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UMS Concert Program, Saturday Dec. 07 To 21: University Musical Society: 1996-1997 Fall - Saturday Dec. 07 To 21 --

UMS Concert Program, Saturday Dec. 07 To 21: University Musical Society: 1996-1997 Fall - Saturday Dec. 07 To 21 --  image UMS Concert Program, Saturday Dec. 07 To 21: University Musical Society: 1996-1997 Fall - Saturday Dec. 07 To 21 --  image UMS Concert Program, Saturday Dec. 07 To 21: University Musical Society: 1996-1997 Fall - Saturday Dec. 07 To 21 --  image UMS Concert Program, Saturday Dec. 07 To 21: University Musical Society: 1996-1997 Fall - Saturday Dec. 07 To 21 --  image UMS Concert Program, Saturday Dec. 07 To 21: University Musical Society: 1996-1997 Fall - Saturday Dec. 07 To 21 --  image UMS Concert Program, Saturday Dec. 07 To 21: University Musical Society: 1996-1997 Fall - Saturday Dec. 07 To 21 --  image UMS Concert Program, Saturday Dec. 07 To 21: University Musical Society: 1996-1997 Fall - Saturday Dec. 07 To 21 --  image UMS Concert Program, Saturday Dec. 07 To 21: University Musical Society: 1996-1997 Fall - Saturday Dec. 07 To 21 --  image UMS Concert Program, Saturday Dec. 07 To 21: University Musical Society: 1996-1997 Fall - Saturday Dec. 07 To 21 --  image UMS Concert Program, Saturday Dec. 07 To 21: University Musical Society: 1996-1997 Fall - Saturday Dec. 07 To 21 --  image UMS Concert Program, Saturday Dec. 07 To 21: University Musical Society: 1996-1997 Fall - Saturday Dec. 07 To 21 --  image UMS Concert Program, Saturday Dec. 07 To 21: University Musical Society: 1996-1997 Fall - Saturday Dec. 07 To 21 --  image UMS Concert Program, Saturday Dec. 07 To 21: University Musical Society: 1996-1997 Fall - Saturday Dec. 07 To 21 --  image UMS Concert Program, Saturday Dec. 07 To 21: University Musical Society: 1996-1997 Fall - Saturday Dec. 07 To 21 --  image UMS Concert Program, Saturday Dec. 07 To 21: University Musical Society: 1996-1997 Fall - Saturday Dec. 07 To 21 --  image UMS Concert Program, Saturday Dec. 07 To 21: University Musical Society: 1996-1997 Fall - Saturday Dec. 07 To 21 --  image UMS Concert Program, Saturday Dec. 07 To 21: University Musical Society: 1996-1997 Fall - Saturday Dec. 07 To 21 --  image UMS Concert Program, Saturday Dec. 07 To 21: University Musical Society: 1996-1997 Fall - 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Day
7
Month
December
Year
1996
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Rights Held By
University Musical Society
OCR Text

Season: 1996-1997 Fall
University Of Michigan, Ann Arbor

University
THE
1996-1997 Fall SEASON
Dear Friends,
Thanks for coming to this performance and for supporting the University Musical Society by being a member of the audience.
The relationship between the audience and a presenting organization like UMS is a special one, and we are gratified that an ever expand?ing and increasingly diverse audience is attend?ing UMS events. Last year, more than 120,000 people attended UMS performances and relat?ed events.
Relationships are what the performing arts are all about. Whether on a ride to the airport with Jessye Norman, enjoying sushi with Wynton Marsalis, visiting Dascola Barbers with Cecilia Bartoli, searching for antiquarian books with Andre Previn or escorting the Uptown String Quartet to Pioneer and Huron High Schools, each of these personal connections with artists enables us to get to know each other better, to brainstorm future projects and to deepen the special relationships between these artists, UMS and the Ann Arbor community.
Our Board of Directors now numbers 26 individuals, each bringing to their role unique knowledge, experience and perspective as well as a shared commitment to assuring the pre?sent and future success of UMS. What a privi?lege it is to work with a group of people whose vision of UMS is to make it the very best of its kind in the world.
That same vision is shared by members of the UMS staff, who this year invite all of the UMS family to celebrate the 25 years box office manager Michael Gowing has served UMS and this community. Michael has established a stan?dard of patron service that we're told is unmatched anywhere else in this business. Look for the acknowledgment in this program book to find out more about Michael and how you can participate in this season-long celebra?tion.
Last year, UMS volunteers contributed more than 38,000 hours to UMS. In addition to Board members, volunteers include our
Advisory Committee, usher corps, UMS Choral Union members and countless others who give of their time and talent to all facets of the UMS program. Thank you, volunteers!
Relationships with professional colleagues around the world are very special. There is a generosity of spirit in performing arts present?ing that I have rarely seen in other fields. We share our best ideas with one another at con?ferences, in publications, by phone and, increasingly, over the internet. Presenters are joining together more and more to commis?sion new works and to assure their presenta?tion, as we've done this year with William Bolcom's Briefly It Enters and Donald Byrd's The Harlem Nutcracker. I'm pleased to report that The Dreams and Prayers of Isaac the Blind, the stir?ring piece we co-commissioned and presented in April 1995 won the prestigious Kennedy Center Friedham Award for composer Osvaldo Golijov earlier this year.
The most important relationship is that with the community, and that means you. I care deeply about building and strengthening these relationships, whether it be with an indi?vidual patron who comes by the office with a program idea, with the leader of a social ser?vice organization who wishes to use one of our events as a fundraiser, with the nearly 40 school districts whose children will participate in our youth program, or with the audience member who buttonholes me in the lobby with a com?plaint.
Thanks again for coming to this event -and please let me hear from you with ideas or suggestions. Look for me in the lobby, or call me at my office at 313.647.1174.
Sincerely,
Kenneth C. Fischer Executive Director
UMS Index
Total number of volunteer person-hours donated to the Musical Society last season: 38,090
Number of volunteer person-hours spent ushering for UMS events: 7,110
Number of volunteer person-hours spent rehearsing and performing with the Choral Union: 21,700
Number of bottles of Evian that UMS artists drank last season: 1,080
Estimated number of cups of coffee consumed backstage during 199596 performances: 4,000
Number of cough drops consumed in Hill Auditorium each year during UMS concerts: 91,255
Number of costumes in this season's co-commission of The Harlem Nutcracker. 268
Number of individuals who were part of last season's events (artists, managers): 1,775
Number of concerts the Philadelphia Orchestra has performed in Hill Auditorium: 267
Number of concerts the Budapest String Quartet has performed in Rackham Auditorium: 43
Number of times the Philadelphia Orchestra has performed "Hail to the Victors": 24
Number of times the Budapest String Quartet has performed "Hail to the Victors": 0
Number of works commissioned by UMS in its first 100 years of presenting concerts (1879-1979): 8
Number of works commissioned by UMS in the past 6 years: 8
Number of years Charlotte McGeoch has subscribed to the Choral Union series: 58
Number of tickets sold at last autumn's Ford Credit 50 Off Student Ticket Sale: 6,948
Value of the money saved by students at that sale: $82,057
Value of discounts received by groups attending UMS events last season: $36,500
Number of ushers serving UMS: 275
Last year Choral Union Season Ticket Prices were raised: 1994
Number of performances of Beethoven's 7th Symphony under UMS auspices: 27
Number of performances of Tchaikovsky's 5th Symphony: 27
Number of sopranos in the UMS Choral Union: 45
Number of tenors: 32
Number of years Paul Lowry has sung with the Choral Union, including this season: 49
Number of Messiah performances from UMS' inception through 199596: 154
Average number of photographs UMS Executive Director Ken Fischer takes each year: 4,500
Number of years Charles Sink served UMS: 64
Cost of a 10-concert Choral Union subscription in 1903: $3.50
Cost of a 10-concert Choral Union subscription in 1945: $15.60
Number of regular season concerts presented by UMS in 199091: 38
Number of regular season concerts presented by UMS in 199697: 71
Number of room nights in Ann Arbor area last season generated by UMS artists: 2,806
Number of airport runs made for UMS artists in 199596: 85
Number of UMS subscribers in 199495: 1,973
Number in 199596: 3,334
of 199596 UMS subscribers who planned to renew their subscriptions this year: 92
With thanks lo Harper's Index1''
Data taken from UMS archives and audience surveys. Some numbers have been estimated.
