UMS Concert Program, Tuesday Feb. 28 To Mar. 05: University Musical Society: 1994-1995 Winter - Tuesday Feb. 28 To Mar. 05 --
Season: 1994-1995 Winter
The University Of Michigan, Ann Arbor
University Musical Society
Tht Unhxnity of Michigan Bunon Memorial Tower Ann Arbor, Michigan 48109-1270
Dear UMS Patrons.
Thank you very much for attending this event and for supporting the work of the University Musical Society. By the time this 1994-95 season comes to a close in May, the UMS will have brought to the community 65 performances featuring many of the world's finest artists and ensembles. In addition, the UMS will have sponsored more than 100 educational events aimed at enhancing the community's understanding and appreciation of the performing arts. Your support makes all of this possible, and we are grateful to you.
My colleagues throughout the country are continually amazed at how a midwest community of
110.000 can support the number and quality of performances that the UMS brings to Ann Arbor. They
want to know how we do it, and I'm proud to tell them. Here's what I say:
First, and most important, the people of Ann Arbor and the surrounding region provide great support for what we do by attending events in large numbers and by providing generous financial support through gifts to the UMS. And, according to our artists, they are among the most informed, engaged, and appreciative audiences in the country.
It has been the tradition of the University Musical Society since its founding in 1879 to bring the greatest artists in the world to Ann Arbor, and that tradition continues today. Our patrons expect the best, and that's what we seek to offer them.
Many years ago enlightened leaders of both the University of Michigan and the University Musical Society determined that the UMS could best serve the community if the UMS had a measure of artistic and financial independence from the University. While the UMS is proudly affiliated with the University, is housed on the campus, and collaborates regularly with many University units, it is a separate not-for-profit organization with its own Board of Directors and supports itself solely from ticket sales, other earned income, and grants and contributions. This kind of relationship between a presenting organization and its host institution is highly unusual, but it has contributed significantly to our being able to be creative, bold, and entrepreneurial in bringing the best to Ann Arbor.
The quality of our concert halls means that artists love to perform here and are eager to accept return engagements. Where else in the U.S. can Yc-Yo Ma, James Galway. Kathleen Battle, Itzhak Periman, or Cecilia Bartoli perform a recital before 4,300 people and know that their pianissimos can be heard unamplified by everyone
Our talented, diverse, and dedicated Board of Directors, drawn from both the University and the regional community, provides outstanding leadership for the UMS. The 200-voice Choral Union, 35-member Advisory Committee. 275-member usher corps, and hundreds of other volunteers contribute thousands of hours to the UMS each year and provide critical services that we could not afford otherwise.
Finally, I've got a wonderful group of hard-working staff colleagues who love the Musical Society and love their work. Bringing the best to you brings out the best in them.
Thanks again for coming. And let me hear from you if you have any complaints, suggestions, etc. Look for me in the lobby or give me a call at (313) 747-1174.
Thank You Corporate Underwriters
On behalf of the University Musical Society, I am privileged to recognize the companies whose support of UMS through their major corporate underwriting reflects their position as leaders in the Southeastern Michigan business community.
Their generous support provides a solid base from which we are better able to present outstanding perfor?mances for the varied audiences of this part of the state.
We are proud to be associated with these companies. Their significant participation in our underwriting program strengthens the increasingly important partnership between business and the arts. We thank these community leaders for this vote of confidence in the Musical Society and for the help they provide to serve you. our audience, better.
Kenneth C. Fischer Executive Director
University Musical Society
A Salute To Our Corporate Angels ..
James W. Anderson, Jr. President, The Anderson Associates Realtors
"The arts represent the bountiful fruits of our many rich cultures, which should be shared with everyone in our community, especially our youth. The UMS is to be commended for the wealth of diverse talent they bring to us each year. We are pleased to support their significant efforts."
Carl A. Brauer, Jr.,
"Music is a gift from God to enrich our lives. Therefore, I enthusiastically support the University Musical Society in bringing great music to our community."
Chelsea Milling Company
Howard S. Holmes
President Chelsea Milling Company
"The Ann Arbor area is very fortunate to have the most enjoyable and outstanding musical entertainment made available by the efforts of the University Musical Society. I am happy to do my part to keep this activity alive."
Joseph Curtin and Greg Alf Owners, Curtin & Alf
"Curtin & Alfs support of the University Musical Society is both a privilege and an honor. Together we share in the joy of bringing the fine arts to our lovely city and in the pride of seeing Ann Arbor's cultural opportunities set new standards of excellence across the land."
Donald M. Vuchetich, President
Detroit & Canada Tunnel Corporation
"The Detroit and Canada Tunnel Corporation is proud to be a partner with the University of Michigan Musical Society in their success of bringing such high quality performances to the Southeast Michigan region."
Douglas D. Freeth
First of America
"We are proud to help sponsor this major cultural group in our community which perpetuates the wonderful May Festival."
A Salute To Our Corporate Angels ...
Conlin -Faber Travel
L. Thomas Conlin
Chairman of the Board and Chief Executive OfficerConlin-Faber Travel
"The University Musical Society has always done an outstanding job of bringing a wide variety of cultural events to Ann Arbor. We are proud to support an organization that continu?ally displays such a commitment to excellence."
William E. Odom
Ford Motor Credit
"The people of Ford Credit are very proud of our continuing association with the University Musical Society. The Society's long-established commit?ment to Artistic Excellence not only benefits all of Southeast Michigan, but more importantly, the countless numbers of students who have been culturally enriched by the Society's impressive accomplishments."
Chairman, Chief Executive Officer Ford Motor Company
"Ford takes particular pride in our longstanding associa?tion with the University Musical Society, its concerts, and the educational programs that contribute so much to Southeastern Michigan. The Society's May Festival, now entering its second century, has become one of our region's major assets, and we are once again pleased to be its underwriter this year."
Robert J. Delonis
President and Chief Executive Officer Great Lakes Bancorp
"As a long-standing member of the Ann Arbor community, Great Lakes Bancorp and the University Musical Society share tradition and pride in performance. We're pleased to continue with support of Ann Arbor's finest art showcase."
John Psarouthakis Ph.D.
Chairman and Chief Executive Officer JPEinc.
"Our community is enriched by the University Musical Society. We warmly support the cultural events it brings to our area."
Mark K. Rasenfeld
President, Jacobson Stores Inc.
"We are pleased to share a pleasant relationship with the University Musical Society. Business and the arts have a natural affinity for community commitment."
President Mainstreet Ventures, Inc.
"As restaurant and catering service owners, we consider ourselves fortunate that our business provides so many opportunities for supporting the University Musical Society and its continuing success in bringing high level talent to the Ann Arbor community."
John E. Lobbia
Chairman and Chiel Executive Officer Detroit Edison
"The University Musical Society is one of the organizations that make the Ann Arbor community a world-renowned center for the arts. The entire commu?nity shares in the countless benefits of the excellence of these programs."
Chairman and Chief Executive Officer. McKinley Associates. Inc.
"McKinley Associates is proud to support the University Musical Society and the cultural contribution it makes to the community,"
Joe E. O'Neal
Presidenl, O'Neal Construction
"A commitment to quality is the main reason we are a proud supporter of the University Musical Society's efforts to bring the finest artists and special events to our community."
PEPPER, HAMILTON & SCHEETZ
ATTORNEYS AT LAW
Managing Partner Pepper, Hamilton & Scheetz
"Pepper, Hamilton and Scheetz congratulates the University Musical Society for providing quality performances in music, dance and theater to the diverse community that makes up Southeastern Michigan. It is our plea?sure to be among your supporters."
Iva M. Wilson President, Philips Display Components Company
"Philips Display Components Company is proud to support the University Musical Society and the artistic value it adds to the community."
George H. Cress
Chairman, President, and Chief Executive Officer Society Bank, Michigan
"The University Musical Society has always done an outstanding job of bringing a wide variety of cultural events to Ann Arbor. We are proud to support an organization that continu?ally displays such a commit?ment to excellence."
President The Edward Surovell Co. Realtors
"Our support of the University Musical Society is based on the belief that the quality of the arts in the community reflects the quality of life in that community."
Sue S. Lee, President
Regency Travel Agency. Inc.
"It is our pleasure to work with such an outstanding organization as the Musical Society at the University of Michigan."
Ronald M. Cresswell, Ph.D.
Vice President and
"Warner-Lambert is very proud to be associated with the University Musical Society and is grateful for the cultural enrichment it brings to our Parke-Davis Research Division employ?ees in Ann Arbor."
Dr. James R. Irwin Chairman and CEO, The Irwin Group of Companies President, Wolverine Temporary Staffing Services
"Wolverine Staffing began its support of the Universitiy Musical Society in 1984, believing that a commitment to such high quality is good for all concerned. We extend our best wishes to UMS as it continues to culturally enrich the people of our community."
The University Musical Society of the University of Michigan
Board of Directors
Herbert S. Amster President
Norman G. Herbert Vice President Carol Smokier Secretary Richard H. Rogel Treasurer
Gail Davis Barnes Maurice S. Binkow Paul C. Boylan Carl A. Brauer, Jr. Letiria J. Byrd
Leon Cohan Jon Cosovich Ronald M. Cresswell James J. Duderstadt Walter L. Harrison Thomas E. Kauper F. Bruce Kulp Rebecca McGowan George I. Shirley Herbert Sloan Edward D. Surovell Eileen L. Weiser Iva Wilson
Gail W. Rector President Emeritus
Robert G. Aldrich Richard S. Berger Allen P. Britton Douglas D. Crary John D'Arms Robben W. Fleming Harlan H. Hatcher Peter N. Heydon Howard Holmes David B. Kennedy Richard L Kennedy Thomas C. Kinnear Patrick Long
Judyth Maugh Paul W. McCracken Alan G. Merten John D. Paul Wilbur K. Pierpont John Psarouthakis Gail W. Rector John W. Reed Ann Schriber Daniel H. Schurz Harold T. Shapiro Lois U. Stegeman E. Thurston Thieme Jerry A. Weisbach Gilbert Whitaker
Kenneth C. Fischer
Catherine S. Arcure Edith Leavis Bookstein Diane Boraz Betty Byrne Yoshi Campbell Sally A. Cushing David B. Devore Melanie Riehl Ellis Erika Fischer Susan Fitzpatrick Judy Johnson Fry Adam Glaser Michael L. Gowing Philip Guire Deborah Halinski Jonathan Watts Hull John B. Kennard, Jr. Michael J. Kondziolka Cheryl Ng Catherine R. Oetting R. Scott Russell
Thomas Sheets Helen Siedel Marya P. Smith Jane Stanton
Work Studyl Interns Jonathan Cho Timothy Christie Kim Coggin Anne S. Dickens Cristina de la Isla Grace Eng Rachel Folland Jennifer Hall Naomi Komilakis Kwang Lee Tansy Rodd Eva Rosenwald Marjorie Schriber Lisa Vogen
Donald Bryant Conductor Emeritus
The University Musical Society is supported by the Michigan Council for Arts and Cultural Affairs, and Arts Midwest and Friends in Partnership with the National Endowment for the Arts.
Elizabeth Yhouse Chair
Gregg Alf Paulett Banks Milli Baranowski Janice Stevens Botsford Jeannine Buchanan Letitia Byrd Betty Byrne Pat Chatas Chen Oi Chin-Hsieh Phil Cole Peter H. deLoof Rosanne Duncan Don Faber Penny Fischer Barbara Gelehrter Margo Halsted Esther Heitler Lorna Hildebrandt Kathleen Hill Matthew Hoffmann
JoAnne Hulce Alice Davis Irani Perry Irish Heidi Kerst Leah Kileny Nat Lacy Maxine Larrouy Doni Lystra Kathleen Beck Maly Charlotte McGeoch Margaret McKinley Clyde Metzger Ronald G. Miller Karen Koykka O'Neal Marysia Ostafin Maya Savarino Janet Sharusky Aliza Shevrin Ellen Stross James Telfer, M.D. Susan B. Ullrich Jerry Weidenbach Jane Wilkinson
Judy Fry, Staff Liaison
The University Musical Society is an Equal Opportunity Employer and provides programs and services without regard to race, color, religion, national origin, age, sex, or handicap.
