walter, Beecham, Reiner, Mitropoulos, Kempe, Szell, Bb'hm, Solti, Maazel, Bernstein, Mehta, Abbado, Karajan, Dohnanyi, Haitink, and Tennstedt. Carlos Kleiber's only United States performances have been with the Met Orchestra.
The impressive list of instrumental soloists who have appeared with the Orchestra includes Efrem Zimbalist, Leopold Godowsky, Sergei Rachmaninoff, Josef Lhevinne, Arthur Rubinstein, Pablo Casals, Benno Moiseiwitsch, Josef Hofmann, Ferruccio Busoni, Jascha Heifetz, Wilhelm Backhaus, Moritz Rosenthal, and Fritz Kreisler. During the Metropolitan's 19801981 season, the Met's artistic director, James Levine, conducted the orchestra in two performances of Mahler's Second Symphony.
The Orchestra's current high standing led to its first commercial recordings in nearly 20 years, Die Walkiire and Das Rheingold, conducted by James Levine (the first two installments of a complete "Ring" cycle for Deutsche Grammophon), which won consecutive Grammy Awards in 1989 and 1990 for Best Opera Recording. Siegfried and Gotterdammerung will be released in the fall of 1991. Now in great demand for recording, Maestro Levine and the Met Orchestra are involved with a series of complete operas for DG, as well as Sony Classical and Philips. Recent recordings by the Orchestra, conducted by Maestro Levine, also include Schoenberg's Erwartung and Mozart's Le Nozze di Figaro (both forthcoming), Verdi's Aida (just released by Sony Classical), and Donizetti's L'Elisir d'Amore.
Metropolitan Opera House, Lincoln Center
James Levine Artistic Director
Raymond Gniewek Concertmaster
Elmira Darvarova Concertmaster
Laura Hamilton Associate Concertmaster
Edmund Jacobsen Associate Concertmaster
Judith Yanchus Vladimir Baranov Ivey Bernhardt Sandor Bahnt Doris Allen Samuel Cohen Kathryn Caswell Canonico Erica Miner Seymour Wakschal Vincent Greicius Leslie Dreyer Associate Principal
Raphael Feinstein Associate Principal
Toni Rapport Shirien Taylor Jean Claude Velin Richard Elias Magdalena Golczewski Laura McGinnis Joseph Malfitano
Michael Ouzounian Principal
Craig Mumm Principal
Caroline Levine Assistant Principal
Marilyn Stroh Midhat Serbagi Desiree Elsevier Vincent Lionti Ira Weller
Jascha Silberstein Principal
Jerry Grossman Principal
Gerald Kagan Assistant Principal
Marian Heller Leshek Zavistovski James Kreger Philip Cherry Richard Kay
Robert Sirinek Personnel Manager
Laurence Glazener Principal
Timothy Cobb Associate Principal
Jesse Teiko Marvin Topolsky Tom Brennand Jeremy McCoy Louis Kosma
Flutes Trudy Kane Principal
Michael Parloff Principal
Mary Ann Archer Nadine Asin
Nadine Asin Mary Ann Archer
Elaine Douvas Principal
John Ferrillo Principal
Linda Strommen Richard Nass
Roger Hiller Principal
Joseph Rabbai Principal
Sean Osborn James Ognibene
Richard Hebert Principal
Patricia Rogers Principal
Paul Cammarota Toni Lipton
Howard T. Howard Principal
Julie Landsman Principal
E. Scott Brubaker Richard Reissig Lawrence Wechsler Michelle Baker Joseph Anderer Carmelo Barranco Leon Kuntz Frederic Weber
Assistant Personnel Manager
Wagner Tubas Richard Reisseg Leader
E. Scott Brubaker Leon Kuntz Lawrence Wechsler
Trumpets Melvyn Broiies Principal
Mark Gould Principal
Lynn Berman Wayne du Maine' James Pandolfi
Per Brevig Principal
David Langlitz Principal
Douglas Edelman Associate Principal
HalJanks Steve Norrell
Richard Horowitz Principal
Duncan Patton Principal
Herbert Baker Principal
Scott Stevens Principal
Deborah Hoffman Principal
MariePierre Langlamet Associate Principal
LeszekBarnat Browning Cramer Shem Guibbory Lesley Heller Ira Lieberman Arthur Shtilman William Stone Narciso Figueroa Annamae Goldstein JinKyung Koo Patmore Lewis
Assistant Personnel Manager
Deborah Holtz JohnJ.Kella
Judith Currier David Heiss Jacqueline Mullen
Jacqui Danilow Charles Urbont
Richard Vrotney Bernadette Zirkuli
Douglas Hedwig Frank Hosticka James Stubbs
Early Anderson David A. Titcomb
Percussion Charles F. Barbour Lynn R. Bernhardt Rafael Guzman Benjamin Harms
Opera Association, Inc.