Thank You, Corporate Underwriters
On behalf of the University Musical Society, I am privileged to recognize the following cor?porate leaders whose support of UMS reflects their recognition of the importance of localized exposure to excellence in the performing arts. Throughout its history, UMS has enjoyed close partnerships with many corporations who have the desire to enhance the quality of life in our community. These partnerships form the cor?nerstone of UMS' support and help the UMS tradition continue.
We are proud to be associated with these companies. Their significant participation in our program strengthens the increasingly important partnership between business and the arts. We thank these community leaders for this vote of confidence in the University Musical Society.
Herbert Amster
President, UMS Board of Directors
CARL A. BRAUER, JR. Owner, Bratter Investment Company "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."
DAVID G. LOESEL President, T.M.L. Ventures, Inc. "Cafe Marie's support of the University Musical Society Youth Programs is an
honor and a privilege. Together we will enrich and empower our commu?nity's youth to carry forward into future generations this fine tradition of artistic talents."
HOWARD S. HOLMES President, Chelsea Milling Company The Ann Arbor area is very fortu?nate to have the most enjoyable and outstanding musi-
cal entertainment made available by the efforts of the Universit)' Musical Society. I am happy to do my part to keep this activity alive."
Chelsea Milling Company
JORGE A. SOUS First Vice President and Manager, NBDBank "NBD Bank is hon?ored to share in the University Musical Society's proud
tradition of musical excellence and artistic diversity."
DOUGLAS D. FREETH President, First of America Bank-Ann Arbor "We are proud to be a part of this major cultural group in our community'
which perpetuates wonderful events not only for Ann Arbor bul for all of Michigan to enjoy."
L THOMAS CONLIN Chairman of the Board and Chief Executive Officer, Conlin-Faber Travel "Conlin-Faber Travel Travel is pleased to support the signifi-
cant cultural and educational projects of the University Musical Society."
ALEX TROTMAN Chairman, Chief Executive Officer, Ford Motor Company "Ford takes particu?lar pride in our longstanding associ?ation with the
University Musical Society, its concerts, and the educational programs that con?tribute so much to Southeastern Michigan."
WILLIAM E. ODOM Chairman, Ford Motor Credit Company The people of Ford Credit are very proud of our con?tinuing association
with the University Musical Society. The Society's long-established com?mitment 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."
ROBERT J.DELONIS Chairman, Great Lakes Bancorp "As a long-standing member of the Ann Arbor commu?nity, 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 cul?tural events it brings to our area."
DENNIS SERRAS 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 Chief Executive Officer, Detroit Edison The University Musical Society is one of the organi?zations that make
the Ann Arbor community a world-renowned center for the arts. The entire community shares in the count?less benefits of the excellence of these programs."
RONALD WEISER Chairman and Chief Executive Officer, McKinley Associates, Inc.
"McKinley Associates is proud to support the University
Musical Society and the cultural contri?bution it makes to the community."
THOMAS B. MCMULLEN President, Thomas B. McMullen Co., Inc. "I used to feel that a UofM Notre Dame football ticket was the best ticket in Ann
Arbor. Not anymore. The UMS provides the best in educational entertainment."
JOE E. O'NEAL
President,
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."
Joseph Curtin and Gregg 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."
Larry mcpherson
President and COO, NSK Corporation "NSK Corporation is grateful for the opportunity to contribute to the University Musical
Society. While we've only been in the Ann Arbor area for the past 82 years, and UMS has been here for 118, we can still appreciate the history they have with the city -and we are glad to be part of that history."
Michael Staebler
Managing Partner, Pepper, Hamilton & Scheetz
"Pepper, Hamilton and Scheetz congratulates the University Musical
Society for providing quality perfor?mances in music, dance and theater to the diverse community that makes up Southeastern Michigan. It is our pleasure to be among your supporters."
PEPPER, HAMILTON & SCHEETZ
ATTOWETS AT UK
George H. Cress
Michigan District President, KeyBank The University Musical Society has always done an outstanding job of bringing a wide
variety of cultural events to Ann Arbor. KeyBank is proud to support an orga?nization that continually displays such a commitment to excellence."
EDWARD SUROVELL
President,
The Edward Sumvell
Co.Realtors
"It is an honor for
Edward Surovell
Company to be
able to support an
institution as distinguished as the University Musical Society. For over a century it has been a national leader in arts presentation, and we encourage others to contribute to UMS' future."
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. Viet President and Chairman, Pharmaceutical Division, Warner Lambert Company "Warner Lambert
is very proud to be associated with the University Musical Society and is grate?ful for the cultural enrichment it brings to our Parke-Davis Research Division employees in Ann Arbor."
LAMBERT
DR. JAMES R. IRWIN Chairman and CEO, The Irwin Group of Companies President, Wolverine Temporaries, Inc. "Wolverine Temporaries began
its support of the University Musical Society in 1984, believing that a com?mitment to such high quality is good for all concerned. We extend our best wishes to UMS as it continues to cul?turally enrich the people of our com?munity."
The University Musical Society of the university of Michigan
BOARD OF DIRECTORS
Herbert S. Amster, President F. Bruce Kulp, Vice President Carol Shalita Smokier,
Secretary
Richard H. Rogel, Treasurer Gail Davis Barnes Maurice S. Binkow Paul C. Boylan
LetitiaJ. Byrd Leon S. Cohan Jon Cosovich Ronald M. Cresswell Walter L. Harrison Norman G. Herbert Kay Hunt Thomas E. Kauper
Rebecca McGowan Homer A. Neal Joe E. O'Neal John Psarouthakis George I. Shirley John O. Simpson Herbert Sloan Edward D. Surovell
Marina v.N. Whitman Iva M. Wilson Elizabeth Yhouse
Gail W. Rector, President Emeritus
UMS SENATE
Robert G. Aldrich Richard S. Berger Carl A. Brauer.Jr. Allen P. Britton Douglas D. Crary John D'Arms James J. Dudersiadt 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 Gail W. Rector John W. Reed Ann Schriber Daniel H. Schurz
Harold T. Shapiro Lois U. Stegeman E. Thursion Thieme Jerry A. Weisbach Eileen Lappin Weiser Gilbert Whitaker
STAFF
AdministrationFinance Kenneth C. Fischer,
Executive Director John B. Kennard, Jr.,
Administrative Manager Elizabeth Jahn, Asst. to
Executive Director Kate Remen, Administrative
Assistant, Marketing &
Programming R. Scott Russell, Systems
Box Office
Michael L. Gowing, Manager Sally A. Cushing, Staff Philip Guire, Staff John Peckham, Staff
Choral Union
Thomas Sheets, Conductor Timothy Haggerty, Manager
Development
Catherine Arcure, Director Betty Byrne, Advisory Elaine Economou, Corporate Susan Fitzpatrick,
Administrative Assistant Thad Schork, Gift Processing Anne Griffin Sloan,
Annual Giving
Education Audience Development
Ben Johnson, Director Emily Avers, Assistant
MarketingPromotion Sara Billmann, Director Rachel Folland, Advertising Ronald J. Reid, Group Sales
ProgrammingProduction Michael J. Kondziolka,
Director
Yoshi Campbell, Production Erika Fischer, Artists' Services Henry ReynoldsJonathan Belcher, Technical Direction
Donald Bryant, Conductor Emeritus
Work-StudyInterns Laura Birnbryer Rebekah Camm Jessica Flint Lynnette Forde Amy Hayne Lisa Moudy Tansy Rodd Lisa Vogen Scott Wilcox
1996-97 ADVISORY COMMITTEE
Susan B. Ullrich, Chair
Maya Savarino, Vice-Chair
Kathleen Beck, Secretary
Peter H. deLoof, Treasurer
Gregg Alf
Paulett Banks
Milli Baranowski
Kathleen Beck
Janice Stevens Botsford
Jeannine Buchanan
Letitia Byrd
Betty Byrne, Staff Liaison
Pat Chatas
Chen Oi Chin-Hsieh
Phil Cole
Peter H. deLoof Rosanne Duncan H. Michael Endres Don Faber Penny Fischer Barbara Gelchrter Beverly Geltner Margo Halsted Esther Heitler Deborah B. Hildebrandt Matthew Hoffmann Maureen Isaac Marc)'Jennings Damn Johnson Barbara Kahn
Mercy Kasle Steve Kasle Heidi Kerst Nat I-acy Maxine Larrouy Barbara Levitan Doni Lystra Howard Markel Margaret McKinley Clyde Metzger Ronald G. Miller Lcn Nichoff Karen Koykka O'Neal Marysia Ostafin Wendy Palms
leva Rasmussen Maya Savarino Janel Shalusky Margaret Kennedy Shaw Aliza Shevrin Sheila Silver Rita Simpson Ellen Stross James Telfer, M.D. Kathleen Treciak Susan B. Ullrich Dody Viola Jerry Weidenbach David White Jane Wilkinson Elizabeth Yhouse
The University Musical Society is an equal opportunityaffirmative action institution. The University Musical Society is supported by the Michigan Council for Arts and Cultural Affairs, the National Endowment for the Arts, and Arts Midwest members and friends in partnership with the National Endowment for the Arts.