The University Musical Society is a member of the International Society for the Performing Arts, Association of Performing Arts Presenters, Chamber Music America, Arts Action Alliance, and Washtenaw Council for the Arts.
University Musical Society Auditoria Directory & Information
Hill Auditorium: Coat rooms are located on the
east and west sides of the main lobby and are
open only during the winter months.
Rackham Auditorium: Coat rooms are located on
each side of the main lobby.
Power Center: Lockers are available on both levels
for a minimal charge. Free self-serve coat racks
may be found on both levels.
Michigan Theater: Coat check is available
in the lobby.
Hill Auditorium: Drinking fountains are located
throughout the main floor lobby, as well as on
the east and west sides of the first and second
Rackham Auditorium: Drinking fountains are
located at the sides of the inner lobby.
Power Center: Drinking fountains are located on
the north side of the main lobby and on the lower
level, next to the restrooms.
Michigan Theater: Drinking fountains are
located in the center of the main floor lobby.
All auditoria now have barrier-free entrances. Wheelchair locations are available on the main floor. Ushers are available for assistance.
Lost and Found
Call the Musical Society Box Office at 313.764.2538.
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. Free reserved parking is available to members at the Guarantor, Leader, Concertmaster, and Bravo Society levels.
Hill Auditorium: A wheelchair-accessible public telephone is located at the west side of the outer lobby. Rackham Auditorium: Pay telephones are located on each side of the main lobby. A campus phone is located on the east side of the main lobby. Power Center: Pay phones are available in the ticket office lobby.
Michigan Theater; Pay phones are located in the lobby.
Refreshments are served in the lobby during intermissions of events in the Power Center for the Performing Arts, and are available in the Michigan Theater. Refreshments are not allowed in the seating
Hill Auditorium: Men's rooms are located on the east side of the main lobby and the west side of the second balcony lobby. Women's rooms are located on the west side of the main lobby and the east side of the first balcony lobby.
Rackham Auditorium: Men's room is located on the east side of the main lobby. Women's room is located on the west side of the main lobby. Power Center: Men's and women's rooms are located on the south side of the lower level. A wheelchair-accessible restroom is located on the north side of the main lobby and off the Green Room. A men's room is located on the south side of the balcony level. A women's room is located on the north side of the balcony level.
Michigan Theater: Men's and women's restrooms are located in the lobby on the mezzanine. Mobility-impaired accessible restrooms are located on the main floor off of aisle one.
University of Michigan policy forbids smoking
in any public area, including the lobbies and restrooms.
Guided tours of the auditoria are available to groups
by advance appointment only.
Call (313) 763-3100 for details.
UMSIMember Information Table A wealth of information about events, the UMS, restaurants, etc. is available at the information table in the lobby of each auditorium. UMS volunteers can assist you with questions and requests. The information table is open thirty minutes before each concert and during intermission.
To make concertgoing a more convenient and pleasurable experience for all patrons, the Musical Society has implemented the following policies and practices:
Starting Time for Concerts The Musical Society will make every attempt to begin its performances on time. Please allow ample time for parking. Ushers will seat latecomers at a predetermined time in the program so as not to disturb performers or other patrons.
We welcome children, but very young children can be disruptive to a performance. Children should be able to sit quietly in their own seats throughout a performance. Children unable to do so, along with the adult accompanying them, may be asked by an usher to leave the auditorium. Please use discretion in choosing to bring a child. Remember, everyone must have a ticket, regardless of age.
A Modern Distraction
Please turn off or suppress electronic beeping
and chiming digital watches or pagers during
Cameras and Recorders
Cameras and recording devices are strictly
prohibited in the auditoria.
Odds and Ends
A silent auditorium with an expectant and sensitive audience creates the setting for an enriching musical experience. To that desired end, performers and patrons alike will benefit from the absence of talking, loud whispers, rustling of program pages, foot tapping, large hats (that obscure a view of the stage), and strong perfume or cologne (to which some are allergic).
Phone Orders and Information
University Musical Society Box Office
Burton Memorial Tower
Ann Arbor, MI 48109-1270
on the University of Michigan campus
From outside the 313. area code, call toll-free 1.800.221.1229.
Weekdays 10 a.m. to 6 p.m. Saturday 10 a.m. to 1 p.m.
Visit Our Box Office in Person At our Burton Tower ticket office on the Univer?sity of Michigan campus. Performance hall box offices are open 90 minutes before performance time.
Tickets make great gifts for any occasion. The University Musical Society offers gift certificates available in any amount.
If you are unable to attend a concert for which you have purchased tickets, you may turn in your rickets up to 15 minutes before curtain time. You will be given a receipt for an income tax deduction as refunds are not available. Please call (313) 764-2538,10 a.m. to 6 p.m. Monday Friday and 10 a.m. to 1 p.m. Saturday.
University Musical Society
of the University of Michigan
NOW IN ITS 116TH SEASON, THE University Musical Society ranks as one of the oldest and most highly-regarded performing arts presenters in the country.
The Musical Society began in 1879 when a group of singers from Ann Arbor churches gathered together to study and perform the choruses from Handel's Messiah under the leadership of Professor Henry Simmons Frieze and Professor Calvin B. Cady. The group soon became known as The Choral Union and gave its first concert in December 1879. This tradition continues today. The UMS Choral Union performs this beloved oratorio each December.
The Choral Union led to the formation in 1880 of the University Musical Society whose name was derived from the fact that many members were affiliated with the University of Michigan. Professor Frieze, who at one time served as acting president of the University,
became the first president of the Society. The Society comprised the Choral Union and a concert series that featured local and visiting artists and ensembles. Today, the Choral Union refers not only to the chorus but the Musical Society's acclaimed ten-concert series in Hill Auditorium.
Through the Chamber Arts Series, Choral Union Series, Choice Events, and the annual May Festival celebration, the Musical Society now hosts over 60 concerts and more than 100 educational events each season featuring the world's finest dance companies, chamber ensembles, recitalists, symphony orchestras, opera, theater, popular attractions, and presentations from diverse cultures. The University Musical Society has flourished these 116 years with the support of a generous musicand arts-loving community, which has gathered in Hill and Rackham Auditoria and Power Center to experience the artistry of such outstanding talents as Leonard Bernstein, the Vienna Philharmonic Orchestra, Sweet Honey in the Rock, the Martha Graham Dance Company, Enrico Caruso, Jessye Norman, James Levine, the Philadelphia Orchestra, Urban Bush Women, Benny Goodman, Andres Segovia, the Stratford Festival, the Beaux Arts Trio, Cecilia Bartoli, and the Chicago Symphony Orchestra.
. In May of 1993, the Musical Society celebrated its 100th Ann Arbor May Festival with perfor?mances by the Metropoliatan Opera Orchestra led by Maestro James Levine, Itzhak Perlman, Eartha Kitt, the Detroit Symphony Orchestra, the University Choral Union, and other artists. Under the leadership of only five directors in its history, the Musical Society has built a reputation of quality and tradition that is maintained and strengthened through educational endeavors, commissioning of new works, artists' residencies, programs for young people, and collaborative projects.
While it is proudly affiliated with the University of Michigan and is housed on the Ann Arbor campus, the Musical Society is a separate, not-for-profit organization, which supports itself from ticket sales, corporate and individual contributions, foundation and government grants, and endowment income.
UMS Choral Union
Thomas Sheets, conductor
THROUGHOUT ITS 116-year history, the University Musical Society Choral Union has performed with many of the world's distinguished orchestras and conductors.
The chorus has sung under the direction of Neeme Jarvi, Kurt Masur, Eugene Ormandy, Robert Shaw, Igor Stravinsky, Andre Previn, Michael Tilson Thomas, Seiji Ozawa, Robert Spano, and David Zinman in performances with the Detroit Symphony Orchestra, the Leipzig Gewandhaus Orchestra, the Philadelphia Orchestra, the Los Angeles Philharmonic, the Boston Symphony Orchestra, the Orchestra of St. Luke's and other noted ensembles. In 1993, the UMS Choral Union was appointed the resident large chorus of the Detroit Symphony Orchestra.
A highlight of the UMS Choral Union's 19931994 season was the performance and recording of Tchaikovsky's Snoto Maiden with the Detroit Symphony Orchestra conducted by Neeme Jarvi, released this past November by Chandos International.
During this season the UMS Choral Union joined the Detroit Symphony Orchestra and conductor Neeme Jarvi in performances of Ravel's Daphnis et Chloe, presented A Celebration of the Spiritual with Dr. Jester Hairston, and in May of 1995 will perform the Mahler Symphony 2 (Resurrection), again with the DSO, under conductor Jerzy Semkow. In April 1995, the Choral Union will join the Toledo Symphony Orchestra in commemorating the 50th Anniver?sary of V-E Day, performing Britten's War Requiem in Toledo under the direction of Andrew Massey.
Established in 1879 when a group of local church choir members and other interested singers came together to sing choruses from Handel's Messiah, the ambitious founders of the Choral Union went on to form the University Musical Society the following year. Representing a mixture of townspeople, students, and faculty, members of the UMS Choral Union share one common passion -a love of the choral art.
COMPLETED IN 1913, this renowned concert hall was inaugurated at the 20th Annual Ann Arbor May Festival and has since been home to thousands of Musical Society concerts, including the annual Choral Union series, throughout its distinguished 80-year history.
Former U-M Regent Arthur Hill saw the need at the University for a suitable auditorium for holding lectures, concerts, and other university gatherings, and, with his bequest of $200,000, construction of the 4,169-seat hall commenced. Charles Sink, then UMS president, raised an additional $150,000.
Upon entering the hall, concertgoers are greeted by the gilded organ pipes of the Frieze Memorial Organ above the stage. UMS obtained this organ in 1894 from the Chicago Columbian Exposition and installed it in old University Hall (which stood behind the present Angell Hall). The organ was moved to Hill Auditorium for the 1913 May Festival. Over the decades, the organ pipes have undergone many changes of appearance, but were restored to their original stenciling, coloring, and layout in 1986.
Currently, Hill Auditorium is part of the U-M's capital campaign, the Campaign for Michigan. Renovation plans for Hill Auditorium have been developed by Albert Kahn and Associates to include elevators, green rooms, expanded bathroom facilities, air conditioning, artists' dressing rooms, and many other necessary improvements and patron conveniences.
FOR OVER 50 YEARS, this intimate and unique concert hall has been the setting for hundreds of world-acclaimed chamber music ensembles presented by the University Musical Society. Before 1941, chamber music concerts in Ann Arbor were few and irregular. That changed dramatically, however, when the Horace H. Rackham School of Graduate Studies came into being through the generosity of Horace H. and Mary A. Rackham.
The Rackham Building's semi-circular auditorium, with its intimacy, beauty, and fine acoustics, was quickly recognized as the ideal venue for chamber music. The Musical Society realized this potential and presented its first Chamber Music Festival in 1941, the first organized event of its kind in Ann Arbor. The present-day Chamber Arts Series was launched in 1963. The Rackhams' gift of $14.2 million in 1933 is held as one of the most ambitious and liberal gifts ever given to higher education. The luxurious and comfortably appointed 1,129-seat auditorium was designed by architect William Kapp and architec?tural sculptor Corrado Parducci.
for the Performing Arts
THE DRAMATIC mirrored glass that fronts the Power Center seems to anticipate what awaits the concertgoer inside. The Power Center's dedication occurred with the world premiere of Truman Capote's The Grass Harp in 1971. Since then, the Center has been host to hundreds of prestigious names in theater, dance, and music, including the University Musical Society's first Power Center presentation --Marcel Marceau.
The fall of 1991 marked the twentieth anniversary of the Power Center. The Power Family -Eugene B. Power, a former regent of the University of Michigan, his wife Sadye, and their son Philip -contributed $4 million toward the building of the theater and its subsequent improvements. The Center has seating for 1,414 in the audito?rium, as well as rehearsal spaces, dressing rooms, costume and scenery shops, and an orchestra pit.
