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UMS Concert Program, March 1, 3, 4, 5, 1994: Madama Butterfly -- New York City Opera National Company

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University Musical Society
OCR Text

Season: 115th
Concert: 40th, 41th, 42nd, 43rd
Power Center For The Performing Arts, Ann Arbor, Michigan

University Musical Society
and Jacobson's
Chicago Symphony Orchestra
Kenneth Jean, Guest Conductor Philip Sabransky, Pianist
Daniel Barenboim, Music Director Sir Georg Solti, Music Director Laureate
Tuesday Evening, March 8, 1994, at 8:00 Hill Auditorium, Ann Arbor, Michigan
The Fountains of Rome ........................Respighi
The Fountain of Valle Giulia at Dawn The Triton Fountain in the Morning The Fountain of Trevi at Midday The Villa Medici Fountain at Sunset
Piano Concerto in A Minor, Op. 16...................Grieg
Allegro molto moderato
Allegro molto moderato e marcato
Philip Sabransky, Pianist
Symphony No. 7 in A Major, Op. 92 ................Beethoven
Poco sostenuto Vivace
Allegro con brio
The Baldwin is the official piano of the Chicago Symphony Orchestra.
This program is partially supported by grants from the Illinois Arts Council, a state agency, and by the National Endowment for the Arts, a federal agency.
Large print programs are available upon request from an usher. The pre-concert carillon recital was performed by Ray McLellan, a U-M doctoral student in organ.
Special thanks to Joe Laibman, composer and co-owner of L & S Music, for this evening's Philips Educational Presentation.
Forty-Fourth Concert of the 115th Season 115th Annual Choral Union Series
Program Notes
The Fountains of Rome
Ottorino Respighi
Born July 9, 1879, Bologna, Italy. Died April 18, 1936, Rome, Italy.
Respighi composed The Fountains of Rome in 1916; the first performance was given on March 11, 1917, in Rome. The score calls for two flutes and piccolo, two oboes and english horn, two clarinets and bass clarinet, two bassoons, four horns, three trumpets, three trombones and tuba, timpani, triangle, cymbals, carillon, bells, two harps, celesta, piano, organ, and strings. Performance time is approximately sixteen minutes.
Respighi, who was trained as a string player at the Liceo in his native Bologna, welcomed the twentieth century by joining the Imperial Opera Orchestra in Saint Petersburg for two seasons as principal viola. Between 1900 and 1904 he studied composition and orchestration with Nikolai Rimsky-Korsakov, whose influence permeated all of Respighi's concert music, despite a later interest in Gregorian music that produced a series of modal works. He also attended lectures by Max Bruch in Berlin during 1908 and 1909, but his training in Russia remained pivotal.
After his return to Bologna, Respighi played in a string quartet for several years while he began to compose a body of works that finally included nine operas, three ballets, two major choral pieces, several concertos, and a trove of orchestral music. Among the last are four delectable suites of Olden Airs and Dances (the third of which he entitled The Birds). Yet his international reputation while he lived, and since, derives from three "Roman" tone poems Fountains, Pines, and Holidays (also called Festivals, although that translation is not accurate in context) composed, respectively, in 1916, 1924, and 1928.
The successful Bolognese productions of his first two operas Re Enzo and Semirama-led to his appointment in 1913 as professor of composition at the Liceo (later Accademia di) Santa Cecilia in Rome, where his post-World War I students included Howard Hanson. Once Respighi settled in the capital, he never left (except for transatlantic concert tours as composer-pianist and -conductor). In 1923 Santa Cecilia named him its new director, but he stepped down after two years to teach, compose, and perform. His death at age fifty-seven was as shocking as it was untimely, and no Italian composer since has filled the void as a composer of concert music.
The Fountains of Rome was only the third of Respighi's works for orchestra (preceded in 1905 by Nottumo and in 1915 by a grandiose Sinfonia drammatica). The 1917 Roman premiere was a failure, but Toscanini's Milan performance with the La Scala Orchestra in 1918 turned the tide. While Europe was waging World War I, Respighi was looking to the past. For his symphonic poem in four sections, he chose to evoke the spirit of famous baroque
fountains, designed either by Bernini or by Salvi, which provided Roman homes with water until recent times. The score contains the following descriptive notes on its flyleaf.
Ottorino Respighi on The Fountains of Rome
The composer has endeavored to give expression to the sentiments and visions suggested to him by four of Rome's fountains, contemplated at the hour in which the character of each is most in harmony with the surrounding landscape, or in which their beauty appears most impressive.
The first part of the poem, inspired by the fountain of the Valle Giulia, depicts a pastoral landscape: droves of cattle pass and disappear in the fresh, damp mists of a Roman dawn.
A sudden loud and insistent blast on [four] horns above the trills of the whole orchestra introduces . . . The Triton Fountain in the Morning. It
Benjamin Franklin Pinkerton, a young U.S. Navy lieutenant, has arranged with Goro, a marriage broker, to acquire a fifteen-year-old Japanese bride, Cio-Cio-San (Madama Butterfly), Pin?kerton takes a 999 year lease on a home overlooking Nagasaki harbor; this lease, as well as his marriage, can conveniently be cancelled on a month's notice. Sharpless, the upright American Consul and a friend of Pinkerton's, arrives to witness their wedding. He warns Pinkerton not to treat the marriage so lightly, as his bride-to-be is truly in love with him. Though Pinkerton claims to be infatuated with Butterfly, he proposes a toast to the American woman he will one day wed. Butterfly arrives for her wedding. She tells Sharpless that her family was once wealthy, but hard times forced her to become a geisha. She nervously admits that her father is dead; Goro tells Pinkerton that he committed hara-kiri (ritual suicide) at the Mikado's command. Butterfly's relatives arrive and the wedding priveeds. The festiv?ities are interrupted as Butterfly's Uncle Bonie, a Buddhist priest,
is like a joyous call, summoning troops of naiads and tritons, who come running, pursuing each other and mingling in a frenzied dance between the jets of water.