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General Information
University Musical Society Auditoria Directory & Information
COAT ROOMS
Hill Auditorium: Coat rooms arc located on the cast 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.
DRINKING FOUNTAINS
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 balcony lobbies.
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.
Mendelssohn: A drinking fountain is located at the north
end of the hallway outside the main floor seating area.
St. Francis: A drinking fountain is located in the basement at
the bottom of the front lobby stairs.
HANDICAPPED FACILITIES
All .n itiiic .1 i.i have barrier-free entrances. Wheelchair loca?tions 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
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 parking is available to members at the Principal level. Free and reserved parking is available for members at the Leader, Concertmaster, Virtuosi and Maestro levels.
PUBLIC TELEPHONES
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.
Mendelssohn: Pay phones are located on the first floor of
the Michigan League.
St. Francis: There are no public telephones in the church.
Pay phones are available in the Parish Activities Center next
door to the church.
REFRESHMENTS
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 areas.
RESTROOMS
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 cast 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 die 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 rcstroom 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.
Mendelssohn: Men's and women's restrooms arc located down the long hallway from the main floor seating area. St. Francis: Men's and women's restrooms are located in the basement at the bottom of the front lobby stairs.
SMOKING AREAS
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
TOURS
Guided tours of the auditoria are available to groups by advance appointment only. Call 313.763.3100 for details.
UMSMEMBER INFORMATION TABLE
A wealth of information about events, UMS, restaurants, and the like is available at the information table in the lobby of each auditorium. UMS volunteers can assist you with ques?tions and requests. The information table is open diirty minutes before each concert and during intermission.
Ticket Services
PHONE ORDERS AND INFORMATION
University Musical Society Box Office
Burton Memorial Tower
Ann Arbor, MI 48109-1270
on the University of Michigan campus
3i3.764.2538
From outside the 313. area code, call toll-free 1.8OO.221.1229
Weekdays 10 a.m. to 6 p.m. Saturday 10 a.m. to 1 p.m.
FAX ORDERS 3i3.647.li7i
VISIT OUR BOX OFFICE IN PERSON
At the Burton Tower ticket office on the University of Michigan campus. Performance hall box offices are open 90 minutes before the performance time.
GIFT CERTIFICATES Tickets make great gifts for any occasion. The University Musical Society offers gift certificates available in any amount.
RETURNS If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the UMS Box Office. You will be given a receipt for an income tax deduction as refunds are not available. Please note that ticket returns do not count toward UMS membership.
University Musical Society
of the University of Michigan
One of the oldest and most respected arts presenters in the country, the University Musical Society is now in its 118th season.
The Musical Society grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Frieze and conducted by Professor Calvin Cady, the group assumed the name 'The Choral Union." During the fall and winter of 1879-80 the group rehearsed and gave concerts at local churches. Their first per-
formance of Handel's Messiah was in December of 1879, and this glorious ora?torio has since been per?formed by the UMS Choral Union annually.
As a great number of Choral Union members also belonged to the University, the University Musical Society was estab?lished in December 1880. The Musical Society includ?ed the Choral Union and University Orchestra, and throughout the year pre?sented a series of concerts
featuring local and visiting artists and ensem?bles. Professor Frieze became the first presi?dent of the Society.
Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the performing arts -internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and world music performers, and opera and theater. Through the Choral Union, Chamber Arts, Jazz Directions, Moving Truths, Divine Expressions, Stage Presence, Six Strings and many other series, the Musical Society now hosts over 75 concerts and more than 150 edu?cational events each season. UMS has flour-
ished with the support of a generous music-and arts-loving community which gathers in Hill and Rackham Auditoria, the Power Center, the Michigan Theater, St. Francis of Assisi Catholic Church, and the Lydia Mendelssohn Theatre experiencing the talents of such artists as Leonard Bernstein, the Berlin and Vienna Philharmonic Orchestras, the Martha Graham Dance Company, Jessye Norman, The Stratford Festival, Cecilia Bartoli, Wynton Marsalis, Nusrat Fateh Ali Khan and Ensemble Modern of Frankfurt.
Through educational endeavors, commis?sioning of new works, youth programs, artists' residencies such as those with the Cleveland Orchestra and The Harlem Nutcracker, and other collaborative projects, UMS has maintained its reputation for quality, artistic distinction and innovation.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor cam?pus, and a regular collaborator with many University units, the Musical Society is a sepa?rate not-for-profit organization, which supports itself from ticket sales, corporate and individ?ual contributions, foundation and government grants, and endowment income.
UMS Choral Union
Thomas Sheets, conductor
Throughout its 118-year history, the University Musical Society Choral Union has performed with many of the world's distinguished orchestras and conductors.
In its more recent history, the chorus has sung under the direction of Neemejarvi, Kurt Masur, Eugene Ormandy, Robert Shaw, Igor Stravinsky, Andre Previn, Michael Tilson-Thomas, Seiji Ozawa 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.
Based in Ann Arbor under the aegis of the University Musical Society, the 180-voice Choral Union remains best known for its annual per?formances of Handel's Messiah each December. Three years ago, the Choral Union further enriched that tradition when it was appointed resident large chorus of the Detroit Symphony Orchestra. In that capacity, the ensemble has joined the orchestra for subscription perfor?mances of Beethoven's Symphony No. 9, OrfFs Carmina Burana, Ravel's Daphnis et Chloe and Prokofiev's Aleksandr Nevsky. In 1995, the Choral Union began an artistic association with the Toledo Symphony, inaugurating the partnership with a performance of Britten's War Requiem,
and continuing with performances of the Berlioz Requiem and Bach's Mass in B minor.