UMS hosted its annual week-long theater residency in the Power Center, welcoming the esteemed Shaw Festival of Canada, November 15-20,1994.
In October 1994, UMS, the Martha Graham Dance Company, and ten institu?tional partners hosted "In the American Grain: The Martha Graham Centenary Festival" commemorating the 100th anniver?sary of Martha Graham's birth. The Power Center was the site of open rehearsals, exhibits, workshops, and performances, including the 50th anniversary celebration of the premiere of the Martha GrahamAaron Copland collaboration "Appalachian Spring (Ballet for Martha)."
The Michigan Theater
THE HISTORIC Michigan Theater opened its doors January 5,1928 at the peak of the vaudeville movie palace era. The gracious facade and beautiful interior were then as now a marvel practically unrivaled in Michigan. As was the custom of the day, the Theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ, acclaimed as the best of its kind in the country.
Over the years, the Theater has under?gone many changes. "Talkies" replace silent films just one year after the Theater opened, and vaudeville soon disappeared from the stage. As Theater attendance dwindled in the '50s, both the interior and exterior of the building were remodeled in a style which was architecturally inappropriate. Through the '60s and '70s the 1800-seat theater struggled against changes in the film industry and audiences until the non-profit Michigan Theater Foundation stepped in to operate the failing movie house in 1979.
After a partial renovation which returned much of the Theater to its prior glory, the Michigan Theater has become Ann Arbor's home of quality cinema as well as a popular venue for the performing arts. The Michigan Theater is also the home of the Ann Arbor Symphony Orchestra.
University Musical Society 1995 Winter Season
Sweet Honey in the Rock
Friday, January 6, 8pm Hill Auditorium
Made possible by a gift from Great Lakes Bancorp.
The Complete Solo Piano Music of Frederic Chopin, Part I Garrick Ohlssonr piano
Friday, January 13, 8pm Rackham Auditorium (1st of 3 installments) Philips Educational Presentation: RolandJ. Wiley, Professor of Music History & Musicology. A Patriot in Exile. Michigan League, 7pm. SKR Classical will sponsor a series of 3 in-store lectures, "Chopin: Virtuoso & Poet," 7pm on Sunday evenings, January 8, March 5 & March 26. Made possible by a gift from Regency Travel, Inc.
This project is part of the U-M Copernicus Endowment's theme semester. From Polonaise to Penderecki: Polish Music at the University of Michigan.
Ruth Brown, blues
Saturday, January 14, 8pm
Philips Educational Presentation: Michael C. Nastos, Program Host, WEMU; Ann Arbor News Writer; Detroit Correspondent for Downbeat, Cadence & Arts Midwest Jazz Editor and General Contributor, All Music Guide; jazz Panelist for Michigan Council for the Arts. Between Bessie, Billie & Baker, a discussion of the lineage of great jazz and blues singers. Michigan League, 7pm. Part of the University of Michigan's 1995 Rev. Dr. Martin Luther King, }r. Day Symposium. The UMS Jazz Directions Series is presented with support from WEMU, 89.1 FM, Public Radio from Eastern Michigan University.
Sunday, January 15, 7pm
77ii5 concert is co-presented with the Office of the Vice Provost for Academic and Multicultural Affairs of the University of Michigan as part of the University's 1995 Rev. Dr. Martin Luther King, Jr. Day Symposium.
St Martin-in-the Fields
Iona Brown, conductor
featuring Vivaldi's Tlie Four Seasons Sunday, January 22, 7pm Rackham Auditorium Made possible by a gift from Conlin-Faber Travel. Inc. and British Airways.
Jean-Pierre Rampal, flute John Steele Ritter, piano Wednesday, January 25, 8pm Hill Auditorium
Philips Educational Presentation: Penelope Fischer, Board Chair, National Flute Association and Director, Ann Arbor School for the Performing Arts. "Rampal: The World's First Famous Fluter." Michigan League, 7pm.
The Romeros, guitar
Friday, January 27, 8pm
Philips Educational Presentation: Julie Jaffee Nagcl, Ph.D., Arts Psychology Program, McAuley Outpatient Mental Health Services. "Stage Fright: Nature or Nurture" Michigan League, 7pm.
The Society Bank Cleveland Orchestra Weekend
Christoph von Dohnanyi, music director Emanuel Ax, piano February 3,4 & 5,1995 Friday, February 3, 8pm Hill Auditorium
Free Philips Educational Presentation: Glenn Watkins, Earl V. Moore Professor of Music. The Music ofSdmittk and Schoenberg Included in This Evening's Performance Michigan League, Friday, February 3, 7pm.
Saturday, February 4, 8pm Hill Auditorium Emanuel Ax, piano An Evening of Brahms Sunday, February 5, 4pm Rackham Auditorium Chamber Music with Members of the Cleveland Orchestra
Made possible by a gift from Society Bank. Michigan This project is also supported by Arts Midwest members and friends in partnership with the National Endowment for the Arts.
Noa, vocalist, and Gil Dor, guitar
Thursday, February 9, 8pm Power Center
TMs program is part of the Mid East West Fest International Community Cultural Exchange sponsored by the W. K. Kellogg Foundation and Lufthansa, Major Sponsors, and Hudson's and the Dayton Hudson Foundation.
Anne-Sophie Mutter, violin Lambert Orkis, piano
Saturday, February 11, 8pm Hill Auditorium Works by Stravinsky, Beethoven, Currier, and Schumann
Made possible by a gift from Parke-Davis Pharmaceutical Research.
Drew Minter, countertenor
Sunday, February 12, 7pm Rackham Auditorium Works by Purcell, L.G. Zavateri, D. Scarlatti, and A. Coreili
Monday, February 13, 8pm Tuesday, February 14, 8pm Power Center
Philips Educational Presentation: Tne KoNami Ensemble. A Lecture Demonstration on Japanese Festival Music. Michigan League, 7pm.
New York City Opera
Rossini's Barbiere di
Siviglia (The Barber of
Tuesday, February 28,
7pm (Family Show)
Wednesday, March 1, 8pm
Friday, March 3, 8pm
Saturday, March 4, 8pm
Sunday, March 5, 2pm
In Italian with English
Philips Educational Presentation: Ede Bookstein, Costume Designer, will discuss designing costumes for opera. Michigan League, 7rM Made possible by a gift from PEinc. In addition, we are grateful to the Ford Motor Company for making possible the Tuesday, February 28 family show which is part of the Ford Family Series.
Hagen String Quartet
Thursday, March 2, 8pm Rackham Auditorium
Worts by Mozart, von Webern, and Schubert Made possible by a gift from Curtin & AlfViolinmakers.
Allison Eldredge, cello
Saturday, March 11, 8pm Hill Auditorium Works by Beethoven, Penderecki, and Mendelssohn
Philips Educational Presentation: Krzysztof Penderecki, composer and conductor, will present the University of Michigan's Annual Copernicus Lecture on Friday, March 10, 8pm in the Rackham Building.
Tliis concert is part of the U-M Copernicus Endowment's theme semester, From Polonaise to Penderecki: Polish Music at the University of Michigan. Made possible by a gift from the estate of William Kinney
The Complete Solo Piano Music of Frederic Chopin, Part I Garrick Ohlsson, piano
Sunday, March 12, 4pm Rackham Auditorium (2nd of 3 installments)
Philips Educational Presentation: Garrick Ohlsson, "Chopin's Piano Literature from the Performer's Point of View." Saturday, March 11,4pm. Location TBA. Made possible by a gift from Regency Travel, Inc..
Lincoln Center Jazz Orchestra
The Majesty of Louis Armstrong Wednesday, March 15, 8pm Hill Auditorium Presented in conjunction with U-M Office of Major Events (MEO). The UMS Jazz Directions Series is presented with support from WEMU, 89.1 FM, Public Radio from Eastern Michigan University.
Berlin Philharmonic Woodwind Quintet
Friday, March 17, 8pm Rackham Auditorium Works by Mozart, Franz Danzi, Samuel Barber, Andre Jolivet, Paul Taffanel
Philips Educational Presentation: Post-performance chat with members of the Quintet.
Maurizio Pollini, piano
Monday, March 20, 8pm Hill Auditorium
Bill T. JonesArnie Zane Dance Co. StillHere
Friday, March 24, 8 pm Saturday, March 25, 8pm Power Center This project is supported by Arts Midtvest members and friends in partnership with the National Endowment for the Arts.
Cleveland String Quartet Giora Feidman, clarinet
Sunday, March 26, 4pm Rackham Auditorium Works by Schubert, joaquin Turina, Osvaldo Golijov, and Dvorak
Philips Educational Presentation: Pre-concert conversation with members of the Geveland String Quartet. Michigan League, 3pm. Made possible by a gift from Edward Surovell CompanyRealtors.
U-M School of Music Faculty Artists Concert
Tuesday, March 28, 8pm Rackham Auditorium Free Concert
Works by Schulhoff, Beethoven, and Dvorak.
The Complete Solo Piano Music of Frederic Chopin, Parti
Garrick Ohlsson, piano Friday, March 31, 8pm Rackham Auditorium (3rd of 3 installments)
Made possible by a gift from Regency Travel, Inc.
Saturday, April 1, 8pm St. Andrews Episcopal Church, Ann Arbor A Marian passion through 12thto 14th-century music from the British isles.
Royal Concertgebouw Orchestra of Amsterdam Riccardo Chailly, conductor
Thursday, April 6, 8pm Hill Auditorium Works by Stravinsky, Prokofiev, and Strauss
Philips Educational Presentation: An interview with Martijn Sanders (U-M M.B.A. '69), Managing Director of the Het Concertgebouw. Michigan League, 7pm.
Julian Bream, guitar
Tuesday, April 25, 8pm Rackham Auditorium
Made possible by a gift from the Thomas B. McMullen Co.
Detroit Symphony Orchestra
Jerzy Semkow, conductor Edith Wiens, soprano Florence Quivar, mezzo-soprano
IMS Choral Union Thomas Sheets, music director
Sunday, May 14, 4pm Hill Auditorium Mahler: Symphony No. 2 ("Resurrection")
Philips Educational Presentation: Jim Leonard, Manager, SKK Classical. Death and Resurrection, a discussion of Mahler's Symphony No. 2.
102"'' Annual Ann Arbor May Festival
Thursday, May 11 -Sunday, May 14
Made possible by a gift from Ford Motor Company
of the University of Michigan 1994-1995 Winter Season
Event Program Book
116th Annual Choral Union Series Hill Auditorium
32nd Annual Chamber Arts Series Rackham Auditorium
24th Annual Choice Events Series
New York City Opera National Company's
The Barber of Seville
Tuesday, February 28, 1995,'7:00pm
(Family Performance) Wednesday, March 1, 1995, 8:00pm Friday, March 3, 1995, 8:00pm Saturday, March 4, 1995, 8:00pm Sunday, March 5, 1995, 2:00pm Power Center
Hagen String Quartet 19
Thursday, March 2, 1995, 8pm Rackham Auditorium ,
We welcome children, but very young children can be disruptive to some performances. When required, children should be able to sit quietly in their own seats throughout a performance. Children unable to do so, along with the adult accompanying them, may be asked by an usher to leave the auditorium. Please use discre?tion in choosing to bring a child.
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New York City Opera National Company
Christopher Keene, General Director Joseph Colaneri, Music Director
Tuesday Evening, February 28, 1995 at j:oo
Wednesday Evening, March 1, 1995 at 8:00
Friday Evening, March 3, 1995 at 8:00
Saturday Evening, March 4, 1995 at 8:00
Sunday Afternoon, March 5, 1995 at 2:00
Power Center for the Performing Arts Ann Arbor, Michigan
The Barber of Seville
World premiere: February 20, 1816, Teatro Argentina, Rome
Music by Gioacchino Rossini
Libretto by Cesare Sterbini
(after Beaummrhais' play, Le Barbier de Seville, ou la Precaution Inutile)
Conducted by David Charles Abell Directed by Richard McKee Scenery designed by Lloyd Evans Costumes designed by Joseph A. Citarella Lighting designed by Gary Marder English supertitles by Sonya Friedman ,
45th, 46th & 47th Concerts of the 116th Reason
24th Annual Choice Series
Special thanks to John Psarouthakis, Chairman and Chief Executive Officer, JPEinc. whose support helps to make these performances possible.