Next there appears a solemn theme borne on the undulation of the orchestra. It is the fountain of Trevi at midday. The solemn theme, passing from the woodwinds to the brass, assumes a triumphal character. Trumpets peal; across the radiant surface of the water Neptune's chariot passes, drawn by sea-horses and followed by a train of sirens and tritons. The procession then vanishes while faint trumpet blasts resound in the distance.
The Villa Medici Fountain is announced by a sad theme which rises above a subdued warbling. It is the nostalgic hour of sunset. The air is full of the sound of tolling bells, twittering birds, rustling leaves. Then all fades peacefully into the silence of the night.
Roger Dettmer
Piano Concerto in A Minor, Op. 16
Edvard Grieg
Born June 15, 1843, Bergen, Norway. Died September 4, 1907, Bergen, Norway.
Grieg composed his only piano concerto in 1868; the first performance was given on April 3, 1869, in Copenhagen. The orchestra consists of two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, and strings. Performance time is approximately thirty-one minutes.
Grieg was born on Norway's western fjord-coast during the same year that Leipzig opened its storied conservatory under the aegis of Felix Mendelssohn. By the time that Ole Bull, a kind of Norse Paganini, persuaded Edvard's parents to send their gifted fifteen-year-old son to Leipzig for rigorous musical training, Mendelssohn had already been dead for eleven years. His successors were solid, German-schooled academicians whom Grieg professed to hate, and against whom he rebelled. Indeed, his lifelong correspondence made five years at the conservatory sound like a prison sentence.
The only respite was a period of months back home in Bergen during 1860, recovering from pleurisy that damaged his respiratory system for life. Despite the litany of complaints about Leipzig, Dag Schjelderup-Ebbe's scrupulous scholarship finally sifted the truth from reams of crypto-fiction: Grieg was in fact a willful and undisciplined student. That he learned as much as he did from allegedly fuddy and uncaring professors is both remarkable and a testimony to the soundness of their instruction.
Grieg chiefly absorbed the salient stylistic traits of Mendelssohn and Schumann (who taught at the conservatory during its inaugural year). Indeed, the Norwegian master's A minor piano concerto could be called Son-of-Schumann without denigrating its distinctive Scandinavian character and Lisztian flourishes (although Schumann would surely have objected to the latter). The keyboard was Grieg's natural habitat, even if his solo pieces have been downgraded during much of the current century. His recognition today is based on startlingly few works, although he was lionized during his lifetime in Europe and North America. Perhaps now, with the revalidation of tonality and emotions honestly felt and expressed, the Grieg oeuvre will be reexamined and the best of it restored to the active repertoire.
Grieg wrote the A minor concerto at the age of twenty-five for himself to play, although Edmund Neupert, a proselytizing colleague, gave the first performance. A year before, Grieg had married his cousin Nina Hagerup, and they spent the summer of 1868 in S Her d, Denmark, a more healthful climate for Edvard than Christiania (later Oslo), which then was home. In 1869 a government grant enabled Grieg to visit Italy, where he showed the concerto to Liszt. The aging abbe played it at sight with unconcealed pleasure, as well as
Historical Notes
After completing Tosca in 1899, Giacomo Puccini (1858-1924) eagerly sought another operatic project. He contemplated setting such works as Pelleas ex MeUsande, Les Miserables, Cyrano de Bergerac, and the life of Marie Antoinette. While in London in 1900 for the English premiere of Tosca, Puccini became enthralled by American playwright David Belasco's one-act play, Madama Butterfly, which was based upon a magazine story by John Luther Long. (Long's story was itself taken from Pierre Loti's novel Madame Chrysantheme and from a true incident involving a geisha.) Although he understood little English, Puccini was deeply moved by the exoticisms of Belasco's play and the suicide of the heroine.
brilliantly (although "the first part . . . rather too quickly"). He encouraged the young composer to "go on, and don't let anything scare you." But he also offered the vulgar suggestion that the secondary theme of the opening movement be reassigned to a solo trumpet. Grieg didn't give this back to the cello section until his revision of 1905 to 1906.
Following a drum roll and a solo flourish, the winds play Grieg's simple, almost foursquare main theme, which the piano appropriates and embroiders at length. The cello section's slower theme is contrastingly "soulful." Trumpets announce the start of the development section as well as the later reprise. A grandiose solo cadenza comes just before the end.
The tonality shifts to D-flat major for a structurally simple adagio, which muted strings begin introspectively. The piano treats their material rhapsodically until an angular and dramatic statement of the principal theme changes the mood. But calm is restored, and a quiet ending leads without pause to another quick movement in A minor again, not too quickly with the further instruction to play marcato. This time the piano gets to play the main theme first, based on the rhythm of a Norwegian folk dance, the tailing. A quirkier, more elaborate, but nonetheless folklike second theme follows in a structure that combines sonata and rondo forms. The solo flute introduces a tranquilly pretty episode, after which the main theme returns for extensive development before a short cadenza brings on the long-delayed transition to A major another dance, in 34 time, at an accelerated tempo. Lisztian bravura replaces all traces of Schumann in a last cadenza before the concerto ends with resounding tutti chords.
Roger Dettmer
Symphony No. 7 in A Major, Op. 92
Ludwig Van Beethoven
Born December 16, 1770, Bonn, Germany. Died March 26, 1827, Vienna, Austria.
Beethoven's first sketches for this symphony date from late in 1811; the score was completed on April 13, 1812, and first performed on December 8, 1813, in Vienna, under the composer's direction. The score calls for pairs of flutes, oboes, clarinets, bassoons, horns, and trumpets; timpani; and strings. Performance time is approximately thirty-five minutes.
Consider the assessment by Goethe, upon first meeting Beethoven during the summer of 1812:
His talent amazed me; unfortunately, he is an utterly untamed personality, who is not altogether in the wrong in holding the world to be detestable but surely does not make it any the more enjoyable either for himself or for others by his attitude.
We are told that the two men walked together through the streets of Teplitz, where Beethoven had gone for the summer, and exchanged cordial words. When royalty approached, Goethe stepped aside, tipping his hat and bowing deeply; Beethoven walked on, indifferent to mere nobility. This was a characteristic Beethoven gesture: defiant, individual, strongly humanitarian, intolerant of hypocrisy and its essence many listeners find reflected in the music. But before confusing the myth with the man, consider that, throughout his life, Beethoven clung to the "van" in his name because it was so easily confused with "von" and its suggestion of lofty bloodlines.