In the current season, the UMS Choral Union again expands its scope to include per?formances with a third major regional ensem?ble. Continuing its association with the Detroit Symphony Orchestra, the Choral Union will collaborate in January 1997 with Maestro Jarvi and the DSO to produce a second recording for Chandos Ltd. In March the chorus will make its debut with the Grand Rapids Symphony, joining with them in a rare presentation of the Symphony No. 8 ("Symphony of a Thousand") by Gustav Mahler. This extraordinary season will culminate in a May performance of the Verdi Requiem with the Toledo Symphony.
The long choral tradition of the University Musical Society reaches back to 1879, when a group of local church choir members and other interested singers came together to sing choruses from Handel's Messiah, an event that signaled the birth of the University Musical Society. Participation in the Choral Union remains open to all by audition. Representing a mixture of townspeople, students and faculty, members of the Choral Union share one com?mon passion--a love of the choral art.
For information about the UMS Choral Union, please call 313.763.8997.
Auditoria
HILL AUDITORIUM
Standing tall and proud in the heart of the University of Michigan campus, Hill Auditorium is often associated with the best performing artists the world has to offer. Inaugurated at the 20th Annual Ann Arbor May Festival, this impressive structure has served as a showplace for a variety of important debuts and long relationships throughout the past 83 years. With acoustics that highlight everything from the softest high notes of vocal recitalists to the grandeur of the finest orchestras, Hill Auditorium is known and loved throughout the world.
Hill Auditorium is named for former U-M regent Arthur Hill, who bequested $200,000 to the University for the construction of an audito?rium for lectures, concerts and other university events. Then-UMS President Charles Sink raised an additional $150,000, and the concert hall opened in 1913 with the Chicago Symphony Orchestra performing die ever-popular Fifth Symphony of Beethoven. The following evening featured Verdi's "Manzoni" Requiem, a work that has been performed frequendy throughout the Musical Society's illustrious history. Among the many artists who have performed on die Hill Auditorium stage are Enrico Caruso (in
one of his only solo recitals outside of New York), Ernestine Schumann-Heink, Fritz Kreisler, Rosa Ponselle, Sergei Rachmaninoff, Jascha Heifetz, Ignace Jan Paderewski (who often called Hill
Auditorium "the finest music hall in the world"), Paul Robeson, Lily Pons, Leontyne Price, Marion Anderson and, more recently, Yo-Yo Ma, Cecilia Bartoli.Jessye Norman, Van Cliburn, the Metropolitan Opera Orchestra (in the debut concert of its inaugural tour) and the late Sergiu Celibidache conducting die Munich Philharmonic.
Hill Auditorium seated 4,597 when it first opened; subsequent renovations, which increased the size of the stage to accommodate both an orchestra and a large chorus (1948) and expanded wheelchair seating (1995), decreased die seating capacity to its current 4,163.
The organ pipes above the stage come from the 1894 Chicago Colombian Exposition.
Named after the founder of the Musical Society, Henry Simmons Frieze, the organ is used for numerous concerts in Hill throughout the sea?son. Despite many changes in appearance over the past century, the organ pipes were restored to their original stenciling, color and layout in 1986.
Hill Auditorium is slated for renovation, with funds currently being raised through the Campaign for Michigan. Developed by Albert Kahn and Associates (architects of the original concert hall), the renovation plans include elevators, expanded bathroom facilities, air conditioning, greater backstage space, artists' dressing rooms, and many other improvements and patron conveniences.
RACKHAM AUDITORIUM
Until the last fifty years, chamber music concerts in Ann Arbor were a relative rarity, presented in an assortment of venues including University Hall (the precursor to Hill Auditorium), Hill Auditorium and the current home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strongly in the importance of studying human history and human thought, died in 1933, his will estab?lished the Horace H. Rackham and Mary A. Rackham Fund. It was this fund which subse?quently awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School, but also to estab?lish a $4 million endowment to further the development of graduate studies. Even more
remarkable than the size of the gift, which is still considered one of the most ambitious ever given to higher education, is the fact that neither of the Rackhams ever attended the University of Michigan.
Designed by architect William Kapp, Rackham Auditorium was quickly recognized as the ideal venue for chamber music. In 1941, the Musical Society presented its first chamber music festival with the Musical Art Quartet of New York performing three concerts in as many days, and the current Chamber Arts Series was born in 1963. Chamber music audiences and artists alike appreciate the intimacy, beauty and fine acoustics of the 1,129-seat auditorium, which has been the location for hundreds of chamber music concerts throughout the years.
Since 1980, Rackham Auditorium has also been the home for UMS presentations of the Michigan Chamber Players, a group of faculty artists who perform twice annually in free con?certs open to the public.
POWER CENTER FOR THE PERFORMING ARTS
Celebrating twenty-five years of wonderful arts presentation, the Power Center for the Performing Arts was originally bred from a realization that the University of Michigan had no adequate theatre for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre too small. The Power Center was designed to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power and their son, Philip, wished to make a major gift to the University, and in the midst of a list of University priorities was mentioned "a new theatre." The Powers were immediately interested, realizing that state and federal government were unlikely to provide financial support for the construction of a new theatre. In the interest of including a wide range of the performing arts and humani?ties, the idea for the Power Center for the Performing Arts was born.
Auditoria, continued
Opening in 1971 with the world pre?miere of The Grass Harp (based on the novel by Truman Capote), the Power Center achieves the seemingly contradic?tory combination of providing a soaring interior space with a unique level of inti?macy. Architectural features include the two large spiral stair?cases leading from
the orchestra level to the balcony and the well-known mirrored glass panels on the exterior. No seat in the Power Center is more than 72 feet from the stage. In 1981, a 28,000 square-foot addition was completed, providing rehearsal rooms, shops for building sets and costumes, a green room and office space. At the same time, the eminent British sculptor John W. Mills was commissioned to sculpt portrait bronzes of Eugene and Sadye Power, which currently overlook the lobby. In addi?tion to the portrait bronzes, the lobby of the Power Center features two handwoven wool tapestries: Modern Tapestry by Roy Lichtenstein and Volutes by Pablo Picasso.
The University Musical Society has been an active presenter in the Power Center for the Performing Arts from its very beginnings, bringing a variety of artists and art forms to perform on the stage. In addition to presenting artists in performance, UMS has used the Power Center for many educational activities, includ?ing youth performances and master classes.
THE MICHIGAN THEATER
The historic Michigan Theater opened January 5, 1928 at the peak of the vaudevillemovie palace era. Designed by Maurice Finkel, the Theater cost around $600,000 when it was first built. The gracious facade and beautiful interior housed not only the theater, but nine stores,
offices on the second floor and bowling alleys running the length of the basement. As was the custom of the day, the Theater was equipped to host both film and live 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 undergone many changes. "Talkies" replaced silent films just one year after the Theater opened, and vaudeville soon disappeared from the stage. As Theater attendance dwindled in the 1950s, the interior and exterior of the building were both modernized, with much of the intricate plaster work covered with aluminum, polished marble and a false ceiling.
Throughout the 1960s and 1970s, the 1,710-seat theater struggled against changes in the lilm industry, and the owners put the Theater up for sale, threatening its very existence. The non-profit Michigan Theater Foundation, a newly-founded group dedicated to preserving the facility, stepped in to operate the failing movie house in 1979.
After a partial renovation in 1986 which restored the Theater's auditorium and Grand Foyer to its 1920s-era movie palace grandeur, the Theater has become Ann Arbor's home of quality cinema as well as a popular venue for the performing arts. Further restoration of the balcony, outer lobby and facade are planned in coming years.