We are grateful to the Ford Motor Company for making possible the Tuesday, February 28, family performance ivhich is a part of the Ford ' Family Series.
Thanks to Ede Bookstein, Costume Designer, speaker for Friday evenings Philips Educational Presentation.
The Barber of Seville
Seville, Spain: Early Nineteenth Century1
A Street in Seville, dawn
A room in Dr. Bartolo's house, shortly thereafter
Several hours later
Figaro Rosina Doctor Bartolo
An Official A Notary Musicians, soldiers
(in order of appearance)
Matthew Chellis (WedSat) Euro Nava (TueFriSun)
Daniel Mobbs (WedSat) John Packard (TueFriSun)
Rachelle Perry (WedSat) Helen Yu (TueFriSun)
Thomas Hammons (WedSat) Daniel Smith (TueFriSun)
Allison Charney (WedSat) Dianna Heldman (TueFriSun)
Ding Gao (WedSat)
Ashley Howard Wilkinson (TueFriSun)
John Autry Kevin Murray
John Autry ,
Kurt T. Bardele
Craig Montgomery i
David Bruce Whitley
A square in Seville, Spain, dawn
Following the over-pure, the Count of Almaviva, assisted by a group of musicians, sings a gracious serenade, "Eeco, ridente in deb" (Behold, smiling in the sky); the balcony window to which he addresses his song remains closed, however, and the disappointed nobleman dismisses his importunate band. Singing the lively "Largo al factotum" (Make way for the factotum), Figaro, town barber and jack-of-all-trades, appears. Upon learning that the Count has come to Seville in the hopes of winning a certain beautiful young woman, Figaro reveals that the girl is the ward of a pompous old doctor named Bartolo.
The two men observe a confrontation on the balcony between the girl and her guardian, during which the young woman manages to let fall a letter before she returns to her room. The note reveals the young woman's name -Rosina -and further discloses that she. is determined to escape her oppressive exis?tence and trust herself to her unknown suitor, should his intentions be honorable. Figaro explains that Dr. Bartolo, intent on gaining Rosina's fortune by marrying her, keeps her closely confined in her room. At diat moment, the old man emerges from the house and goes off, muttering that he shall wed his ward this very day.
Testing Rosina's true affections, the Count tells her in another serenade, "Se il mio norm saper vio bramate" (If you wish to know my name), that his name is 'Lindoro,' and that though poor, he wishes to marry her for love. Encouraged by Rosina's favorable reply, Almaviva solicits Figaro's aid in gaining access to the girl, priming his imagination with a bag of gold. "All'idea di quel metallo" (At the thought of money), sings Figaro, beginning a lively duet in which he conceives a plan to disguise the Count as a drunken soldier who will force his way into Dr. Bartolo's house with a bogus billeting order. Overjoyed at the plan, the two conspirators depart.
A room in Dr. Bartolo 's house, shortly thereafter
In a dazzling aria, "Una vocepocofa" (A voice just now), Rosina expresses her determination to overcome her guardian and marry Lindoro. Figaro arrives to confer with her, but at the approach of Dr. Bartolo he is forced to withdraw. After exchanging some heated words with the old man, Rosina herself departs. The unctuous, disreputable musicmaster, Don Basilio, appears and assuages Bartolo's fear that the Count of Almaviva is secretly wooing Rosina by advising in a bombastic aria, "La calunnia" (Slander), that they eliminate their rival with a few well-planted falsehoods. Still, the crochety doctor prefers to secure his success by marry?ing his ward at once.
As the two men leave, Figaro returns with Rosina and discloses Bartolo's plan. Turning to more'interesting matters, the girl coyly questions him about her young suitor. "Dunque io son" (Then it is I) she sings, exulting in the information that 'Lindoro' loves her, and presenting Figaro with a note for him to take to her sweetheart. The barber departs to seek out the Count, leaving the young woman to the wrath of the suspicious Dr. Bartolo, who sputters in a bombastic tirade, "A un dottor delta mia sorte" (To a doctor of my caliber), that she will have to be clever indeed to outwit him.
Bartolo is summoned by the shouts of a drunken soldier -really the Count in disguise -who forces his way into the house and presents a billeting order. In the midst of the ejisuing clamor, the 'soldier' manages to sneak a note to Rosina. Other members of the household join in the fracas until Figaro bursts in and enjoins them to silence. Too late, though, for in a moment the police are at the door. When their commander moves to arrest the 'soldier,' a quick word from the prisoner causes the officer to pull back
respectfully. "Fredda ed immobile" (Frozen and motionless) is how the onlookers find th.em-selves at this unexpected turn of events. At last a bewildered Bartolo awakens from his torpor and leads an excited finale expressing everyone's utter confusion as the act concludes.
Several hours later
Dr. Bartolo's musings are interrupted by the arrival of a peculiar-looking fellow who introduces himself as Don Alonso, a pupil of Don Basilio. He says that he has come to give Rosina her music lesson in place of his master, who is ill. When Bartolo insists upon visiting his sick friend at once, the visitor (none other than the disguised Almaviva) forestalls him by showing, him Rosina's letter, which, he says', she sent to' the Count of Almaviva. He suggests that Bartolo show the note to his ward and tell her that the Count gave it to one of his mistresses; thus she will think her suitor has merely been toying with her affections.
Rosina joyfully recognizes 'Lindoro' when she comes into the room. Under the suspicious eye of her guardian, she maintains her composure and begins her music lesson with an aria, "Contro un cor che accende amore" (Against a heart inflamed with love). Figaro t arrives and, hoping to give the lovers a moment's unobserved conversation, he insists upon shaving Bartolo (and even manages to pilfer the key to Rosina's balcony in the bargain). The unexpected arrival of the supposedly ailing Don Basilio threatens to expose 'Don Alonso,' but the Count manages to purchase the music master's cooperation with a bag of gold; in an amusing quintet, "Buona sera" (Good evening), Basilio is persuaded to return to his sickbed. Resuming their whispered conversation, Almaviva tells Rosina that he will come for
her at midnight. Before he can explain how he was forced to use her note, however, his deception is uncovered by Dr. Bartolo, whose wrath causes the .three conspirators to beat a hasty retreat.
As Bartolo goes off, the servant fierta comes in and, in an aria, " vecchiotto cerca moglie" (The old man wants a wife), expresses her opinions, about the unsettling effect of love. She leaves as her master ushers in Don Basilio, who is dispatched at once to fetch a notary. Bartolo summons Rosina and, showing her her own letter, tells her that 'Lindoro' is in league with Figaro to abduct her for the immoral purposes of the Count of Almaviva; the girl, in despair, consents to wed her guardian immediately and tells him of the proposed elopement. Furious, Dr. Bartolo hurries away to fetch the authorities.
During a tempestuous musical interlude depicting a violent thunderstorm, the Count and Figaro scurry in and clamber up a ladder to Rosina's balcony. When she scornfully accuses 'Lindoro' of betraying her to the Count of Almaviva, he startles her with the information that he is, himself, the Count. "Ah, quel colpo" (Ah, what news), she sings in delight, as she and her paramour pledge undying devotion. Urged by a nervous Figaro, the trio finally prepares to escape, singing "Zitti, zittt' (Quiet, quiet). To their dismay, they discover that the ladder has dis?appeared and that someone is approaching. The arrivals turn out to be Don Basilio and the notary, who are easily bribed to perform the wedding ceremony for Rosina and Almaviva. Immediately thereafter, the intended bridegroom himself appears at the head of a band of soldiers, but he is forced to admit that he has been outwitted. "Di si felice innesto" (Such a happy union) sings Figaro, leading the assemblage in a joyous finale celebrating the newly-wedded couple.
The Barber of Seville
hope to be survived by, if nothing else, the third act of Otello, the second act of GuiUaume Tell, and the whole of barbiere di Siviglia," Rossini purportedly remarked in his later years. Perhaps he might have preferred not to be taken quite so literally. When the turbulent Romantic sensibility turned its nose up at Rossini's subversive Classicism, his corpus of thirty-nine operas virtually disappeared from the theater, so that for more than a century, Barbiere was Rossini's sole calling card, give or take a few performances of La cenerentola or L'ltaliana in Algeri.
It is ironic in the extreme that the composer who virtually defined nineteenth-century Italian opera, both serious and comic -its forms, dramaturgy, vocal technique, and style of orchestration -should ever have joined the ranks of the "one-opera composers," secondary figures such as Cilea, Leoncavallo, and Zandonai whose art owes everything to Rossini. But, happily, Rossini has recently enjoyed a reversal of fortune. In the past few decades, a miraculously fine crop of bel canto specialists (singers, conductors, and musicologists) has sprouted up and now regularly dishes out generous helpings of, lovingly and scrupulously performed Rossini operas, at last allowing us to grasp why Rossini's first biographer, Stendhal, likened him to Napoleon.
. The time now seems ripe to turn the same kind of affectionately critical eye
toward Barbiere, which has become as familiar as the opera house wallpaper and equally encrusted with grime (albeit of the musico-dramatic variety). Doing so requires consci?entious scrubbing -to wash away layers of detritus including numbing overfamiliarity, pruned and otherwise disfigured editions, inappropriate ornamentation (or worse, none at all), and gratuitous shtick. With the deft hand of an art restorer, Alberto Zedda, in his now universally accepted 1969 critical edition of Barbiere, has gone some distance in revealing the score's pristine color and sheen, and the best conductors and stage directors will follow his lead-in trusting and respecting the piece. Indeed, even a pro?gram annotator approaching Barbiere is obliged to do some scrubbing -stripping away layers of tenacious legend, partly gen?erated by the self-lionizing composer and his compatriots, and partly the result of mis?understood cultural context:'
At an age when most of us are worrying about what to wear to the senior prom, Rossini was witnessing the first public per?formance of one of his operas, the one-act La cambiale di matrimonio (181 o), at Venice's humble Teatro San Moise. By the time we would be applying to graduate schools, he had demonstrated his mastery of both opera seria (Tancredi, Venice, 1813) and opera buffa (L'ltaliana in Algeri, Venice, 1813). And by 1815 (time to start paying back those student loans), he dominated the Italian operatic scene as no one had since the heyday of
Cimarosa and Paisiello in the 1790s. In that year, Rossini, just shy of his 24th birthday, became music director of the royal theaters in Naples, with a contract requiring him to write two opere serie per year but allowing him to compose works for other cities.
With Elisabetta, regina d'Inghilterra, his first Neapolitan opera, behind him, Rossini removed to Rome in late autumn 1815 to supervise a production of his turco in Italia (Milan, 1814) and to write two new operas for Rome!s Carnival season: the dramma semi-serio (semi-serious drama or dramma giocoso) . Torvaldo e Dorliska for the Teatro Valle and a comic opera for the larger and more prestigious Teatro Argentina. This, his , seventeenth opera, would be based on the first play of Pierre Caron de Beaumarchais" celebrated Figaro trilogy, Le barbier de Seville (1775), but would be titled Almaviva, ossia I'inulile precauzione (Almaviva, or the Useless
Precaution) in order to distinguish it from Giovanni Paisiello's wildly popular 1782 setting. (It has been known by its present title since an 1816 Bologna revival.) For his efforts, die young composer received a relatively generous fee (although not exceeding that of the singers), plus a hazel-colored jacket with gold buttons. ,
The first Rossini myths ripe for exploding are those of his alleged robot-like facility and gross laziness. It is true that Barbiere -some 600 pages of music in full score -was churned out in under fifteen days. And it is also ,true that Rossini's swiftness was expedited by two of his customary practices: leaving the composition of secco recitative to underlings, and recycling old tunes (Barbiere ? contains snippets of his operas
La cambiale di matrimonio, II Signor Bruschino (1813), Aureliano in Palmira (1813), and Sigismondo (1814), as well as fronr two early cantatas, Egle e Irene and Aurora). But Rossini's methods were standard for opera composers gf his day, who were expected to function more like beleagered journalists on deadline, TV sitcom grunts, or Broadway show "doctors," than like painstaking Romantic artistes such as Verdi and Wagner.