Without question, Beethoven's contemporaries thought him acomplicated man, perhaps even the utterly untamed personality Goethe found him. He was a true eccentric, who adored the elevated term Tondichter (poet in sound) and refused to correct a rumor that he was the illegitimate son of the king of Prussia, but dressed like a homeless person (his attire once caused his arrest for vagrancy). There were other curious contradictions: he was disciplined and methodical like many a modern-day concertgoer, he would rise early and make coffee by grinding a precise number of coffee beans but lived in a squalor he alone
could tolerate. Certainly modern scholarship, as it chips away at the myth, finds him ever more complex.
What Goethe truly thought of his music we do not know; perhaps that is just as well, for Goethe's musical taste was less advanced than we might hope (he later admitted he thought little of Schubert's songs). The general perception of Beethoven's music in 1812 was that it was every bit as difficult and unconventional as the man himself even, perhaps, to most ears, utterly untamed.
This is our greatest loss today. For Beethoven's widespread familiarity -of a dimension known to no other composer has blinded us not only to his vision so far ahead of his time that he was thought out of fashion in his last years but to the uncompromising and disturbing nature of the music itself.
His Seventh Symphony, for example, is so well known to us today that we cannot imagine a time that knew Beethoven, but not this glorious work. But that was the case when the poet and the composer walked together in Teplitz in July 1812. Beethoven had finished the A major symphony three months earlier envisioning a premiere for that spring that did not materialize and the first performance would not take place for another year and a half, on December 8, 1813.
That night, in Vienna, gave the rest of the nineteenth century plenty to talk about. No other symphony of Beethoven's so openly invited interpretation not even his Sixth, the self-proclaimed Pastoral Symphony, with its birdcalls, thunderstorm, and frank evocation of something beyond mere eighth notes and bar lines. To Richard Wagner, Beethoven's Seventh Symphony was "the apotheosis of the dance." Berlioz heard a ronde des paysans in the first movement. (Choreographers in our own time have proven that this music is not, however, easily danceable.) And there were other readings as well, most of them finding peasant festivities and bacchic orgies where Beethoven wrote, simply, vivace.
The true significance of Beethoven's Seventh Symphony is to be found in the notes on the page in his distinctive use of rhythm and pioneering sense of key relationships. By the time it is over, we can no longer hear the ordinary dactylic rhythm a dotted eighth note followed by a sixteenth note in the same way again, and even if we have no technical terms to explain it we sense that our basic understanding of harmony has been turned upside down.
Take Beethoven's magnificent introduction, of unprecedented size and ambitious intentions. Beethoven begins decisively in A major, but at the first opportunity moves away-not to the dominant (E major) as historical practice and textbooks recommended, but to the unlikely regions of C major and F major. Beethoven makes it clear that he will not be limited to the seven degrees of the A major scale (which contains neither C nor F natural) in planning his harmonic itinerary. We will hear more from both keys, and by the time he is done, Beethoven will have convinced us not only that C and F sound comfortably at home in an A major symphony, but that A major can be made to seem like the visitor! But that comes later in his scheme.
First we move from the spacious vistas of the introduction into the joyous song of the Vivace. Getting there is a challenge Beethoven relishes, and many a music lover has marveled at his passage of transition, in which stagnant, repeated E's suddenly catch fire with the dancing dotted rhythm that will carry through the entire movement. The development section brings new explorations of C and F, and the coda is launched by a spectacular, long-sustained crescendo that is said to have convinced Weber that Beethoven was "ripe for the madhouse."
The Allegretto is as famous as any music Beethoven wrote, and it was a success from the first performance, when an encore was demanded. At the indicated tempo it is hardly a slow movement, but it is sufficiently slower than the music that precedes it to provide a feeling of relaxation.
By designing the Allegretto in A minor, Beethoven has moved one step closer to F major; he now dares to write the next movement in that unauthorized, but by-now-familiar, key. And he cannot resist rubbing it in a bit, by treating A major, when it arrives on the
scene, not as the main key of the symphony, but as a visitor in a new world. One does not need a course in harmony to recognize that Beethoven has taken us through the looking glass, where black appears white, and everything is turned on its head.
To get back where we belong, Beethoven simply shatters the glass with the two fortissimo chords that open the finale and throws us into a triumphant fury of music so adamantly in A major that we forget any past harmonic digressions. When C and F major return as they were destined to do in the development section, they sound every bit as remote as they did in the symphony's introduction, and we sense that we have come full circle.
Phillip Huscher Program Notes Ety Roger Dettmer and Phillip Huscher
Roger Dettmer was the music critic for the Chicago American from 1953 to 1974. Notes copyright O 1992, 1993 by Roger Dettmer. Phillip Huscher is the program annotator for the Chicago Symphony Orchestra. Copyright O 1993 by the Orchestral Association
About The Artists
Kenneth Jean was born in New York City and raised in Hong Kong, returning to the United States in 1967. After violin studies at San Fran?cisco State University, he entered the Juilliard School at the age of nineteen and was accepted into the conducting class of Jean Morel. The following year he made his Carnegie Hall debut with the Youth Symphony Orchestra of New York and was immediately engaged as the orchestra's music director. In addition, he was one of the principal conductors of the White Mountains Art and Music Festival and served on the staffs of the Aspen Music Festival and Blos?som Festival School. He won the 1983-84 Leo?pold Stokowski Conducting Competition sponsored by the American Symphony Orches?tra, which led to a performance with that orches?tra at Carnegie Hall.
In 1987 he returned to Carnegie Hall to conduct the orchestra on its subscription series.
Chicago Symphony Orchestra
DANIEL BARENBOIM, Music Director SIR GEORG SOW, Music Director Laureate MARGARET HILLIS, Chorus Director
SHUUMIT RAN, Composer-ln-Residence
The Chicago Symphony Orchestra string sections utilize revolving seating. Players behind the first desk (first two desks in the violins) change seats systematically every two weeks and are listed alphabetically in the roster below.