The University Musical Society first began presenting artists at the Michigan Theater dur?ing the 199495 season, along with occasional Him partnerships to accompany presentations in other venues. The Theater's acoustics, rich interiors and technical capabilities make it a natural setting for period pieces and mixed media projects alike. In addition to sponsoring a Twyla Tharp Film Series in 199697 (September 29-October 20), UMS presents four events at the Michigan Theater this season: Guitar Summit III (November 16), The Real Group (February 8), Voices of Light: The Passion of Joan of Arc" with Anonymous 4 (Feb?ruary 16) and The Russian Village (April 11).
ST. FRANCIS OF ASSISI CATHOLIC CHURCH
In June 1950, Father Leon Kennedy was appointed pastor of a new parish in Ann Arbor. Seventeen years later ground was broken to build a permanent church building, and on March 19, 1969 John Cardinal Dearden dedi?cated the new St. Francis of Assisi Church. Father Charles E. Irvin was appointed pastor in June 1987.
St. Francis of Assisi Catholic Church has grown from 248 families when it first started to more than 2,800 today. The present church seats 800 people and has free parking. In 1994 St. Francis purchased a splendid three-manual "mechanical action" organ with 34 stops and 45 ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedi?cation, a commitment to superb liturgical music and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the
Auditoria, continued
church a fabulous venue for presenting a cappeli choral music and early music ensembles. This season, UMS presents four concerts at St. Franci of Assisi Catholic Church: Quink (October 27), Chanticleer (December 4), Chorovaya Akademi; (March 15) and the Huelgas Ensemble (April 10)
LYDIA MENDELSSOHN THEATRE
Notwithstanding an isolated effort to establish a chamber music series by faculty and students in 1938, UMS most recently began presenting artists in the Lydia Mendelssohn Theatre in 1993, when Eartha Kitt and Barbara Cook graced the stage of the intimate 658-seat theatn for the 100th May Festival's Cabaret Ball. Now, with a new programmatic initiative to present song recitals in a more appropriate and intimai venue, the Mendelssohn Theatre has become the latest venue addition to the Musical Society roster.
Allen Pond & Pond, Martin & Lloyd, a Chicag architectural firm, designed the Mendelssohn Theatre, which is housed in the Michigan League It opened on May 4, 1929 with an original equipment cost of $36,419, and received a maji facelift in 1979. In 1995, the proscenium curtail was replaced, new carpeting installed, and the seats refurbished.
During the 1930s through the 1950s, Mendelssohn Theatre was home to a five-week Spring Drama Festival, which featured the likes of Hume Cronin, Jessica Tandy, Katharine Cornell, Burgess Meredith and Barbara Bel Geddes. Arthur Miller staged early plays at Mendelssohn Theatre while attending college a U-M in the early 1930s, and from 1962 through 1971, the University's Professional Theatre Program staged many plays, both originals and revivals. Several went on to Broadway runs, including You Can't Take It With You and Harvey which starred Helen Hayes and Jimmy Stewart.
The University Musical Society's presentatio of four song recitals celebrating the bicentenni al of Schubert's birth marks the first time in 58 years that UMS has used the Mendelssohn Theatre for regular season programming. The recitals feature baritone Sanford Sylvan (Januai
24), mezzo-soprano Sarah Walker (January 25), baritone Wolfgang Holzmair (February 17) and soprano Barbara Bonney (February 18).
BURTON MEMORIAL TOWER
Seen from miles away, this well-known University of Michigan and Ann Arbor landmark is the mailing address and box office location for the University Musical Society.
During a 1921 commencement address, University president Marion LeRoy Burton suggested that a bell tower, tall enough to be seen for miles around, be built in the center of campus representing the idealism and loyalty of U-M alumni. In 1929 the UMS Board of Directors authorized construction of the Marion LeRoy Burton Memorial Tower. The University of Michigan Club of Ann Arbor accepted the project of raising money for the tower and, along with the Regents of the University, the City of Ann Arbor, and the Alumni Association, the Tower Fund was estab?lished. UMS donated $60,000 to this fund.
In June 1935 Charles Baird, who graduated from U-M in 1895 and was the equivalent of today's Athletic Director from 1898-1908, pre?sented the University of Michigan with $70,000 for the purchase of a carillon and clock. These were to be installed in the tower in memory of Burton, former president of the University and a member of the UMS Board of Directors. Baird's intention was to donate a symbol of the University's academic, artistic, and community life a symbol in sight and sound which alumni would cherish in their Michigan memories.
Designed by Albert Kahn, the 10-story tower is built of Indiana limestone with a height of 212 feet. The tower is 41 feet, 7 inch?es square at the base. Completed in 1936, the Tower's basement and first floor rooms were designated for use by the University Musical Society in 1940. In later years, UMS was also granted permission to occupy the second and third floors of the tower.
The remaining floors of Burton Tower are arranged as classrooms and offices used by the School of Music, with the top reserved for the
Charles Baird Carillon. During the academic year, visitors may climb up to the observation deck and watch the carillon being played from noon to 12:30pm weekdays when classes are in session and most Saturdays from 10:15 to 10:45am.
A renovation project headed by local builder Joe O'Neal began in the summer of 1991. As a result, UMS now has refurbished offices on three floors of the tower, complete with updated heating, air conditioning, storage, lighting, and wiring. Over 230 individuals and businesses donat?ed labor, materials and funds to this project
The university is currently replacing Burton Tower's 45-year old elevator, which is rumored to have come from the University Hospitals, wide enough for transporting gurneys and pianos alike. The elevator-replacement project should be completed by early 1997.
The 1996-97 Season
SEPTEMBER
BENITA VALENTE, SOPRANO CYNTHIA RAIM, PIANO
World premiere song cycle by William llolcom co-commissioned by the University Musical Sui iety Friday, September 27, 8:00pm Rackham Auditorium
Master of Arts William Bolcom, interviewed by Glenn Watkins, U-M Professor of Musicology. Tues, Scp 24, 7pm, Rackham.
Meet the Artists Immediately following the performance.
Presented with the support of the KMD Foundation.
lresented with support from media partner WDET, 101.9FM, Public Radio from Wayne State University.
OCTOBER
MEREDITH MONK'S THE POLITICS OF QUIET Friday, October 4, 8:00pm Saturday, October 5, 8:00pm Power Center
Institute for the Humanities Brown Bag Lunch Meredith Monk's Music and Choreography. Tues, Oct 1, 12 noon, Rackham.
Meet the Artisls Immediately following Friday's performance.
Master of Arts Meredith Monk, interviewed by John Killacky, Curator for the Performing Arts, Walker Art Center. Sun, Sept 29, lpm Nat Sci Aud.
Presented with support from media partner WDET, 101.9FM, Public Radio from Wayne State University.
the cleveland Orchestra Weekend
Christoph von dohnanyi, music director
October 11, 12, & 13, 1996
Olaf Bar, baritone
Friday, October 11, 8:00pm
I hit Auditorium
Stephen Geber, cello Saturday, October 12, 8:00pm Hill Auditorium
Chamber Music with
Members of The Cleveland
Orchestra
Sunday, October 13, 4:00pm
Rackham Auditorium
PREP Jim Leonard, Manager, SKR Classical. "My Life has been Singularly Strange...Debussy Composes La Met." Fri, Oct 11, 6:30pm, SKR Classical.
PREP Jim Leonard, Manager, SKR Classical. "Tchaikovsky's Fifth Symphony: Tragedy from Triumph." Sat, Oct 12, 6:30pm, SKR Classical.
Meet the Artists Immediately
following Saturday's perfor?mance.
Vocal Master Class Olaf Bar, baritone. Thurs, Oct 10, 2:30-5:00pm, Recital Hall, U-M School of Music.
Panel Discussion "The Future of the American Orchestra" with members of the Cleveland Orchestra's Administrative staff. Sat, Oct 12, 4:30-6:00pm, Recital Hall, U-M School of Music.
This program is supported by Arts Midwest, a regional arts organization serving America's heartland, in partnership urith the National Endowment for the Arts, and other public and pri?vate institutions.