Still more mythology surrounds Barlnere's premiere on February 20, 1816. The story
-embroidered colorfully, variously, and no doubt unreliably by a handful of contempo?rary memoirists -goes that a cabal of Paisjello supporters sabotaged the first night. This despite Rossini's "useless precaution" of titling his opera differently from Paisiello's, writing a deferential letter to the older com?poser, and printing a disclaimer in the libretto '
-and despite the fact that it was routine
for composers to reuse previously set stories and librettos. Modern scholarship maintains that Barbiere's admittedly underwhelming opening night had more to do with an exhausted company of singers and unlucky stage mishaps than to intrigue. By its third performance, Barbierevras enjoying the success which has not abated since, and was already elbowing Paisiello's version out of the repertory.
Now that we have stripped Barbiere of some mythology, what are we left with An opera whose modesty belies its mastery, an edifice buttressed by the most sophisticated musical dramaturgy but whose facade is sheer fun. A particularly telling example of this is Rossini's repeated use of stock musical -structures as dramatic metaphors in Barbiere. For instance, in Don Basilio's delectable uLa calunnia," the schematic "Rossini crescendo" (rising volume wedded to steadily accelerating tempo and rising pitch) becomes a road map of rampaging rumor. Similarly, Bartolo's fatuous aria, "A un dottor'della mia sorte" is ins strict sonata form, slyly underlining his pedantry. And "Contro un cor," Rosina's grand "singing lesson" aria, is a wicked self-parody on Rossini's part (bel canto expert Philip Gossett calls Barbiere "Rossini's most self-reflexive work"). Bartolo's response, a minuet befitting a proponent of old music, satirizes ip turn the "pathetic" aria a la. Paisiello.
Rossini was a Janus-like figure, a delicate balance of eighteenth-century craftsman'and nineteenth-century trailblazer, a creature of the ancien regime who unwittingly (or not) sowed the seeds of his own obsolescence with his innovative Neapolitan opere serie, the first cobbles on the road to Verdi's Otellp. Similarly, Barbiere's characters have their roots in commedia dell'artebul extend their shoots outward into the new bourgeois social order. Barbiere is a comedy of manners in which class structure and its inherent tensions are crucial, but in which servant and master
still act in concert and, as in most Rossini comedies, all difficulties are resolved through eighteenth-century "clemenza."
All of the above -and none of it -goes some way in explaining the durability of Barbiere, acknowledged even by that staunch Teuton Ludwig van Beethoven. When he and Rossini met in 1822, his part?ing advice to his Italian colleague was, "Above all, make a lot of Barbers." A tribute, yes, but also a "useless precaution;" there could not be "a lot of Barbers," any more than there could be a lot of Fidelias or a lot of Eroicas. j
Note, by Cori Ellison
Established in 1979, the New York City Opera National Company began modestly with a twenty-five performance, five-week tour of La Traviata and a two-fold mandate: to take top-quality opera performances to commu?nities throughout the country and to provide talented young artists with valuable performing ' experience. The company has lived up to its mandate admirably and has grown in step with America's increasing interest in opera. Acclaimed by presenters, audiences and critics alike, the National Company is now considered the premier touring opera company in the country. The company travels in an oldfashioned "bus and truck" style, bringing vivid stagings of classic operas to both small rural communities and bustling urban centers. Productions such as La boheme, Rigoletto, Faust, Madama Butterfly, The Barber of Seville, La Traviata, The Marriage of Figaro, and Tosca have played to capacity audiences from coast to coast. Each production is specially designed to show off the remarkable creativity and energy of America's best new singers,
instrumentalists, and designers, many of whom go on to enjoy successful careers with major opera houses around the world. A National Company tour is also the ideal environment for veteran singers, since it allows them an unprecedented opportunity to perfect a characterization over numerous performances. Thus, audiences throughout the United States and Canada are given the opportunity to see both seasoned performers and the brightest of the up-and-coming young stars.
Following the 1993 tour, the National Company was completely reorganized, and is now run directly under the auspices of the New York City Opera Company itself. The touring division now utilizes the talents of producers, artists, and administrators who are members of the main company.
this residency marks the tenth Ann Arbor visit of the NYC Opera National Company UMS auspices.
Rachelle Perry, mezzo-soprano, has been performing extensively in Europe for the past seven years. In Germany, she has sung many roles with Kiel Opera including Dorabella in Cost fan tutte, Cherubino in The Marriage of Figaro, and Siebel in Faust, the role she also sang with Bremerhaven Opera Theater. In the states, she has appeared with Houston Grand Opera, Oakland Opera and Long Beach Opera, among others. She recently appeared with the Kansas City Symphony as a soloist in Messiah. The native of Nashville, Tennessee will return to Germany in the spring to reprise Dorabella, Anita in West Side Story, and Siebel with the Bremerhaven and Kiel opera companies. Her schedule also includes concert appear?ances in Munich and Hamburg.
Helen Yu, mezzo-soprano, debuted with NYCO last season as the Little Girl in , Griffelkin, followed by Cherubino in The Marriage of Figaro and most recently, the Second Lady in The Magic Flute. This past June she sang with the Company in Saratoga as Suzuki in Madama Butterfly, the role she also sang on tour with the National Company. She has sung many roles as a member of the Canadian Opera-Company, and was a last minute replacement as Nancy in Albert Herring. She performed the role of Lola in Cavalleria rusticana at the Berkshire Festival, and recently,-she sang in a series of orchestra concerts with NYCO in Madrid. The native of South Korea sang in Beethoven's Symphony No.9 with Sergiu Comissiona in Vancouver, and will reprise her performance on a tour throughout Asia. Next, she will, also sing Cherubino with Grand Rapids Opera.
Allison Charney, soprano, made her NYCO debut this season as the First Lady in The Magic Flute, followed by Musetta in La boheme. She recently sang the Lady-in-Waiting in Macbeth with Utah Opera. She made her Greater Miami Opera debut in 1992 as Constance Fletcher in The Mother of Us All, and returned to sing Lucy in The Telephone, Doralice in Trionfo dell'onore and the First Lady. She sang Micaela in Carmen Libre with the Coconut Grove Playhouse, and the title role in the American premiere of The Sorcerer's Daughter with Palm Beach Opera. She has performed in concert in Beethoven's Choral Fantasia with Miami Chamber Symphony, and joined the Westchester Philharmonic this past fall as a soloist for two concerts. In the spring, she will sing Marguerite in Faust with Chorus Pro Musica.
Dianna I loldman. mezzo-soprano, has sung with Indianapolis Opera as Dorabella in Cosi fan tutte and as Siebel in Faust, the role she also sang with Opera Memphis. She appeared as Ludmila in The Bartered Bridevnih Sarasota
Opera, and sang Rosina in The Barber of Seville with the Opera Festival of New Jersey, Birmingham Opera Theater and Lyric Opera of Dallas. She has sung with many orchestras throughout the U.S., and recently made her New York recital debut at Weill Hall in a program of songs by Carlton Clay entitled Summer's End. Her engagements this season include Beethoven's Symphony No. 9 with Catskill Symphony, Despina in Cosifan tutli with Birmingham Opera Theater, and Hansel in Hansel and Gretel with Opera North (Vermont).
Daniel Mobbs, baritone, debuted last season as Dancairo in Carmen, followed by Yakuside in Madama Butterfly, and toured as Yamadori in Madama Butterfly with the National Company. This season he reprises Yakuside, and Dancairo, and adds Papageno'in The Magic Flute and Schaunard in La boheme. Recently he debuted with Cleveland Opera as Sid in Albert Herring. Other career highlights for the native of Kentucky include Marcello in La boheme with Lake George Opera Festival, and Figaro in The Barber of Seville Wh Opera at Florham and Musica 2001. He also sang Papageno in The Magic Flute with Musica 2001, Mercutio in Romeo el Juliette and Silvio in PagliacciWvh the Israel Institute of Vocal Arts, and Marcello with Buffalo Opera. He is a recent recipient of the prestigious Sullivan Foundation Awards, and the Puccini Foundation Award.
John Packard, baritone, debuted this season with NYCO as Marcello in La boheme. He recently completed his third year at the Academy of Vocal Arts in Philadelphia where he sang Figaro in The Barber of Seville, the title role in Don Giovanni, Sid in Albert Herring, Marcello in Laboheme ad the father in Hansel and Gretel. He has performed with the Opera Company of Philadelphia, the Delaware Valley Opera Company and the . Pennsylvania Opera Theatre. Last spring he
made his European debut with the Orchestra Colonne as Silvio in their concert performance of Pagliacti. He is a 1994 winner of the Clarice Kapel grant from the Richard Tucker Music ? Foundation, and a 1994 winner of the Liederkranz Competition.
Matthew Chellis, tenor, recently appeared with Wolf Trap Opera singing both Pedrolino in The Jewel Box and First Armored Man in The Magic Flute. He also sang First Armored Man with the Opera Company of Philadelphia. Some of his other roles include Valleto in L'Incoronazione di Poppea and Zefirino in II Viaggio a Reims with Juilliard Opera Center, and Norfolk in Elisabetta, Regina d'Inghilterra with Opera North East. Last spring, he appeared as a soloist in Messiah with the Santiago Chamber Orchestra in Chile. For the last two years, he was the Eastern Regional Finalist in the Metropolitan Opera National Auditions. Most recently, he traveled to Giessen, Germany to perform Don Ramiro in La cenerentola with Der Giessen Stadt Oper.
Euro Nava, tenor, made his operatic debut with Teatro Municipal de Caracas in his native Venezuela as Don Ottavio in Don Giovanni. He traveled to sixty American cities with the Western Opera Theater performing Alfredo in La traviata. In 1992, he made his San Francisco Opera debut as Rodolphe in Guillaume Tell, followed by Lurcanio in Ariodante, Attalo in Ermione and Trabuco in LaForza delDestino. As a Pittsburgh Camerata Opera Artist at Duquesne, he performed several concerts and recitals, as well as Michael in Emperor Norton and Fritz in L'amico Fritz. This past season he sang Almaviva in The Barber of Seville with Opera at Florham and Boheme Opera, among others. He also returned to Teatro Teresa Carreno in Carasas as Almaviva. He recently debuted with Hong Kong Opera as Gastone in La traviata, and will appear as Andrew in the world premiere of Glickman's Twelfth Night with American Opera Projects. 1
Thomas Hammons, bass-baritone, made his City Opera debut in 1990 as Sir Tristram in Martha. He had previously toured with the National Company as Dr. Bartolo in The Barber of Seville. The Oklahoma native includes among his career highlights portray?ing Henry Kissinger in Nixon in China with Houston Grand Opera, which was telecast on PBS' Great Performances, and can be heard on the Nonesuch recording. This season he sings Baron Zeta in Tlie Merry Widow with Opera Omaha, Sam in Un Ballo in Maschera with Kentucky Opera, Sulpice in Lafille du Regiment with Michigan. Opera, the title role in Don P'asquale with Tulsa Opera, and Dr. Bartolo in The Marriage of Figaro and Fleville and Fouquier-Tinville in Andrea Chenier with Cincinnati Opera. Upcoming performances include a reprise of Dr. Bartolo with Dayton Opera and Opera Pacific, and Sacristan in Tosca with L'Opera de Montreal.
Daniel Smith, bass-baritone, returned to City Opera this season to reprise Zuniga in Carmen, his 1993 debut role, Bonzo in Madama Butterfly, followed by Doctor Bartolo in The Barber of Seville. He made his international debut in' 1989 as Leporello in Don Giovanni with the National Opera of Greece, and later returned to sing the title role in Don Pasquale. The native of Iowa has performed many roles with Santa Fe Opera including Der Hauptman in Judith. He has sung Don Basilio with Opera Delaware, Falstaff, Sharpless in Madama Butterfly, and most recently, Doctor Bartolo with the Opera Festival of New Jersey. He has also appeared with Europa 2001, and with v the opera companies of Virginia, Omaha, and Syracuse.