Joseph Volpe General Director
Robert Sirinek Operations Director
Planning and Operations Administrator
Jonathan Friend Artistic Administrator
John Grande Chief Librarian
Joseph Clark Technical Director
James Levine Artistic Director
Charles Bonheur Production Coordinator
Raymond Menard Stage Director
Stephen Diaz Master Carpenter
Sander Hacker Master Electrician
Edward McConway Properties Master
Executive DirectorExternal Affairs
Stephen A. Diaz Tour Carpenter
James Blumenfeld Tour Property Master
James Connolly Tour Electrician
Frank Kamenar Director of Finance
David M. Rueben
Director of Press and Public Relations
Special thanks to Ford Motor Company, Ford Credit, and Ford Audio for the help and support they gave to make this concert a success. The attendance of many area students and music critics was made possible through their generous support. In addition, thank you to Northwest Airlines for the donated travel assistance to national music writers.
Your benevolent support is greatly appreciated.
Special Benefit Concert Volunteers
Gigi Andresen Tim Andresen Shirley Andress Milli Baranowski Wilma SteketeeBean Linda Bennett Alice Benson Carl Binder Polly Binder Sue Bonfield Marilyn Buss Florence Crane Ellie Davidson Dorothy Haake George Haines Margo Halsted Esther Heitler
Chuck Hills Jo Howe Marilyn Jeffs Mary Kahn Lynn Luckenbach Arthur Lanski Mae Lanski Charlotte McGeoch Eva Mueller Yo Nagamatsu Joan Olsen Connie Osier Betty Overberger Helen Radock Agnes Reading Betty Reinhart AnnSchriber
Suzanne Schroeder Mary Sexton Helen Siedel Alida Silverman Carl Schmult Katie Stebbins Catherine Steffek Al Uhle Janet Vincze Beth Wells Stan Wells Mary White Marion Wightman Anne Woodward Shelly Williams Liz Yhouse
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Catherine S. Arcure Aristoplay, Ltd.,
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Castleman Stan Kleinstein Olya K. Lash ViCheng & HsiYen Liu Alan&CarlaMandel
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Reverend & Mrs. Philemon
Karamanos Janice R. Kavanaugh Heidi Kennel Jae Hong Kim D. F. Kiplinger Laurence Kirchmeier Edward L. Klarman Dr. Samuel Klein Sue Knapp
Mr. & Mrs. Ted Krauss Christopher J. Kresge Beth Ann Krynicki Yumi Kuroda L&S Music
Mr. & Mrs. Maurice I. Laney Carolyn Leutwiler David Lillico Lin MeiLing Elisa A. Litvin
Mr. & Mrs. Carl J. Lutkehaus, Jr. Donald T. MacKinnon Amy Mapes Alfred Martin Clarita Mays
Margaret & Edward McAree Jay McCarthy Wesley W.Measel Carlos R. Menendez Gordon R. Metzger James R. Meyer Mildred J. Miller Brian Moll Rose Monitz Matthew Moore Beatrice G. Morgan Shannon M. Morse Myron Moss Marcel Muller Lucille Murphy
Elizabeth B. Mustard
Mr. & Mrs. James K. Newton
Robert L Oppelt
Mrs. Patricia Patrick
Richard C. Patterson
William R. Paulson
P. Q. Phan
Mr. & Mrs. John E. Preston
Or. Allen D. Price
Maxwell & Marjorie Reade
Reverend Charles Ritter
William & Lori Rothstein
Edmund R. Samborski
Sy & Miriam Schaafsma
Mr. & Mrs. Maurice Sheppard
Dr. Steve Silverstein
Michael J. Simsik
Joan W. Smalley
C. Robert Snyder
Mary Louise Starks, Ph.D.