Among the North American orchestras Jean has guest conducted are the Cincinnati Symphony, Minnesota Orchestra, Philadelphia Orchestra, Pittsburgh Symphony, Seattle Symphony, Saint Louis Symphony, San Antonio Symphony, Saint Paul Chamber Orches?tra, Florida Orchestra, Los Angeles Chamber Orchestra, Indianapolis Symphony, Colorado Symphony Orchestra, New York Chamber Symphony, Denver Symphony, Kansas City Symphony, Vancouver Symphony, Winnipeg Symphony, Calgary Philharmonic, and Honolulu Symphony. Opera performances have included La Boheme at Orlando Opera and The Barber of Seville at the Hong Kong Festival. In recent seasons, his activities with the Chicago Symphony Orchestra have included subscription concerts, Young People's Con?certs, and tours to Japan and Europe.
Kenneth Jean was one of two recipients of the 1990 SeaverNational Endowment for the Arts Conductor Award, which is given biannually to exceptional American conductors.
His current engagements include five weeks of concerts with the Chicago Symphony Orchestra and guest conducting appearances with the Saint Paul Chamber Orchestra, Charlotte Symphony, Columbus Symphony, and the San Jose Symphony. In addition, Jean was selected by Sir Georg Solti to assist him with his Orchestral Project at Carnegie Hall in June 1994.
Symphony Orchestra for more than forty years. Together they explored music and worked for hours at the piano. Philip's mother Martha, a member of the Chicago Symphony Chorus for many years, also provided him with valuable musical insights. Sabransky currently resides in Wilmette with his wife Carol and two children, William and Rikki.
Now in its second century, the Chicago Symphony Orchestra enjoys an enviable position in the music world. Performances are greeted with enthusiasm both at home and abroad. Best-selling recordings continue to win prestigious international awards. And syndicated radio broadcasts are heard by millions in every corner of the world.
The Chicago Symphony opened its 101st season in September 1991 with a new collaboration as Daniel Barenboim assumed leadership as its ninth music director. Maestro Barenboim succeeds Sir Georg Solti, who now holds the title music director laureate.
The Orchestra's one-hundred-year history began in 1891 when Theodore Thomas, then the leading conductor in America and a recognized music pioneer, was invited by Norman Fay, a Chicago businessman, to establish a symphony orchestra here. The first concerts were given on October 16 and 17 of that year. Maestro Thomas served as music director for thirteen years until his death in 1905 just three weeks after the dedication of Orchestra Hall, the Chicago Orchestra's permanent home.
Thomas's successor was Frederick Stock, who began his career in the viola section in 1895 and became assistant conductor four years later. His tenure at the Orchestra's helm lasted thirty-seven years, from 1905 to 1942 the longest of Chicago's nine music directors. Dynamic and innovative, the Stock years saw the founding of the Civic Orchestra of Chicago, the first training orchestra in the United States affiliated with a major symphony orchestra, in 1919.
Three distinguished conductors headed the Orchestra during the following decade: Dsir Defauw was music director from 1943 to 1947; Artur Rodzinski assumed the post in 1947-48; and Rafael Kubelik led the Orchestra for three seasons from 1950 to 1953.
The next ten years belonged to Fritz Reiner, whose recordings with the Chicago Symphony are still considered performance hallmarks. It was Maestro Reiner who invited Margaret Hillis to form the Chicago Symphony Chorus in 1957. During this time Carlo Maria Giulini began to appear in Chicago regularly; he was named principal guest conductor in 1969 and served in that capacity until 1972. There has been only one other principal guest conductor in the Orchestra's history: Claudio Abbado, who held the position from 1982 to 1985. For the five seasons from 1963 to 1968, Jean Martinon held the position of music director.
Sir Georg Solti became the Orchestra's eighth music director in 1969. Maestro Solti's arrival in Chicago launched one of the most successful musical partnerships of our time, enhancing the Orchestra's reputation significantly through historic concerts, recordings, and national and international tours. The Orchestra's first international triumph came in 1971 with its first concert tour of Europe. Subsequent European tours as well as tours to Japan and Australia have reinforced its reputation as one of the world's finest musical ensembles.
Radio broadcasts and recordings are an important part of the Chicago Symphony's activities. Full-length concerts, taped at Orchestra Hall and the Ravinia Festival by radio station WFMT-FM, are broadcast over more than 400 stations across the country and abroad under the sponsorship of Amoco Corporation.
Since 1916, when the Chicago Symphony became the first American orchestra to record under its regular conductor, the Orchestra has amassed a discography numbering over 600. In addition, it has received forty-six Grammy Awards from the National Academy of Recording Arts and Sciences as well as a number of international prizes more than any other orchestra in the world.
Tonights performance marks the Chicago Symphony Orchestra's 201st UMS appearance. Supported by the Michigan Council for Arts and Cultural Affairs
Rena Isbin, Concert-master
Kathleen Comalli Dillon, Asst. Concertmaster
Marya Columbia, principal second
Peter Borten
Holly Horn
Margaret Magill
Lori Miller
Wende Namkung
Robert Sorel
Mary Stephenson
David Lennon, principal Allegra Cook Kathleen Foster Julie Goodale Jenny Lind Nilsson
Anik Oulianine, principal Peter Howard Daniel Mclntosh Daniel Miller' Sarah Paul'
Martha Cox, principal Michel Taddei"
Peter Ader, principal Elizabeth Buck Linda Ganus
Linda Kaplan, principal
Chris Inguanti, principal Denise Hoff
Stephen Wisner, principal Daniel Shelly Braden Toan
French Horns
John Aubrey, principal Nancy Billmann" Michael Manley
John Sheppard, principal Raymond Riccomini
Bass Trombone
Jay Evans, principal Scott Cochran"
James Thoma, principal
Steven Machamer, principal
Andre' Taratiles, principal Amy Berger 'substitute player
New York City Opera National Company Administrative Staff Christopher Keene, General Director MarkJ. Weinstein, Executive Director Donald Hassard, Manging Director for
Artistic Administration Joseph Colaneri, Music Director Keith J. Viagas, Artistic Administrator John Knudsen, Technical Director Clifford Kellas, Tour Manager Barry Ambrose, Publicity Coordinator C6cile Perez, Publicity Assistant
New York City Opera National Company Production Staff
Beverly Van Zant, Production Stage Manager Steven Mosteller, Assistant Conductor Jim McWilliams, Head Carpenter Andrew Sather, Head Electrician David Robie, Head of Properties Dean Nichols, Wardrobe Supervisor Michael Costain, Riva Pizhadze,
WigMakeup Artists
Michele McCoy, Assistant Stage Manager Gavin Holmes, Assistant Carpenter Mark Somerfield, Assistant Electrician Robert DeCeunynck, Rehearsal CoachAccompanist
101st Ann Arbor
Thursday, May 12 Saturday May 14, 1(
1994 Imagine the dawning
of a new century of beautiful music.