Ding Gao, bass, made his New York City Opera debut this season singing The Speakej in The Magic Flute, as well as Colline in La boheme, Angelotti in Tosca, and Zuniga in Carmen. A graduate of the Shanghai Conservatory of Music, he debuted at the
Shanghai Opera as Figaro in The Marriage of Figaro, and went on to sing Timur in Turandot and Scarpia in Tosca with the company. In concert, he has performed Verdi's Requiem with the Yale Philharmonic Orchestra, and the Mozart Requiem in Shanghai. He is a 1994 first prize-winner in the International Enrico Caruso Competition. Future engage?ments include concert performances of Otello with the Minnesota Orchestra with Edo de Waart conducting, and Colline with the Yale Symphony.
Ashley Howard Wilkinson, bass, is making his NYCO National Company debut as Don Basilic He recently returned to Utah Opera where he appeared as Ramfis in Aida. He also sang Crespel and Luther in Les Cotites d'Hoffmann with Opera Columbus, and was a soloist in Beethoven's Symphony No. 9 with the Brooklyn Philharmonic at the Cathedral of St. John the Divine. Last season he sang Sarastro in The Magic Flute with Utah Opera, and Pezuno in El Gato Montis opposite Placido Domingo with the Los Angeles Music Center Opera. He was a member of the Metropolitan Opera Young Artists' Development Program from 1988 to 1992. While at the Met he appeared in, Die Meistersinger von Nilrnberg, Idomeneo and La Gioconda. He has also sung with Deutsche Oper Berlin, London's Old Vic, at Avery Fisher Hall, Lincoln Center, and with many opera companies throughout the U.S. Next he performs Commendatore in Don Giovanni with Tulsa Opera.
David Charles Abell, conductor, made his debut with City Opera in 1985 conducting The Mikado, and was the recipient of NYCO's Julius Rudel Award. In 1982, he made his American debut conducting The Turn of'the Screw with Washington Opera. From 1983 to 1988 he was the Music Director of Prince George's Opera in Maryland, where he led many operas including Don Giovanni,
Rigoletto, Madamd Butterfly, Susannah and La boheme. He was the Musical Director of the National tour of Les Miserables, its Paris run, and was die Music Supervisor for its premiere in Prague. Last year he conducted the Canadian premiere of Miss Saigon in Toronto, and served as Music Supervisor for its European premiere in Stuttgart. He assisted Leonard Bernstein with his A Quiet Place at La Scala, and has conducted Bernstein's Mass in Berlin. Next, he will be conducting the symphonic recording Miss Saigon.
Richard McKee, director, made his directing
debut in 1987 with The Barber of Seville for Opera Carolina, and has since staged The Daughter of the Regiment, The Marriage of Figaro and Fabtafffor the Lake George Opera Festival, La boheme, The Barber of Seville, I Pagliacci, Gianni Schicchi and The Merry Widow for Syracuse Opera, and Tosca and Die Fledermaus for New Haven Opera. He directed and sang the title role in Don Pasquale, and he recently staged Die Fledermaus for Baton Rouge Opera, and performed the role of Frank. The bass-baritone sings regularly in this country and abroad, and has appeared consistendy with NYCO since his 1974 debut as Zuniga in Carmen. Some of his City Opera roles include Dr. Bartolo in both The Barber of Seville and The Marriage of Figaro, Baron Zeta in The Merry Widoiv, and most recently, The Mikado. Since 1990, he has served as artistic director of the Syracuse Opera. ?
Lloyd Evans, set designer, joined New York City Opera in 1965 and created 23 produc?tions for the Company. His work was recently seen at City Opera this season in their pro?ductions oiLa boheme and Madama Butterfly. The Michigan native's other credits include the world premiere of Hoiby's Summer and Smoke for St. Paul Opera, and the American premieres of Britten's Curlew River, The Burning Fiery Furnace, and The Prodigal Son for the Caramoor Festival. In 1978 he won
an Emmy award for his work on Love of Life. He was an art director for As the World Turns until his death in 1989.
Joseph A. Citarella, costume designer, has been New York City Opera's Director of Wardrobe since 1980. He made his Company debut in 1992 with costumes for Regina, and most recently created the costumes for Esther. In addition, he has designed costumes for the NYCO National Company tours of Carmen, Laboheme, The Barber of Seville, The Marriage of Figaro, Tosca, as well as costumes for Ashley Putnam and Sherill Milnes in Hamlet and ? Lombardi. Outside City Opera, he created costumes for many regional companies and festivals, and has taught costume design at the Fashion Institute of Technology in New York City for over six years.
Gary Marder, lighting designer, recently finished his sixth season as Associate Resident Lighting Designer with NYCO. Last season he created the lighting design for the National Company's tour of Madama Butterfly. He has worked with the opera com?panies of Boston and Philadelphia, as well as Connecticut Opera and Santa Fe Opera. He was the Assistant Lighting Designer for the Broadway productions of Tru, Gypsy, Grand Hotel, and Annie II. Off Broadway he lit A Terrible Beauty with Tatum O'Neal, and The Mud Club and The Bridal Fit at the Judith Anderson Theater. He has also served as the resident lighting designer for both the Fairfield County Stage Company and Penquin Repertory, and lit Big River for the New York State Theatre Institute.
New York City National Company Orchestra
Kathleen Dillon, Acting Concertmasler Dale Chao, Asst. Concertmaster Marya Columbia, Principal Second Peter Borten Holly Horn Elizabeth Kaderabek Margaret Magill Boris Sandier
David Feltner, Principal Carol Benner David Lennon
Anik Oulianine, Principal Andrew M. Eckard Peter Howard
Martha Cox, Principal
Peter Ader, Principal
Lisa Kozenko, Principal
Chris'Inguanti, Principal Jennifer Nelson
Stephen Wisner, Principal Daniel Shelly
John Aubrey, Principal Michael Manley
John Shep John Trujillo
John Sheppard, Principal
James Thdma, Principal
New York City Opera National Company
Christopher Keene General Director
MarkJ. Weinstein Executive Director
Managing Director for ' Artistic Administration
Joseph Colaneri Music Director
Clifford Kellas Company Manager
Keith J. Viagas
@@@@Bettina Altman-Abrams Publicity Coordinator
Assistant to the Company Manager
New York City Opera National Company
Michele McCoy, Robert Thurber Stage Managers
Mara Waldman Assistant Conductor
Jim McWilliams Head Carpenter
Andrew Sather Head Electrician
Head of Properties
Support for the National Company i activities is provided by the Lila Acheson and DeWitt Wallace Fund for Lincoln Center, established by the founders of The Header's Digest Association; the GTE Foundation; the Hoechsl Celanese Corporation; The Marie and Victoria Marcheso Trust; and the National Endoumtentfor the Arts.
Scenery built by Center Line Studios, Inc. Limiting equipment supplied by Production Arts Lighting, Inc. Poster design created and donated by Arden von Haeger. Rehearsal facilities provided by Aaron Davis Hall.
Neio York City Opera National Company exclusive representative: Columbia Artists Management, Inc., Personal Direction: Michael Mushalla.
Curti n & Alf
The Hagen String Quartet
Lukas Hagen, Violin Rainer Schmidt, Violin Veronika Hagen, Viola Clemens Hagen, Cello
Thursday Evening, March 2, 199$ at 8:00
Rackham Auditorium Ann Arbor, Michigan
Wolfgang Amadeus Mozart
Quartet in F Major, K.590
Allegro moderato Allegretto
Menuetto: Allegretto Allegro
Anton von Webern
Six Bagatelles for String Quartet, Op. g
I n t e'r mission
Quartet in G Major, Op. 161. D. 887
Allegro molto moderato Andante un poco moto Scherzo: Allegro vivace Allegro assai
Forty-Fourth Concert of the 116th Season
32nd Chamber Arts Series
Special thanks to Greg Alf and Joe Curtin, Curtin isf Alf Violinmakers, for helping to make this performance possible.
Large print programs are available upon request from an usher.
String Quartet in F Major, K.590
Wolfgang Amadeus Mofart
Born January 27, IJ56 in Salzburg
Died December 5, 1791 in Vienna
Mozart's String Quartet in F Major, K.590 is the last of the group subtitled "Prussian". He had visited Leipzig in the early part of 1789, had played the organ at Bach's Thomaskirche, and continued to Berlin for a production of The Abduction from the Seraglio. There, at the invitation of the Queen, Mozart performed at the court and came away with requests for six easy piano sonatas and for six string quartets, the latter with the cello-playing King Friedrich Wilhelm II in mind. This musical sovereign had commissioned quartets of this sort from Pleyel in 1786, and was responsible for bringing about Haydns Op. 50 quartets. The need to emphasize the cello part was apparently a bit challenging, even for Mozart at the height of his powers: atypically, several false starts, sketches, and fragments have been found. These compositions come from a particularly unhappy period in the composer's life, clouded by concerns over his wife's health, her fidelity, and his insur?mountable debts. Yet die finished product shines in serene perfection.
A rising arpeggio in the first violin starts off the first movement with a theme the cello soon takes up (note.the prominent cello part). Also noteworthy is a descending three note chromatic phrase, actually a stylistic trade?mark, which Mozart comes back to in the last movement. Chromaticism is much in evidence; Mozart even gets in a. faux bourdon -that rare exception to the rule forbidding parallel fourths. In the development the cello and violin answer each other -as always Mozart solved his problems with aplomb. His harmonic sophistication shows in even the simplest passages. The recapitulation "
features a subtle point in the final harmonic transformation of the first theme. After this stroke of genius Mozart flippantly closes the movement with a lone rising octave in the first violin.
As the slow movement begins, listen for the wonderful first inversion chord (the third of the chord is in the bass, rather than the root). The cello is given a graceful cantilena accompanimentto, which is enriched with diminished chords in its second statement. The development uses imitation, and a beautiful modulation to the flat-sixth key. The scotch snap dotted rhythms remind one of the slow movement of the Symphony No. 40 which Mozart had just recendy completed.
The Menuetto's first the'me in major is answered in the relative minor; pay attention again to the rising arpeggio theme. Was the unity with the first movement intended or unconscious The third section builds har?monic tension against a pedal point. In the Trio, the inner voices at last have their say. Then notice the repeated notes in the restatement of the main section, for Mozart will be employing these to great effect in the last movement.
After a fantastic beginning, Mozart develops the Finale's rhythm amazingly. A long lead to the dominant brings us to the real treat -the unforgettable second theme. It might be described as a sequence of repeated notes, a turn, and that descending three-note chromatic phrase, yet there are no words to do it justice. It is die apotheosis of his style, and Mozart's greatness would have been proven had he written nothing else but this. Again we have superb counter?point with a stretto (quick imitative treatment of a subject), and an oddly off-beat closing repetition of a diree-note syncopated figure. The development plunges us right away into a foreign key.'with Mozart's chromaticism outdoing itself. But, unbelievably, the outward affect is one of a gay jaunt. In one last touch of unification, Mozart, as with the first movement, ends this one gently.
Six Bagatelles for String Quartet, Op. 9
Anton von Webern Born December 3, 1883 in Vienna Died September 15, 1945 in Mittersill ? (accidentally shot and killed by an American soldier.)
One music dictionary defines the bagatelle as a "short, lightweight piece". Webern's Six Bagatelles, Op. 9 are utterly short, but the absolute opposite of lightweight. On the contrary, these little pieces, perhaps more than any others, now seem to mark the first great step into the twelve-tone system that would come to dominate music in the mid-twentieth century. All the more remark?able was the birth of Webern's aphoristic ' style at the very apex of the overblown late romantic era.