Dr. Martha Stephens
Ray E. Stevens
Scott S. Stevens
Mr. & Mrs. John E. Swigart
Tracy D. Thorne
Mrs. Eugenia Vachulka
Mildred I. Van Matre
Joanna Van Raaphorst
Tom Van't Hof
C. R. Wartell
Robert 0. & Darragh H. Weisman
Tom & Janice M. Weisz
Carol F. Westerman
Mr. & Mrs. David Park Williams
Mr. & Mrs. M. Eugene Williams
Mr. & Mrs. Ralph G. Williams
Andrew R. Wise
List compiled as of March 29,1991.
University Musical Society
1991 May Festival
The Leipzig Gewandhaus Orchestra
Kurt Masur Conductor
8:00 p.m. Hill Auditorium
Midori violinist Christian Funke violinist Jurnjakob Timm cellist Elisabeth Leonskaja pianist Claudine Carlson mezzosoprano
The Festival Chorus
Thomas Hilbish director
199192 Concert Season
The Choral Union Series
Orpheus Chamber Orchestra with Murray Perahia
National Symphony Orchestra and Mstislav Rostropovich
Oslo Philharmonic and Mariss Jansons Frank Peter Zimmermann, violinist
YoYo Ma and Emanuel Ax Isaac Stern
Soviet Philharmonic and Gennady Rozhdestvensky Viktoria Postnikova, pianist
Chicago Symphony Orchestra and Daniel Barenboim
Dresden Staatskapelle and Andre Previn
The Chamber Arts Series
Guarneri String Quartet Ida Kavafian, violist
Emerson String Quartet
Kazuhito Yamashita and Michala Petri
Borodin String Quartet
Consort of Musicke
Beaux Arts Trio
Dawn Upshaw and Richard Goode
Cleveland String Quartet
The Juilliard Quartet
University Musical Society of the University of Michigan Burton Memorial Tower Ann Arbor, Michigan 481091270
The Choice Series
Stars of the Bolshoi Ballet and Company
Les Ballets Africains of Guinea
The Canadian Brass
The King's Singers
New York City Opera National Company, Tosca
The Vienna Choir Boys
The Waverly Consort
Miami City Ballet
University Musical Society
Board of Directors
Norman G. Herbert
Lois U. Stegeman
Carl A. Brauer, Jr.
Robert G. Aldrich Herbert S. Amster Maurice S. Binkow Paul C. Boylan Jon Cosovich John D'Arms James J. Duderstadt Walter L Harrison Thomas E. Kauper Thomas E. Kinnear Patrick B. Long Judythe R. Maugh John D.Paul Ann S. Schriber George I.Shirley Herbert Sloan
Gail W. Rector President Emeritus
University Choral Union and Festival Chorus
Thomas Hilbish Interim Director Donald T. Bryant Conductor Emeritus
Ann Schriber Chair
Milli Baranowski Gail Davis Barnes Sue Bonifield Charles Borgsdorf Bradley Canale Sandra Connellan Elena Debanco Anne Duderstadt Margo Halsted Charles Hills JoAnne Hulce Alice Davis Irani Stuart Issac Frances Jelinek Howard King Judy Lucas Lynn Luckenbach Charlotte McGeoch Joan Olsen Agnes Reading Helen Siedel Miriam Stephan James Telfer Alvan Uhle Jerry Weidenbach Mary White Shelly Williams Elizabeth Yhouse Nancy Zimmerman
Kenneth C. Fischer Executive Director
Gigi Andresen Catherine S. Arcure Sara J. Billmann Sally A. Cashing Leiiani Denison Barbara L Ferguson Judy Johnson Fry Michael L Gowing Deborah Halinski Lorna Hildebrandt Millicent Jones John B. Kennard, Jr. Michael J. Kondziolka Thomas M. Mull Cindi Park Robin Stephenson JoanC. Susskind Carol G.Wargelin
Student Assistants Andrew Berryhill Julia Day Richard Chisholm Karen Cowles Michelle Ingels AN Johnson Ann Mary Quarandillo
Design: NunooQuarcoo Design Photography: David Smith Photography Printing: White Pine, Inc.
Ars longa vita brevis