If s about to happen.
Hill Auditorium, Michigan League
Yo-Yo Ma, cellist Robert Spano, conductor The Orchestra of St. Luke's University Choral Union Christiane Oelze, soprano Susanne Mentzer, mezzo-soprano Richard Clement, tenor ?
James Patterson, bass
Julie Wilson
The Jimmy Dorsey Orchestra with Jim Miller
University Musical Society
of the University of Michigan
Burton Memorial Tower, Ann Arbor, MI 48109-1270
Mrs. Charles Overberger Dory and John Paul Maxine and Wilbur K.
Pierpont Philip and Kathleen
Tom and Mary Princing Jim and Bonnie Reece Elisabeth J. Rees Ginny and Ray Reilly Glenda Renwick
Katherine and William Ribbens
Richard and Norma Sams
George and Helen Siedel George and Mary
Elizabeth Smith Dr. Hildreth H. Spencer Victor and Marlene
E.L. Stranahan Trust James L. and Ann S.
Jerrold G. Utsler Dr. and Mrs. Francis V.
Viola HI
Mrs. Marc von Wyss John Wagner Martha Wallace and
Dennis White Dr. Emil A. Weddige Elise and Jerry Weisbach Marina and Robert
Whitman Brymer and Ruth
Gardner and Bonnie Ackley Bernard and Raquel Agranoff Catherine SArcure Lisa and Jim Baker M. A. Baranowski Raymond and Janet Bemrcuter Mr. and Mrs. Philip C. Berry Mr. Hilbert Beyer Howard and Margaret Bond Charles and Linda Borgsdorf Allen and Veronica Britton David and Sharon Brooks hi Susan S. and Wesley M.
Brown Drs. Barbara Everitt and John
H. Bryant
Lawrence and Valerie Bullcn Sally and Ian Bund Jean W. Campbell Bruce and Jean Carlson Daniel Carroll and Julie Virgo Mr. and Mrs. Raymond S. Chase Pat and George Chatas Roland J. and Etsa Kircher Cole H. Richard Crane Dean and Mrs. John H. D'Arms
Mr. and Mrs. David Dombusch Martin and Rosalie Edwards Julia and Charles Eisendrath Mr. John W. Etsweiler, Ml Dr. and Mrs. William L Fox Judy and Richard Fry Henry and Beverly Gershowitz Margaret G. Gilbert William and Ruth Gilkey Dr. and Mrs. William Grade Seymour D. Greenstone John and Helen Griffith Mr. and Mrs. Elmer F. Hamel Mr. and Mrs. Steven Hamp H.L. Harsha
Debbie and Norrman Herbert Mrs. W.A. Hiltner Julian and Diane Hoff Claudette Stem and Michael
Mr. and Mrs. William B. Holmes Che C. Huang and Teresa
Dar-Kuan L. Huang Frederick G. L. Huetwell Pat and John Huntington Gretchen and John Jackson Dr. and Mrs. Stevo Julius Mr. and Mrs. Jacob Kellman David and Sally Kennedy Drs. Dana and Paul Kissner Mr. and Mrs. A. William
Klinke II
Carolyn and Jim Knake Mr. and Mrs. Bernard Kucng Bud and Justine Kulka Mr. and Mrs. Lee E. Landes Jack Lapides Olya K. Lash Ann Leidy
Mr. and Mrs. Fernando S. Leon Carolyn and Paul Lichter Harold J. Lockett. M.D. Mr. and Mrs. Carl J.
Lutkehaus, jr.
Brigitte and Paul J. Maassen Kathleen Beck and Frank Maly Jack and Joanne Martin Marilyn Mason Charlotte McGeoch Margaret McKinley Richard and Elizabeth McLeary Mr. and Mrs. F.N. McOmber Mr. and Mrs. Warren A.
Robert and Ann Meredith Barry Miller and Gloria Garcia Myma and Newell Miller James T. Morgan M. Haskcll and Jan Barney
William A. Newman William R. and Joan J. Olsen Dr. and Mrs. Mark B. OmnRer Mr. and Mrs. William J. Pierce Eleanor and Peter Pollack William and Christine Price Jerry and Millard Pryor Frances B. Quarton
Mrs. Joseph S. Radom Dr. and Mrs. Rudolph E.
Charles and Betty Reinhart Katherine and William Ribbetu Jack and Margaret Ricketts Amnon and Prudence Rosen thai Mi ? Bernard J. Rowan Mr. and Mrs. Charles H. Rubin Mr. Peter C. Schaberg Mr. and Mrs. Mark Schmidt Mrs. Richard C. Schneider Professor Thomas J. and Ann
Sneed Schriber Alan and Maryanne Schwartz Mr. Sandro D. Segatini lull.mmand Michael Shea Edward and Marilyn Sichler Mrs. Charles A. Sink George Smillie and Marysia
Ostafin E. Lloyd and Theodore J. St.
Mr. and Mrs. John C. Stegeman Dr. and Mrs. Jeofrrey K. Stross Joan C. Susskind Mr. and Mrs. Robert M. Teeter Dr. and Mrs. E. Thurston
Herbert and Anne Upton Warren H. and Florence S.
Dr. and Mrs. Philip C. Warren Dr. and Mrs. Andrew S. Watson Darragh H. and Robert O.