MARK MORRIS DANCE GROUP
Wednesday, October 16,8:00pm Power Center
CHRISTOPHER PARKENING WITH THE COLORADO STRING QUARTET Sunday, October 20, 4:00pm Rackham Auditorium
Sponsored by Regency Travel
THE TIBETAN SONG AND DANCE ENSEMBLE
Wednesday, October 23,8:00pm Power Center
Presented with the generous support of Dr. Herbert Sloan.
tharp!
Twyla Tharp Dance Company Friday, October 25, 8:00pm Saturday, October 26, 2:00pm Saturday, October 26, 8:00pm Power Center
Panel Discussion "Mothers of Invention: Tharp and Her Predecessors." In collabora?tion with the Institute for Research on Women and Gender. Mon, Oct 21, 7:30-9:30pm, Modern languages Building.
Institute for the Humanities Broun Bag Lunch Tuyla Tharp Video Discussion. Tues, Oct 22, 12noon, Rackham.
Twyla Tharp's The One Hundreds Performed for the first time since 1969, Ms. Tharp will lead 100 local, university, and community members in this historic reconstruction. Thurs, Oct 24, 8pm, Power Center, $5.
Master of Arts Twyla Tharp, interviewed by Beth Genne, U-M Professor of Dance and Art History, and Bob Beckley, Dean, College of Architecture and Urban Planning. Sat, Oct 26, 11am, Nat Sci Aud.
Film Series Movies and Movement: The Film Choreo?graphy of Twyla Tharp. All shown at the Michigan Theater. "Hair" Sun, Sept 29, 2pm; "Ragtime" Sun, Oct 6, 2pm; "Amadeus" Sun, Oct 13, 2pm; "White Nights" Sun, Oct 20, 2pm
Presented with support from media partner WDI-T, 101.9FM, Public Radio from Wayne Stale University.
QUINK
Sunday, October 27, 7:00pm St. Francis of Assisi Catholic Church
Sponsored by (lonlin-Faber Travel and Cunard.
State Symphony Orchestra of Russia Yevgeny Svetlanov, conducioi Tuesday, October 29, 8:00pn Hill Auditorium
PREP Jim Leonard, Manager, SKR Classical. "Ijbwohl undoder Ewigkert (Farewell andor Forever) -The Meaning of Mahler's Ninth." Tues, Oct 29, 6:30pm, SKR Classical.
Sponsored by NBl) Bank. NOVEMBER
Sankai juku Yuragi (In a Space of perpetual Motion)
Ushio Amaga'tsu,
Artistic Director Friday, November 1, 8:00pm Saturday, November 2, 8:00pn Power Center
Iresented with support from media partner WDl'.T, 101.9FM, Public Radio from Wayne State University.
SABRI BROTHERS
Sunday, November 3, 4:00pn Rackham Auditorium
TRIO FONTENAY
Monday, November 4, 8:00prr Rackham Auditorium
PREP Ellwood Derr, U-M Professor of Music. "Old Wine in New Botdes: Brahms Compositions on Music al Data by Mendelssohn and Others." Mon, Nov 4, 7pm, MI I,eague.
Sponsored by the Edward Suroveil Co.Reallors.
les arts Florissants
Wiluam Christie, conductof Handel's Acts and Galatea
Friday, November 8, 8:00pm Hill Auditorium
PREP Elwood Derr, U-M Professor of Music. "A Glimpse into Eighteenth-Century Workshops: Elaborations of the Same Common Properly Themes in Acis and Galatea and Works of J.S. Bach." Fri, Nov 8 7pm. MI League.
In memory of Judith and Edward Heekin, who were fre?quent Choral Union attendees.
CHECK OUT THE UMS WEBSITEI UMS Hits the Internet in the Fall of 1996. Look
(or valuable information about UMS, the 199697 season, our venues, volunteer information, educational activities, and ticket informauon. h ttp : WWW. UTT1S . OTg
Official tponstn "i the VMS
ufbsite.
MIDNIGHT IN THE GARDEN OF GOOD AND EVIL WITH JOHN BERENDT, AUTHOR (CELEBRATING THE MUSIC OF JOHNNY MERCER)
Saturday, November 9, 8:00pm I lill Auditorium
Sponsored by Regency Travel.
l'resented with support from media partner WF.MV, S9.1FM, Public Radio from Eastern Michigan University.
guitar summit iii featuring paco de lucia, al olmeola and John Mclaughlin
Saturday, November 16,8:00pm Michigan Theater
Sponsored by Regency Travel.
Presented with support from media partner WEMU, S9.1FM, Public Radio from Eastern Michigan University.
FACULTY ARTISTS CONCERT
Sunday, November 17,4:00pm Kackham Auditorium Complimentary Admission
GUARNERI STRING
QUARTET
ORION STRING QUARTET
Saturday, November 23,8:00pm
Rackham Auditorium
Sponsored by the Edward Surovell Co.Realtors with sup?port from Maurice and Linda liinkow.
DECEMBER
Chanticleer Wednesday, December 4, 8:00pm
St. Francis of Assisi Catholic Church
PREP James Borders, Associate Dean, School of Music. "Christmas Sacred Vocal Music, Medieval to Modern." Wed, Dec 4, 7pm, St. Francis Church
Sponsored by Conlin-Faber Travel and Cttnard.
HANDEL'S MESSIAH UMS Choral Union Ann Arbor Symphony
Orchestra
Thomas Sheets, conductor Saturday, December 7, 8:00pm Sunday, December 8, 2:00pm Hill Auditorium
Presented with the generous sup?port of Dr. James and Millie Irwin.
"So Many Stars" Kathleen Battle and Friends
Kathleen Battle, soprano Cyrus Chestnut, piano Christian McBride, bass James Carter, saxophone Cyro Baptista, percussion Friday, December 13, 8:00pm Hill Auditorium
Presented with support from mi'dia partner 7lMU, 89.1FM, Public Radio from Eastern Michigan University.
THE HARLEM NUTCRACKER Donald ByrdThe Group Choreography by Donald Byrd Music by Piotr Ilych Tchaikoky Arranged by Duke Ellington
and David Berger Additional music by
Craig Harris Marcus Belgrave, leader Wednesday, December 18,
8:00pm
Thursday, December 19,8:00pm Friday, December 20, 8:00pm Saturday, December 21,
2:00pm (Family Show) Saturday, December 21,8:00pm Power Center
Links to Literature Public readings by local African-American Senior Citizens about the Harlem Renaissance. At Borders Books and Music, in collabo?ration with The Links, Inc. Thurs, Dec 5, 7:30pm: Public reading for adults. Sal, Dec 7, 11:00am: Public reading for children.
Supported by the Grayling Fund and Project Managemml Associates, Inc.
Presented with support from media partners WEMU, 89.1FM, Public Radio from Eastern Michigan University and WDET, 101.9FM, Public Radio from Wayne State University.
The Harlem Nutcracker is supported by Arts Midwest, a regional arts organization serving America's heartland, in partner?ship with the National Endowment for the Arts, and other public and private institutions.
JANUARY
SCHUBERTIADE I ANDRE WATTS, PIANO CHAMBER MUSIC SOCIETY OF LINCOLN CENTER
David Shifrin, Artistic Director Wednesday, January 8, 8:00pm Rackham Auditorium
PREP Steven Moore Whiting, U-M Professor of Musicology. "Classics Reheard." Thurs, Jan 8, 7pm, MI League.
NEXUS WITH RICHARD STOLTZMAN, CLARINET Thursday, January 16, 8:00pm Hill Auditorium
Sponsored by Thomas B. McMullen Co., Inc.
Presented with support from media partner WDET, 101.9FM, Public Radio from Wayne State University.