Following the Two Rilke Songs for Voice and Instrumental Ensemble, Op. 8 and just preceding the Five Pieces for Orchestra, Op. 10, the Bagatelles had their first public per?formance at Donaueschingen on the July 19, 1924 by the Amar Quartet. The outer movements were written in Murzzuschlag in June and July of 1913, and the four! inner movements at the Preglhof during the hot, dry summer of igi 1. Though mention of the outward conditions of a work's creation might not seem in place for a composer so abstract and theoretical as Webern, read his own words describing his approach to com?position from a letter to Berg of July 12, 1912:
". . .music that quite decidedly had to do with experience -often down to the details. "
Concerning these pieces, one can hardly do better than to quote from a lecture that Webern himself gave in 1932:
"About jgn, I wrote the Bagatelles for string quartet, all very short pieces, lasting two minutes; perhaps they were the shortest pieces in music so far. Here I had the feeling when the twelve notes had all been played the piece was over. Much later I realized that all this . was part of a necessary development. In my sketchbook I wrote out the chromatic scale and crossed off the individual notes. Why Because I had convinced myself, 'This note has been there already.' It sounds grotesque, incomprehensible, and it was incredibly dif?ficult. The inner ear decided absolutely rightly that the man who had written out the chromatic scale and crossed off individual notes was no fool. . . . In short, a law came into being. Until all twelve notes have appeared none of them may occur again. The most important thing is that each suc?cessive 'run' of the twelve notes marked a division within the piece, idea,or theme. "
As to the critical reaction, the Dresdner Neueste Nachrichten stated that the Bagatelles "surpassed all that had gone before through their brevity, measurable only in seconds, and through their audacities of sound effects. . . . Emerging, so to speak, from the unconscious, they had something curiously compelling in them, though going beyond all usual concepts."
Webern's mentor, Arnold Schoenberg observed with his usual eloquence:
". . . Consider what moderation is required to express oneself so briefly. Every glance can be expanded into a poem, every sigh into a novel But to express a novel in a single gesture, joy in a single breath -such concentration can only be present in proportion to the absence of self-indulgence. These pieces will be under?stood only by someone who has faith in music as the expression of something that can be said only musically."
If one had to choose only two adjectives to describe the Bagatelles, might they be "intensity" and "concentratiqn" Let us allow Webern the last word, from his dedication of these pieces to Berg: " ' non multa sed multuni (not much in quantity, but much incontent). How happy I would be if this maxim could apply here."
Quartet in G Major,' Op. 161. D. 887
Born January 31, ijgj in Himmelpfortgrund
(then a suburb of Vienna)
Died November ig, 1828 in Vienna
Though we must remain wary of applying conclusions drawn from composers' lives to their art, it is sometimes inescapable to hear Schubert's last works as tinged with his knowledge of mortality. The Fifteenth String Quartet D.887 is clearly a case in point. It was composed in ten days (!) in June, 1826, and probably first performed privately on March 7, 1827. The innocent realm of, say, Rosamunde lasts no longer than the initial G Major chord; the very next sound plunges us with a shock into g minor. So jarring is this contrast that it is difficult to find another such example until Mahler's Symphony No. 6 in 1904.
Notable is the rhythmic motive of measures five and ten, a sort of shaking of one's fist at heaven more generally associated with Beethoven than Schubert. This figure returns in thesecond movement, contributing to the quartet's unification. The sequential passage starting after the fermata at bar fourteen eerily foretells the world of Gollerdammerungviilh shifting harmonies giving way underneath.
The "Andante" may contain the most revolutionary harmony of all. After the first
section in which the cello spins out one of those lines unique to Schubert, the drama heightens with two furiously ascending lines for the first violin. After a brief comment the rising minor-third G to B-flat is tossed out three times by the first violin and viola -whether or not it makes any sense against the harmonies just preceding. The next such example that comes to mind is not until 1910: Sibelius Symphony No. 4.
The high seriousness of the first two movements is not so much lifted as trans?formed into a frenetic impetus in the Scherzo. Not until the Finale does Schubert at last relax into the sort of easy going romp that most listeners might expect. Even here, a ben marcato section of extreme expressivity recurs. In all, the G Major Quartet marks the culmination of Schubert's strivings in this genre, and stands as one of the pinna?cles of his output.
Notes by Joseph Laibman Ann Arbor, 1994
For more than 1 o years, the Hagen Quartet from Salzburg has been making artistic decisions with a sense of balance. In the selection and preparation of its extensive repertoire the group has attempted to meet its respon?sibilities not only toward the great musical heritage but also toward the challenges posed by contemporary quartet literature. The four Hagen siblings (Lukas, Angelika, Veronika and Clemens), growing up in the musical atmosphere of a violist's home, arrived at interpretations that would lend a distincdy personal touch to the established variants of quartet playing. This might also explain why the ensemble has succeeded in maintaining its artistic standfng and spirit of
ensemble while undergoing personal and personnel changes.
The Hagen Quartet and its individual members consider their studies at the Mozarteum of Salzburg, at the Musikhochscule of Basel and of Hannover, and at the University of Cincinnati important in their development. While the group was honing its technical and chamber music skills, it was Hatto Beyerle, Heingrich Schiff and Walter Levin, who, as both teachers and colleagues, exerted their influence with guidance and encouragement. Their meetings with Nikolaus Harnocourt helped to expand their field of musical vision as does their friendship and artistic relationship with Gidon Kremer who repeatedly has involved the Hagen Quartet in his chamber music projects (and dreams) at the Lockenhaus Chamber Music Festival.
In Lockenhaus, the Hagen Quartet was
awarded the 198 ; "Prize of the Jury" and the so-called "Audience Prize". The following year, the ensemble won die first prize at the Portsmouth String Quartet Competition, which was followed by their London debut at Wigmore Hall. It can be safely assumed that the international, even worldwide, career of the Hagen Quartet had its beginning during this period. In 1983, this career was advanced even furdier when the group won the compe?titions at Evian , Bordeaux and Banff (Canada).
The Hagen Quartet is one of diose rare ensembles which from the very beginning are accepted as die prophets in their own country and hometown. The artistic growth of die Quartet could be witnessed at die Salzburg Fesdval, die Mozart-Week and in die regular Salzburg concert series. Today, despite its
extensive touring, the ensemble stays in touch with its teacher and holds on to its firm but by no means rigid convictions about the how and why of phrasing and tone color?ing. Last but not least, the recordings from the Lockenhaus Chamber Music Festival, a recording of Schubert's 'Trout Quintet" with Andres Scliiff for Decca, and an extensive selection of recordings for Deutsche Grammophon (the Quartet has an exclusive contract with DG) bear witness to the group's adaptability to styles ranging from Bach to Ligeti and Lutoslawski. In this setting, regular collaborations with cellist Heinrich Schiff, pianists Paul Gulda and Oleg Maisenberg or with the violist Gerard Causse have proven to be very successful.
This evening's concert marks the UMS debut of The Hagen String Quartet:
Lukas Hagen, First Violin, born in Salzburg i in 1962, started violin lessons at the age of five, followed by studies with Helmut Zehetmair at the Hochschule Marteum. He won several prizes in the "jugend musizierf competition, and the special prize given by the Vienna Philharmonic for musicians under the age of 19. In 1982, he was awarded the Karl Bohm Prize by the orchestra. He-regularly appears as soloist Salzburg's Mozartwoche and Kulturtage.
Rainer Schmidt, Second Violin, born in Giessen, Germany, in 1964, started violin lessons early. He won several prizes at national youth music competitions, appeared as soloist and chamber musician. From 1986-87, he studied at the University of Cincinnati Conservatory with Dorothy Delay and Walter Levin, and joined the Hagen Quartet upon his return to Europe. In 1989, he co-founded the Ravinia Trio, which has s been highly acclaimed in Europe, Japan, and the United States. In recent years, Mr. Schmidt has been conducting chamber music classes at the Mozarteum.
Veronika Hagen, Viola, born in 1963, received her first inspiration and support from her father, the first violist of the Mozarteum Orchestra. While studying at the Mozarteum jvith Helmut Zehetmair, she switched from violin to viola-, and received her performance diploma in 1982 with honors. Ms. Hagen has won numerous prizes, includ?ing second prize at the 1983 International Viola Competition in Budapest. In addition she was given the prize for the best interpre?tation of a composition by a Hungarian composer. Ms. Hagen appears often as a soloist in Austria and abroad, and in various other chamber music ensembles. She regularly takes part in the Alzburger Restspiele and the Salzburger Mozartwoche, and at the Lockenhaus, Kuhmo, Luzern, and Prussia Cove Festivals.
Clemens Hagen, Cello, born in 1966started playing the cello early. He studied at the Mozarteum, and with Heinrich Schiff at the Basel Musikhochschule. Mr. Hagen won two prizes awarded by the Vienna Philharmonic including the Karl Bohm Prize. As soloist he has toured throughout Europe, and has appeared with the Vienna Symphony, the Deutsche Kammerphilharmonie, the English Chamber Orchestra, the Camerata Academica Salzburg, the NHK Symphony Orchestra in Japan, and future engagements will include an appearance with the Berlin Philharmonic under Claudio Abaddo. He . regularly appears at Lockenhaus and the Schubertiade in Austria. In 1990, he joined his sister Veronika and Gidon Kremer at' London's Wigmore Hall in the "Schnittke: A Celebration" Festival, and has toured with Mr. Kremer's chamber ensemble. Since 1989, Clemens Hagen has held a professor?ship at the Mozarteum.
Burton Memorial Tower
A FAVORITE CAMPUS and Ann Arbor landmark, Burton Memorial Tower is the familiar mailing address and box office location for UMS concertgoers.
In a 1921 commencement address, University president Marion LeRoy Burton suggested that a bell tower, tall enough to be seen for miles, be built in the center of campus to represent the idealism and loyalty of U-M alumni. Burton served as president of the University and as a Musical Society trustee from 1920 until his death in 1925.
In 1935 Charles M. Baird, the University's first athletic director, donated $70,000 for a carillon and clock to be installed in a tower dedicated to the memory of President Burton. Several organizations, including the Musical Society, undertook the task of procuring funds, and nearly 1,500 individuals and organizations made contributions. The gift of the UMS totalled $60,000.
Designed by Albert Kahn, Burton Memorial Tower was completed in 1940, at which time the University Musical Society took residence of the first floor and basement.
A renovation project headed by local builder Joe O'Neal began in the summer of 1991. As a result, the UMS now has refur?bished offices on three floors of the tower, complete with updated heating, air condi?tioning, storage, lighting, and wiring. Over 230 individuals and businesses donated labor, materials, and funds to this project.
The remaining floors of Burton Tower are arranged as classrooms and offices used by the School of Music, with the top re?served for the Charles Baird Carillon. During the academic year, visitors may observe the carillon chamber and enjoy a live performance from noon to 12:30 p.m. weekdays when classes are in session and most Saturdays from 10:15 to 10:45 a.m.
University Musical Society Highlights from the 1994 Fall Season
Photos by David Smith
the Philadelphia Orchestra
October 18, 1994
Maestro Wolfgang Sawallisch leads the Philadelphia Orchestra in their triumphant return to Hill Auditorium -their 267th concert in Ann Arbor under the auspices of the Musical Society.
In the American Grain: The Martha Graham.Centenary Festival
October 27-30, 1994
Ron Protas, Artistic Director of the Martha Graham Dance Company, responds to a question at a seminar session of the Graham Festival as Graham Company Executive Director Barbara Groves, U-M Dance Department Chair and former Principal Graham Dancer Peter Sparling, and UMS Executive Director Ken Fischer look on.
In the American Grain: The Martha Graham Centenary Festival
October 27-30, 1994
Members of the Martha Graham Dance Company direct a participatory workshop, "A Chance to Dance with Graham," in the Power Center Re?hearsal Room, offering participants an opportu?nity to experience some of the same movements featured in Graham Company performances.
Dancers from the Ann Arbor Community perform Martha Graham's reconstructed Panorama.
Peter Sparling dancing the role of the Revivalist (Joyce Herring, Ethan Brown background) in the performance of Martha Graham and Aaron Copland's masterpiece Appalachian Spring (Ballet for Martha) on the 50th anniversary of its premiere at the Library of Congress in Washington, DC.
University Musical Society Highlights from the 1994 Fall Season
A Celebration of the Spiritual
November 6, 1994
Chorus master and American music legend Dr. Jester Hairston directs the combined UMS Choral Union and Our Own Thing Chorale in A Celebration of the Spiritual in Hill Auditorium.