Angela and Lyndon Welch Roy and JoAn Wenel Thomas and Iva Wilson I i'n and Maggie Wolin John B. and Ann F. Woodward Martin and Nancy Zimmerman
Marilyn and Armand Abramson Dr. and Mrs. Peter Alifens Joan and David Anderson Catherine M. Andrea David Andrea
Harlcnc and Henry Appelman Dr. and Mrs. Wallace A.
Arneson, Jr.
Mr. and Mrs. Amhur J. Ashe Eric M. and Nancy Aupperle Mr. and Mrs. Max K. Aupperle Robert L. Baird Barbara and Daniel Balbach Dr. Emily W. Bandera Andrea and Simon Bare Mr. and Mrs. Cyril H.
Barnes, Jr.
Dr. and Mrs. Mason Barr, Jr. Leslie and Anita Bassett Mr. and Mrs. Raymond O.
Florence N. Beach Dr. Astrid Beck Neal Bedford and Gerlinda
Mr. Ralph Beebe H.irrv and Betty Benford Mr. and Mrs. S.E. Berki Dr. and Mrs. Gerald Berlin Abraham and Thelma Berman Andrew H. Berry. D.O. Suzanne A. and Frederick J.
Carl and Pauline Binder Joan and Howard Binkow Elizabeth S. Bishop Visvaldis and Elvira Biss Bob and Liz Bttterman Marshall J. Blondy, M.D. Mr. and Mrs. H. Harlan Bloomer Mr. and Mrs. Milford Boersma Ruth Bordin
Dr. and Mrs. Ralph Bowll Mr. and Mrs. Robert S. Bradley William R. Brashear Ernest F. and Betsy B. Brater Dr. and Mrs. Don Briggs Mrs. Marvin Brode Patrick Broderick Morton B. and Raya Brown Mr. and Mrs. John M. Brueger Arthur and Alice Burks Mrs. Theodore Cage Richard C. and Freddie Caldwell H. D. Cameron Mr. and Mrs. Robert Campbell Charles and Martha Cannell Edwin F. Carlson Andrew F. Caughey, M.D. Mr. and Mrs. Tsun Chang J. Wehrley and Patricia Chap?man
Dr. Kyung and Mrs. Young Cho Nancy Cilley John and Carole Clark Vivian Cole
John and Penelope Collins Kenneth Collinson Wayne and Melinda Colquitt Mr. and Mrs. Edward Comeau Gordon and Marjorie Comfort M.C. Conroy Maria and Carl Constant James and Constance Cook William P. Cooke Lolagene C. Coombs Gage R. Cooper Clifford and Laura Craig Merle and Mary Ann Crawford Richard and Penny Crawford Mr. and Mrs. James I. Crump Pedro and Carol Cuatrecasas Peter and Susan Darrow Mr. and Mrs. H. W. Davenport Mr. and Mrs. Jay De Lay Jean and John Debbink Laurence and Penny Deitch Elena and Nicholas Delbanco Kenneth and Judith DeWoskin Benning and Elizabeth Dexter Dr. and Mrs. Edward F. Domino Dr. and Mrs. Steven Donn
Prof, and Mrs. William G. Dow Allan and Cecilia Dreyfuss Mr. John J. Dryden and
Ms. Diana Raimi Mr. and Mrs. Robert S. Dunham Charles and Dorothy Dybvig Mr. Kenneth C. Eckerd Morgan and Salty Edwards Dr. Alan S. Eiser J mil and Joan Engel David and Lynn Engelbert Mark and Patricia Enns Bill and Karen Ensminger Mr. and Mrs. Fred Erb Dr. and Mrs. Stefan S. Fajans Ms. Diane S. Farber Claudine Farrand and Daniel
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Dr. David Noel Freedman Deborah and Ronald Freedman Lucia and Douglas Freeth Gail Fromcs
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Wallie and Janet Jeffries Keith and Kay Jensen Donald and Janice Johnson Ellen C. Johnson Elizabeth and Lawrence Jordan Cynthia Kabxa and Robert
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The Hon. Damon J. Keith Frank and Patricia Kennedy Richard and Ann Kennedy Robert and Gloria Kerry Donald F. and Mary A. Kiel Howard King and Elizabeth
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Mark Mahlberg
Virginia Mahle
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Elizabeth and Beverly Payne Dr. Owen Z. and Barbara
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Quac ken bush
Michael and Helen Radoclc Homayoon Rahbari, M.D. Susan L. Rasmussen Mr. Donald H. Regan and
Ms. Elizabeth Axelson Mr. and Mts. H. Robert
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GeorRc and Mary Lou
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Johnson Raoul Wcisman and Ann
Friedman Westen
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John E. Bloom Gary Bloomfield. D.D.S. Dr. and Mrs. Lynn W. Blunt Amal H. Bogary Ronald and Mimi Bogdasarian Beverly J. Bole Mark D. Bomia Dr. and Mrs. Frank Bongiomo Roger and Polly Bookwalter Robert and Sharon Bordeau Dean Paul C. Boylan Paul and Anna Bradley Richard B. Brandt Professor and Mrs. Dale E. Briggs Donald R. and June C. Brown Mrs. Webster Brumbaugh Dr. and Mrs. Donald T. Bryant William and Cynthia Burmeister Mr. and Mrs. Richard J. Burstein Marilyn Buss
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Robert J. Cieriniewski
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Brian and Cheryl Clarkson
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Phil Cole
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K.B. and Joy Conger
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Sandra S. Connellan
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Alan ;md Bcttc Cotzin
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Margo Crist
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Ellen Wagnr and Richard
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Elizabeth A. Sweet Allan Gibbard and Beth Gennc James and Janet Gilsdorf Al and Ameda Girod Dr. and Mrs. F.B. Glaser Dr. David W. Gnegy Robert and Barbara Gockel Mrs. Eszter Gombosi Clara Ellen Gonter Adon A. Gordus J. Richard Goulet. M.D. Cate and John Grady-Benson Christopher and Elaine Graham Elizabeth Needham Graham Dr. John and Rcnee M. Greden Lila and Bob Green Dr. and Mrs. Lazar J. Greenfield Bill and Louise Gregory Susan and Mark Griffin Mr. and Mrs. James R. Griffith Werner H. Grilk Lcsilie and Mary Guinn Arthur W. Gulick. M.D. Margaret Gutowski and Michael
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Don P. Haefner and Cynthia J.