SOUNDS OF BLACKNESS
Monday, January 20, 8:00pm Hill Auditorium
Sponsored by First of America.
This 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 1997 Rev. Dr. Martin Luther King, Jr. Day Symposium.
SCHUBERTIADE II
GARRICK OHLSSON,
PIANO
Late Schubert Piano
Masterworks
Thursday, January 23, 8:00pm Rackham Auditorium
PREP Steven Moore Whiting, U-M Professor of Musicology. "Classics Reheard." Thurs, Jan 23, 7pm, Rackham.
Sponsored by McKinley Associates, Inc.
Schubert Song Recital I sanford Sylvan, baritone David Breitman, fortepiano
Friday, January 24, 8:00pm Lydia Mendelssohn Theatre
PREP Susan Youens, Professor of Musicology, University of Notre Dame. "A discussion of the evening's repertoire. Fri.Jan 24, 6:30pm, MI League.
Vocal Master Class Sanford Sylvan, baritone. Sat, Jan 25, 2:00-4:00 pm, Mclntosh Theater, U-M School of Music.
schubert song recital ii Sarah Walker, mezzo-soprano Gareth Hancock, piano
Saturday, January 25, 8:00pm Lydia Mendelssohn Theatre
PREP Susan Youens, Professor of Musicology, University of Notre Dame. "A discussion of the evening's repertoire." Sat, Jan 25, 6:30pm, MI League.
Presented with support from media partner WDET, 101. WM, Public Radio from Wayne State University.
DETROIT SYMPHONY
ORCHESTRA
NEEME JARVI, CONDUCTOR Leif Ove Andsncs, piano UMS Choral Union Sunday, January 26, 4:00pm Mill Auditorium
Master of Arts Neemejarvi, interviewed by Thomas Sheets, Conductor, UMS Choral Union. Sun, Jan 12, 3:00pm, Rackham.
Sponsored byJPEinc.
FEBRUARY
BLUES, ROOTS, HONKS,
AND MOANS A FESTIVAL OF JAZZ AND
AFRICAN-AMERICAN
MUSICAL TRADITIONS featuring
Tile Christian McBride Quartet The Cyrus Chestnut Trio The James Carter Quartet The Leon Parker Duo Steve Turre and
His Sanctified Shells Twinkie Clark and
The Clark Sisters Saturday, February 1, 1:00pm
(Family Show)
Saturday, February 1, 8:00pm Hill Auditorium
Sponsored by NSK Corporation.
Presented with support from media partner WEMU, 89.1FM, Public Radio from Eastern Michigan University.
BUDAPEST FESTIVAL
ORCHESTRA
IVAN FISCHER, CONDUCTOR Thursday, February 6, 8:00pm Hill Auditorium
THE REAL GROUP
Saturday, February 8, 8:00pm Michigan Theater
Presented with support from media partner WEMU, 89.1FM, Public Radio from Eastern Michigan University.
Ars Poetica Chamber
Orchestra Anatoli Cheiniouk, music director
Monday, February 10, 8:00pm Rackham Auditorium
Supported by Miller, Canfield, Paddock and Stone, P.L.C.
blood on the fields wynton marsalis and the lincoln center Jazz Orchestra with Jon Hendricks
AND
CASSANDRA WILSON
Music and libretto by
Wynton Marsalis Wednesday, February 12, 8:00pm Hill Auditorium
Master of Arts Wynton Marsalis, interviewed by Stanley Crouch, Jazz Musician, Critic, and Author. Tues, Feb 11, 7:00pm, Rackham.
Presented with support from media partner WEMU, 89.1FM, Public Radio from Eastern Michigan University.
brandenburg ensemble Jaime Laredo,
conductor violin Leila josefowicz.violin Andreas haefliger,
piano
Friday, February 14, 8:00pm Hill Auditorium
PREP Steven Moore Whiting, U-M Professor of Musicology. "Classics Reheard." Fri, Feb 14, 7pm, MI League.
Sponsored by Great ;; Bancorp.
emerson string quartet
All-Brahms Program Saturday, February 15, 8:00pm Rackham Auditorium
PREP Elwood Derr, U-M Professor of Music. "Nineteenth-Century 'CDs' of Brahms' String Quartets: His Piano-Duet Arrangements for Home Use." Sat, Feb 15, 7pm, Ml League.
Sponsored by the Edward Surovell Co.Realtors.
VOICES OF LIGHT: "THE PASSION OF
JOAN OF ARC" A FILM BY CARL DREYER FEATURING ANONYMOUS 4 Los Angeles Mozart Orchestra I Canton
Lucinda Carver, conductor Sunday, February 16, 7:00pm Michigan Theater
Presented with support from media partner WDET, 101.9FM, Public Radio from Wayne State University.
Schubert Song Recital III Wolfgang holzmair,
baritone julius drake, piano
Monday, February 17, 8:00pm Lydia Mendelssohn Theatre
SCHUBERT SONG RECITAL IV BARBARA BONNEY,
SOPRANO
CAREN LEVINE, PIANO Tuesday, February 18, 8:00pm Lydia Mendelssohn Theatre
PUCCINI'S LA BOHEME NEW YORK CITY OPERA NATIONAL COMPANY Wednesday, February 19,8:00pm Thursday, February 20,8:00pm Friday, February 21,8:00pm
Saturday, February 22, 2:00pm
(Family Show)
Saturday, February 22, 8:00pm Power Center
PREP for Kids Helen Siedel, UMS Education Specialist. "What does 'La Koheme'mtan" Sat, Feb 22, 1:15pm, Power Center Rehearsal Rm.
ACADEMY OF ST. MARTIN-
IN-THE-FIELDS IONA BROWN, CONDUCTOR
VIOLIN
Sunday, February 23, 4:00pm Rackham Auditorium
PREP Lorna McDaniel, U-M Professor of Musicology. A discussion of the afternoon's repertoire. Sun, Feb 23, 3:00pm, MI League.
Sponsored by Conlin-Faber Travel and Cunard.
KODO
Monday, February 24, 8:00pm Tuesday, February 25, 8:00pm Power Center
National Traditional orchestra of China
I In Bingxo, conductor Wednesday, February 26,8:00pm Hill Auditorium
Iresented with the generous sup?port of Dr. Herbert Sloan.
MARCH
RICHARD GOODE, PIANO
Friday, March 14, 8:00pm Hill Auditorium
Sponsored by Pepper, Hamilton cjf Scheetz, Attorneys at Law.
CHOROVAYA AKADEMIA
Saturday, March 15, 8:00pm St. Francis of Assisi Catholic Church
Sponsored by Conlin-Faber Travel and Cunard.
SCHUBERTIADE III HERMANN PREY, BARITONE Michael Endres, piano Auryn String Quartet
with Martin Lovett, cello Thursday, March 20, 8:00pm Rackham Auditorium
schubertiade iv Hermann Prey, baritone Michael Endres, piano Auryn String Quartet Martin Katz, piano Mnton Nel, piano
Friday, March 21, 8:00pm Rackham Auditorium
PREP Steven Moore Whiting, U-M Professor of Musicology. "Classics Reheard." Fri, Mar 21, 7pm, Rackham.
Vocal Master Class Hermann Prey, baritone. Sat, Mar 22, 10:00am-12:00noon. Recital Hall, U-M School of Music.
mahler's symphony no. 8 Grand Rapids symphony
and Chorus ums choral union
Grand Rapids Choir of Men
and Boys
Boychoir of Ann Arbor Catherine Comet, conductor Sunday, March 23, 4:00pm Hill Auditorium
Sponsored by the University of Michigan.