Frederica von Stade
November 13, 1994
World-renowned mezzo-soprano Frederica von Stade makes her Ann Arbor debut before an enthusiastic Hill Auditorium audience with pianist Martin Katz.
THOUSANDS OF school children annually attend UMS concerts as part of the UMS Youth Program, which began in the 1989 1990 season with special one-hour performances for local fourth graders of Puccini's La Boheme by the New York City Opera National Company.
Now in its sixth year under the Education Department, the UMS Youth Program continues to expand, with a performance by the Martha Graham Dance Company for middle and high school students, a performance by the Shaw Festival for high school students, two fourth-grade opera performances, in-school workshops with the Uptown String Quartet, and Dr. Jester Hairston, as well as discounted tickets to nearly every concert in the UMS season.
As part of the Martha Graham Dance Company's Ann Arbor residency and the four-day multidisciplinary program entitled "In The American Grain: The Martha Graham Centenary Festival," the Graham Company presented a special youth program to middle and high school students, "A Chance to Dance with Graham" workshop, and a family performance.
On Friday, November 18,1994, area high school students experienced a full-length performance of the Shaw Festival's production of Anns and the Man.
On Friday, March 3,1995, 2700 fourth-graders will visit the Power Center for abbreviated one-hour performances of Rossini's The Barber of Seville. These performances allow children to experience opera that is fully-staged and fully-costumed with the same orchestra and singers that appear in the full-length performances.
Discounted tickets are also available for UMS concerts as part of the Youth Program to encourage students to attend concerts with their teachers as a part of the regular curriculum. Parents and teachers are encouraged to organize student groups to attend any UMS events, and the UMS Youth Program Coordinator will work with you to personalize the students' concert experience, which often includes meeting the artists after the performance. Many teachers have used UMS performances to enhance their classroom curriculums.
The UMS Youth Program has been widely praised for its innovative programs and continued success in bringing students to the performing arts at affordable prices. To learn more about how you can take advantage of the various programs offered, call Education Coordinator Helen Siedel at 313.936.0430.
The 19941995 UMS Education Program is undenvritten in part by the McKinley Foundation, ERIM, the Benard L Maas Foundation, the Anderson Associates, Ford Motor Company, David and Tina Loesel, Thomas H. and Mary Steffek Blaske, the Michigan Council for Arts and Cultural Affairs, and Norma and Richard Sams.. 32
IT'S EASY TO impress your group when you take them to a UMS event! No matter what your group -friends, company, family, club, religious congregation -the University Musical Society has an event to make you smile. And when you purchase your tickets through the UMS Group Sales Office, you'll be smiling all the way to the bank, with terrific discounts available for nearly every performance:
? Adult Groups of 20 to 46 receive a 15 discount per ticket and 1 complimentary ticket
? Adult Groups of 47 or more receive a 20 discount per ticket and 2 complimentary tickets
? For select performances, adult groups of 20 or more and student or senior groups of 10 or more receive a 25 discount per ticket and 1 complimentary ticket
? Senior groups (65+) of 10 or more receive a 20 discount per ticket and 2 complimentary tickets.
? College Student Groups of 10 or more receive a 20 discount per ticket and 2 complimentary tickets.
Your Group Sales representative offers many benefits to your group including block seating, free promotional materials, assistance with group dining arrangements, free bus parking, Philips Educational Presentations, and more. During its five-year history, the UMS Group Sales Program has brought more than 500 groups numbering over 10,000 people to UMS performances at Hill Auditorium, Rackham Auditorium, and the Power Center. Estimated Savings: $50,000. Now that's a discount! For information, call your UMS Group Sales Coordinator at (313) 763-3100.
WE ARE AWARE that some of our long-time concert-goers have difficulty with night driving. Our Advisory Committee would like to facilitate helping out those who could use a ride to concerts. If you would like a ride to a concert or if you would be willing to drive someone in your neighborhood, would you please call Judy Fry at 747-1175. With the assistance of Advisory Committee members, we will endeavor to match those needing a ride with available drivers for future concerts. Please let us know if you would like to be a part of this new program!
STUDENTS WORKING for the University Musical Society as part of the College Work-Study program gain valuable experience in all facets of arts management including concert promotion and marketing, fundraising, and event planning and production. If you are a college student who receives work-study financial aid and who is interested in working for the University Musical Society, please call 764-2538.
Volunteers & Internships
VOLUNTEERS ARE always welcome and needed to assist the UMS staff with many projects and events during the concert season. Projects include helping with mailings, ushering for the Philips Educational Presentations, staffing the Information Table in the lobbies of concert halls, distributing publicity materials, assisting with the Youth Program by compiling educational materials for teachers, greeting and escorting students to seats at performances, and serving as good-will represen?tatives for UMS as a whole.
If you would like to become part of the University Musical Society volunteer corps, please call (313) 747-1175 or pick up a volunteer application form from the Information Table in the lobby.
Internships with the University Musical Society provide experience in performing arts management, marketing, journalism, publicity, and promotion. Semesterand year-long internships are available in many aspects of the University Musical Society's operations. Those interested in serving as a UMS Intern should call (313) 764-6199 for more information. We look forward to hearing from you!
ABSOLUTE CHAOS. That is what would ensue without ushers to help concertgoers find their seats at UMS performances. Ushers serve the essential function of assisting patrons with seating and distributing program books. With their help, concerts begin peacefully and pleasantly.
The UMS Usher Corps comprises 275 individuals who volunteer their time to make concertgoing easier. Music lovers from the community and the university constitute this valued group. The all-volunteer group attends an orientation and training session each fall. Ushers are responsible for working at every UMS performance in a specific hall (Hill, Power, or Rackham) for the entire concert season.
The ushers must enjoy their work, because 85 of them return to volunteer each year. In fact some ushers have served for 30 years or longer. Bravi Ushers!
KOCHEL, HOBOKEN, & CO.
IUST WHAT ARE those mysterious designations attached to some compo sitions They explain the cataloguing vi the works of each composer in chronological order. Here is a partial list of the most important cataloguers:
Alfred Wotquenne. Belgian musicologist and compiler of the Carl Philipp Emanuel Bach catalog, e.g. W. (or Wq.) 98.
Wolfgang Schmieder. German musicologist and cataloguer of J.S. Bach's works. Schmieder's numbers conform to BWV (Bach Werke Verzeichnis) listings, e.g., S. 1064 = BWV 1064.
Anthony van Hoboken. Dutch music bibliogra?pher and cataloguer of the works of Franz Josef Haydn, usually listed by volume, followed by a number, e:g., H. (or Hob.) XVI, 17.
Ludwig von Kochel. Austrian musicologist and cataloguer of the works of Mozart, e.g., K. 612.
Ralph Kirkpatrick. American harpsichordist and musicologist, cataloguer of the keyboard music of Domenico Scarlatti, e.g., K. 67. (Alessandro Longo's earlier catalog has been superseded by that of Ralph Kirkpatrick.)
Otto Erich Deutsch. Viennese musicologist and specialist in Schubertian research, responsible for the catalog of Schubert's music, e.g., D. 378.
Minos Dounias. Greek musicologist and cataloguer of the works of Giuseppe Tartini, e.g., D. 16.
Peter Ryom. The music of Antonio Vivaldi is still difficult to sort out, and there have been several catalogues of his works. The most recent is by Peter Ryom (Leipzig 1974), numbered with the prefix RV (Ryom-Verzeichnis). Another cataloguer of Vivaldi's music was noted French musicologist Marc Pincherle, e.g., P. 685.
MUSICAL TERMS that appear on concert program pages indicate various movements of a work, but they actually do much more than that. Many terms denote tempo or speed, and, when combined with descriptive words, they give special insights into the character of the music. So that you may take full advantage of these musical signposts, we offer the following brief glossary of terms that appear most often.
adagio. Slow, at ease.
allegro. Quick, lively.
andante. An even, walking pace.
ausdruck, mit. With expression.
bedachtig. Deliberate, slow.
bewegt. Moving, agitated.
cadenza. An elaborate passage performed by a soloist near the end of a movement (espe?cially in a concerto or other work with accompanying ensemble).
coda. A passage ending a movement.
con brio. With spirit.
confuoco. With fire.
con moto. With morion.
divertimento. A light, instrumental piece.
doch. Yet, still, nevertheless.
dolce. Sweet, usually soft.
empfindung. Feeling, sentiment.
entschieden. Decided, resolute.
feierlich. Festive, solemn.
forte. Loud, strong.
gemachlich. Comfortable, slow.
gemessen. Moderate, sedate.
innig. Heartfelt, sincere.
kraftig. Forceful, energetic.
landler. Alpine dance in the character of a slow waltz.
largo. Very slow, broad.
marcato. Stressed, emphasized.
minuet. Moderate, stately dance.
molto. Very, much.
mosso. Moved, agitated.
non troppo. Not too much.
ostinato. A short, musical pattern repeated
throughout a composition or section of one. piii. Some, a little. pizzicato. On stringed instruments, plucked notes
rather than bowed. poco. Little. presto. Very fast. quasi. Nearly. rondo. A form in which the leading theme is
repeated in alternation with other themes. rubato. An expressive nuance (accelerating or
slowing down), subject to the performer's
ruhig. Calm, peaceful. scherzo. Vivacious, often humorous movement
with marked rhythms and sharp contrasts. schleppen. To drag. schnell. Fast. sehr. Very.
semplice. Simple, without ornament. sonata. An instrumental composition usually in
three or four extended movements,
contrasted in theme, tempo, and moods. sonata-form. The usual form of the first movement
of a sonata or symphony, with sections of
exposition, development, and recapitulation
sostenuto. Sustained, prolonged. spiccato. A short stroke on bowed instruments,
played at rapid tempos so that the bow
bounces slightly off the string after each
stiirmisch. Stormy, passionate. symphonic poem. Also called a tone poem;
orchestral music based on an extra musical
idea, either poetic or realistic. troppo. Too much. vivace. Lively. ziemlich. Rather. zingarese, alia. In the gypsy style.
"Desert Island Discs"
CO-PRODUCED by the University Musical Society and Michigan Radio. Desert Island Discs is heard every Saturday morning from 8:00 a.m. to 10:00 a.m. Each program features a distinguished castaway who is asked, "If you were stranded on a desert island, which recordings would you like to have with you and (perhaps most revealingly) why" Tune in Saturday mornings. WUOM-91.7 FM, Ann Arbor; WVGR-104.1 FM, Grand Rapids; WFUM-91.1, Flint.
IN AN EFFORT to help reduce distracting noises and enhance the concertgoing experience, the Warner-Lambert Company is providing complimentary Halls Mentho-Lyptus Cough Suppressant Tablets to patrons attending University Musical Society concerts. The tablets may be found in specially marked dispensers located in the lobbies.
Thanks to Ford Motor Company for the use of a 1995 Lincoln Town Car to provide transportation for visiting artists.
SUBSCRIBERS WHO purchase at least $100 worth of tickets and supporters at the $100 level and above receive the UMSCard. The UMSCard is your ticket to savings all season for discounts on purchases at the following fine stores and restaurants: Amadeus Cafe SKR Classical
Cafe Marie Tower Records Books
Gandy Dancer Video
Kerrytown Bistro jne Earie
WHAT COULD be easier and more welcome than a University Musical Society gift certificate The perfect gift for every occasion worth celebrating. Give the experience of a lifetime -a live performance -wrapped and delivered with your personal message.
Available in any amount, just visit or call the UMS box office in Burton Tower, 313.764.2538.
with the University Musical Society
FOUR YEARS ago, UMS began publishing expanded program books that included advertising and detailed information about UMS programs and services. As a result, advertising revenue now pays for all printing and design costs.
UMS advertisers have written to tell us how much they appreciate advertising in the UMS program books to reach you, our world-class audience. We hope that you will patronize the businesses who advertise with UMS and tell them that you saw their ad in the UMS program book so that we can continue to bring you the program notes, artists' biographies, and general information that illuminate each UMS presentation. For information about how your business can become a UMS advertiser, call (313) 764-6199.
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