Ms. Helen C. Hall Barbara H. Hammitt Dora E. Hampcl Nile and Judith Harper Stephen G. and Mary Anna
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Humphrey Ann D. HungerTnan Donald and Lynn Hupe Mr. and Mrs. Russell L. Hurst Dr. Dorothy A. Huskcy Eileen and Saul Hymans Robert and Virginia Ingling Margaret and Eugene Ingram Perry Elizabeth Irish Harold and Jean Jacobson Mr. and Mrs. Z. J. Jania Emit H. and Noma R. jebe Mr. and Mrs. Jerome Jelinek Jim and Dale Jerome Frank and Sharon Johnson Paul and OIim Johnson Elizabeth M. Jones Mt. and Mrs. Richard A. Jones John and Linda K. Jonides Stephen G. Josephson and Sally
C. Fink
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Paul and Leah Kilcny William and JoAnn Kimbrough John S. King James and Jane Kister
Mr. Mark Kiuchi
Dr. David E. Klein and Heidi
Castlcman Mr. Robert Klein Shira and Steven Klein The Reverend Dr. David Klcis Dr. Kevin and Mrs. Terri Klimek Hemiine Roby Klingler Philip and Kathryn Klintworth Mr. and Mrs. Henry J. Klose Seymour Koenigsberg Michael E. KorybaUki Jerome and Geraldine Knupal Mr. and Mrs. Edward Kowaleski Jean and Diclc Kraft Doris and Donald Kraushaar David and Martha Krehhiel Mr. and Mrs. Samuel Krimm Will Kring
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Archie Cameron Brown Connie and Dick Landgraff Marjorie Lansing Bill Lavery Mrs. Kent W. Uach Mr. and Mrs. Charles E. Leahy Paul and Ruth Lehman Mr. and Mrs. C. F. Lehmann Sue Leong Professor and Mrs. Harold M.
Jody and Leo Lighthammer Nathan and Eleanor Lipson Dean and Betty Lockwood Kay H. Logan
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Nancy and Philip MarKolis Mr. and Mrs. Damon L. Mark Dr. and Mrs. James E. Martin Cmdr. and Mrs. Timothy H.
Dr. and Mrs. Josip Matovinovic Mr. and Mrs. William J.
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John J. McGowan Norman E. and Mary Mclver Bill and Ginny McKcachic Mr. and Mrs. Robert
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Mr. and Mrs. James O'Neill Lois and Michel Oksenberg Lillian G. Ostrand Mr. and Mrs. J. David Owens Dale L. and N. Jean Oxender David and Andrea Page Mr. and Mrs. Bernard P. Paige Dr. and Mrs. Sujit K. Pandit Mr.and Mrs. Scung Ho Park Allen and Pat Lee Patrick An and Shirley Paul P. D. Pawelski Ruth and Joe Payne Agnes and Raymond Pearson Roy Penchansky and Elizabeth
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Frank and Nelly Petrock Mr. and Mrs. Leo Petrosky Mr. and Mrs. Frederick R.
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James and leva Rasmussen Robert and Betty Rasmussen La Vonnc and Gary Reed Dorothy R. and Stanislav Rehak Dcanna Relyea and Piotr
Michalowslci Eunice Relyea Linda and Hal Rex Arnold and Eva Rcymer Dr. Barbara C. Richardson Mr. and Mrs. F. E. Richart Ms. Constance Rinehart Dr. M. Joseph Roberson Peter and Shirley Roberts Mr. and Mrs. James Roche Richard C Rockwell Willard and Mary Ann Rodgers Harry A. Rommel Elizabeth A. Rose Dr. and Mrs. Raymond Rose Professor Marilynn M. Rosenthal Elva Rosenzweig
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Marshall S. Schuster, D.O. Sheila and Ed Schwartz Mary and John Sedlander Dr. and Mrs. John Segall Richard A. Seid Suzanne Selig Janet C. Sell
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Nancy Silver Shalit and Larry Shallt
Donald E. and Marjorie K.
Dr. and Mrs. Ivan Sherick Msgr. William J.Shener
Joan Shillis and Tammy An
tonuccl Dr. and Mrs. Martin and Teresa
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Frances and Scott Simonds Donald and Susan Sinta Mr. and Mrs. Reginald Skewes Nancy Skinncr-Oclander Helen Y. Smith Joanne and Richard Smith Dr. and Mrs. Michael W. Smith Virginia B. Smith Victor and Laura Sonnino Mr. and Mrs. E. Philip Soper Herbert W. and Anne H. Spendlovc
Jeff Spindles
Irving M. Stahl and Pamela M.
Mr. and Mrs. Ralph Stahman Eric and Virginia Stein Dr. Martha Stephens Dr. and Mrs. James E.
Stephenson Robin Stephenson and Terry
Vemee and Michael Stevenson Ms. Lyneite Stindt and
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James Davis and Elizabeth
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De Vries
Lee and Ellen Weatherbee Mr. Jeff Weaver Christine L Webb Mrs. Joan D. Weber Ju Lin Wei Lisa and Steve Weiss Dr. Steven Werns Marjorie Westphal Janet F. White Rebecca S. Whitehouse Mr. and Mrs. Nathaniel
Christina and William Wilcox Father Francis E. Williams John Troy Williams Raymond C. Williams Shelly F. Williams Ms. Diane Willis Ms. Lois Wilson Charles Witkc and Aileen
Jeffrey and Linda Winburg Norcen Ferris and Mark Wolcott Patricia and Rodger Wolff Dr. and Mrs. Ira S. Wollner Charles R. and Jean L. Wright Mrs. Phyllis Wright Sandra and Jonathan Yobbagy Carl and Mary Ida Yost John G. and Elizabeth F. Young Ms. Donna Benson Zajonc Mr. and Mrs. Martin Zeile Frank Zimmerman Gail and David Zuk David S. and Susan H. Zurvalec
Rev. D.L. Adams and Lisa
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Lisa Baker
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Gary N. Barber
Ann Barden
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Leonard Barkan
Maria Kardas Bama
Norman E. and Mary E. Barnetr
Joan W. Barth
John W. H. Bartholomew
Beverley M. Baskins
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Dr. and Mrs. Walter Benenson
Alice R. Bcnscn
Mr. and Mrs. Ib Bemzen-Bilkvist
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Reuben and Barbara Levin Bergman
Robert Hunt Berry
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Claire Billingham and Philip Krupp
Susan and William Black
Donald and Roberta Blin
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Paul D. Borman
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Jeanne and David Bostian
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Trudy and Jonathan Bulkley Robert and Carolyn Burack Joseph F. Burke Ms. Susan Burke Sibyl Burling Marjorie H. Bumcll Rosalie and William E. Bums Mrs. Wellington R. Butt Ellen Byerlein Ms. Doris Caddell Edward and Mary Cady Albert and Barbara Cain
Shelly Calfin
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Dennis and Kathleen Cantwell
Ms. Susan Cares
Philip C. Carpenter
Mark A. Case
Jack Cederquist
Joanne C. Ceru
Uene and David Chait
Donald Chalfant and Loretta
Kallay Donald and Maureen
Marsha and John Chambcrlin Mr. and Mrs. J.P. Chandler Ida K. Chapin and Joseph
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Eleanor S. Collinns
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Arnold and Susan Coran
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Mary Crawford
Dr. Mary C. Crichton
Kathleen Crispell
Ms. Carolyn Cummiskey
Richard J. Cunningham
Audrey and Edward Curtis
Suianne and Eugene Curtis
George Daigle and Lois Godel
Marylee Dalton
Lee and Millie Danielson
Sunil and Merial Das
Ms. Adah Davis
Ruth and Bruce Davis
Robert and Barbara Ream Dcbrodt
Elizabeth Delaney
Mr. and Mrs. William Dergis
Don and Pam Devinc
Caroltn and Macdonald Dick
Douglas and Ruth Doane
Dr. and Mrs. Edward R.
Raymond and Hilde Donaldson
Thomas Doran
Deanna and Richard Domer
Mr. and Mrs. Harold Dunn
Elsie Dyke
Herb and Hildegard Ebell
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Dwight and Mary Ellen Ecklcr
Sol and Judith Elkin
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Waidley Jon Fliegel
George and Kathryn Foln Mr. and Mrs. William C. Forgacs Ronald Fracker
Michael S. and Sara B. Frank Tom Franks, Jr. Julia M. Freer Richard and Vivian French Richard and Patricia Fulkerson Mr. John Fuller Elizabeth and Keith Gadway Bruce and Rebecca Gaffney Carol Gagliardi and David
Mr. and Mrs. Robert R. Gamble Mr. and Mrs. J. H. Gardner Mrs. Shirley H. Garland Mr. and Mrs. Matthew J.
Germane Leonore Gerstein
FredJ. Geiich
Linda Marie Gilbert
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Anita and Al Goldstein
Mr. and Mrs. Mitchell A. Goodkin
Mr. and Mrs. Neil Goodman
Jesse E. and Anirra Gordon
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Dr. and Mrs. Serge Gratch
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Supported by Joe O'Neal and O'Neal Construction Youth performances supported by Ford Motor Company
Thirty-three opera terms are hidden among these letters. They read forward, backward, up, down, or diagonally. Draw a circle around each word as you find it. How many can you discover
1. Acoustics
2. Act
3. Aria
4. Backdrop
5. Baritone
6. Bass
7. Batten
8. Chorus
9. Coloratura
10. Conductor
11. Cue
12. Downstage
13. Duet
14. Ensemble
15. Finale
16. Footlights
17. Mezzo-soprano
18. Opera
19. Operetta
20. Orchestra
21. Prima Donna
22. Props
23. Proscenium
24. Quartet
25. Recitative
26. Score
27. Scrim
28. Set
29. Soprano
30. Stage
31. Tenor
32. Trio
33. Upstage
All of the words below have to do with opera. Unscramble them and arrange the letters in the adjacent boxes. Then arrange the letters in the shaded boxes to spell out the hidden opera title.
Hidden opera:
(Hint: Puccini is the composer; the title is in Italian and it means "The Bohemians")
Choose carefully from among these words: li
backdrop singer stage soprano conductor _____orchestra ensemble baritone aria serenade
1) Imagine that you are an opera singer and that your manager has just called to tell you that you have an audition for the New York City Opera Company next Thursday at 1.00. Write a list of things you would need to know to prepare for the audition. What would you do now to get ready What would you do the day of the audition
2) Congratulations! You gave a wonderful audition and the National Company has just offered you a contract to sing in Madama Butterfly. Write down some questions you might want to to ask before you signed the contract. How would you prepare for the performances
3) You just got two free tickets to see Madama Butterfly at the Power Center and you invite your best friend to go with you. Make a list of activities you could do with your friend, who has never seen an opera before, to help prepare her for her first trip to the opera. (Remember, you want her to have a good time so that she'll want to go with you again.)
4) Opera stories are often taken from plays, short stories, novels, or even poems. Can you think of a play, or even a television show that would probably make a good opera Why do you think so What changes would you make, if any, to turn it into a good opera Try writing a synopsis, or even a libretto, for this opera.
5) Make a list of all the jobs that are involved with opera, such as a singer, conductor, etc. Which of these jobs would you most like to do Why
Jobs include: Costume designer, set designer, librettist, composer, conductor, singer, managing director, production manager, technical director, lighting designer, props, shoppers (who shop for props and materials for costurmes), costume shop manager, carpenter, stagehand, publicity, marketing, stage director, stage manager, box office (sells tickets), scenic painters, etc.
6) Operas can also be based on incidents in history. Think of a recent event that would make a good opera and write a plot outline for your opera.
Some composers have written operas based on history. John Adams wrote "Nixon in China" and most recently, the 'Death of Klingelhoffer" (related to the death of the wheel-chair-bound gentleman on the Achilles Laurel). Anthony Davis wrote "X: The Life and Times of Malcom X".
7) Opera is a form of live theater. How are performances on the stage different from the movies or television shows What can you do at one that you can't do at the other
8) What are the similarities between opera and music videos What are the differences

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