CECILIA BARTOLI, MEZZO-SOPRANO
Gyorgy Fischer, piano
Saturday, March 29, 8:00pm Hill Auditorium
Master of Arts Cecilia Bartoli, interviewed by Susan Nisbett, MusicDance Reviewer, Ann Arbor News, and Ken Fischer, Executive Director, University Musical Society. Fri, Mar 28, 4pm, Rackham.
Sponsored by Parke Davis Pharmaceutical Research.
nederlands dans Theater
Thursday, April 3, 8:00pm Friday, April 4, 8:00pm Power Center
bang on a can all-stars String Trio of New York
Saturday, April 5, 8:00pm Power Center
Presented with support from media partners WEMU, 89.1FM, Public Radio from Eastern Michigan University and WDET, 101.9FM, Public Radio from Wayne State University.
huelgas ensemble paul van nevel, director The High Art of Sacred flemish polyphony
Thursday, April 10, 8:00pm St. Francis of Assisi Catholic Church
PREP James Borders, Associate Dean, School of Music. "Joy and Darkness:
The Flemish Musical Renaissance." Thurs, Apr 10, 7pm, St. Francis Church.
Sponsored by Conlin-Faber Travel and Cunard.
THE RUSSIAN VILLAGE
Friday, April 11,8:00pm Michigan Theater
Sponsored by NBD Bank.
FACULTY ARTISTS CONCERT
Sunday, April 13, 4:00pm Rackham Auditorium Complimentary Admission
THE ASSAD BROTHERS, GUITAR DUO Friday, April 18, 8:00pm Rackham Auditorium Sponsored by Regency Travel.
maher Ali Khan and SherAli Khan, Faridi Qawwals Ensemble
Saturday, April 19, 8:00pm Rackham Auditorium
Special Program Events
Performance Related Educational Presentations (PREPs) All arc invited, free of charge, to enjoy this series of prc-performancc presentations, featuring talks, demonstrations and workshops.
Meet the Artists All are welcome to remain in the auditorium while the artists return to the stage for these informal post-performance discussions.
Master of Arts A new, free of charge UMS series in col?laboration with the Institute for the Humanities and WUOM, engaging arusts in dynamic discussions about their art form. Free tickets required (limit 2 per per?son), available from the UMS Box Office, 764-2538.
Education and Audience Development
Special Events 1996-1997
Voices and Visions of Women: Panel Discussion
"Women in the ArtsArts in the Academy" In collaboration with the Institute for Research on Women and Gender. Tues.Jan 14, 7:30-9:30pm, Rackham.
Panelists: Beth Genne, Dance and History of Art Yopie Prins, English and Comparative Literature Sidonie Smith, Women's Studies and English Patricia Simons, History of Art and Women's Studies Louise Stein, Music History and Musicology
Schubert Cycle Series
Three special PREPs held at the Ann Arbor Public Library and led by Richard LeSueur, Vocal Arts Information Services, in collaboration with the Ann Arbor Public Library. "Changing Approaches to Singing of Leider"
Sun, Jan 19, 1997, 2:00-3:30pm "Great Schubert Recordings before 1945"
Sun, Feb 16, 2:00-3:30pm "Great Schubert Recordings after 1945" Sun, Mar 16, 2:00-3:30pm
Exhibit: "A Stronger Soul Within a Finer Frame: Portraying African-Americans in the Black Renaissance."
Ann Arbor Public Library, November 26, 1996-January 6, 1997. A collaboration between the University Musical Society, the Ann Arbor Public Library, Ann Arbor Public Schools, the Ann Arbor Chapter of The Links, Inc., the African-American Cultural & Historical Project of Ann Arbor and Borders Books and Music. For more information call 313-994-2335.
A cknowledgments
In an effort to help reduce distracting noises and enhance the concert-going 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 dis?pensers located in the lobbies.
Thanks to Ford Motor Company for the use of a 1996 Lincoln Town Car to provide transportation for visiting artists.
About the Cover
Included in the montage by local photographer David Smith, are images taken from the University Musical Society 1995-96 Season. Wynton Marsalis with the Lincoln Center Jazz Orchestra performing Monk, Morton, and Marsalis during a youth performance at Community High School; a beaming Seiji Ozawa after conducting the Boston Symphony Orchestra in a memorable perfor?mance in Hill Auditorium; and the Juilliard String Quartet performing in Rackham Auditorium in cele?bration of their fiftieth anniversary.
University
Musical
Society
of the University of Michigan 1996 1997 Fall Season
Event Program Book
Saturday, December 7, 1996
through
Saturday, December 21, 1996
118th Annual Choral Union Series Hill Auditorium
Thirty-fourth Annual Chamber Arts Series Rackham Auditorium
Twenty-sixth Annual Choice Events Series
Handel's MESSIAH
Saturday, December 7, 8:00pm Sunday, December 8, 2:00pm Hill Auditorium
SO MANY STARS 2l
KATHLEEN BATTLE & FRIENDS Friday, December 13, 8:00pm Hill Auditorium
THE HARLEM NUTCRACKER 27
Wednesday, December 18, 8:00pm
Thursday, December 19, 8:00pm
Friday, December 20, 8:00pm
Saturday, December 21, 2:00pm (Family Show)
Saturday, December 21, 8:00pm
Power Center
GENERAL INFORMATION
Children of all ages are welcome to UMS Family and Youth performances. Parents are encouraged not to bring children under the age of three to regular, full length UMS perfor?mances. All children should be able to sit quietly in their own seats throughout any UMS performance. Children unable to do so, along with the adult accompanying them, will be asked by an usher to leave the auditorium. Please use discre?tion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
WHILE IN THE AUDITORIUM
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a pre?determined time in the program.
Cameras and recording equipment are not allowed in the auditorium.
If you have a question, ask your usher. They arc here to help.
Please take this opportunity to exit the "information superhighway" while you are enjoying a UMS event:
Electronic beeping or chiming digital watches, beeping pagers, ringing cellular phones and clicking portable computers should be turned off during perfor?mances. In case of emergency, advise your paging service of auditorium and seat location and ask them to call University Security at 313-765-1131.
In the interests of saving both dollars and the environment, please retain this program book and return with it when you attend other UMS performances included in this edition. Thank you for your help.
UNIVERSITY
MUSICAL
SOCIETY
and
DR. JAMES AND MILLIE IRWIN
present
Georg Frideric Handel's
Messiah
University Musical Society Choral Union Ann Arbor Symphony Orchestra Thomas Sheets, conductor
Janet Williams, soprano Malin Fritz, contralto William Watson, tenor Kevin McMillan, baritone Janice Beck, organ Edward Parmentier, harpsichord
PROGRAM
Saturday Evening, December 7, 1996 at 8:00
Sunday Afternoon, December 8, 1996 at 2:00
Hill Auditorium Ann Arbor, Michigan
Twenty-fifth and Twenty-sixth Concerts of the 118th Season
UMS Traditions Series
This concert is presented with the generous support of Dr. James and Millie Irwin.
The floral art is provided by Cherie Rehkopf and John Ozga of Fine Flowers, Ann Arbor.
Large print programs are available upon request.
Messiah
Georg Frideric Handel
Born on February 23, 1685 in Halle, Germany
Died on April 14, 1759 in London
Georg Frideric Handel's sacred oratorio Messiah is without question one of the most popular works in the choralorchestral repertoire today. In what has become an indispensable Christmas tradition, amateur and professional musicians in almost every city and town throughout the country per?form this work as a seasonal entertainment, and are rewarded with the satisfaction of taking part in one of the great communal musical events.
Since the first performances in 1742, generations of musicians have adapted Handel's Messiah to suit the changing tastes of fashion and function. The small ensembles Handel conducted himself had around twenty singers and an equal number of instrumental players, but even before the end of the eighteenth century much larger ensembles were performing the work. By the mid-nineteenth century, when the appeal of the spectacle sometimes out?weighed the demands of musical integrity, singers and instrumentalists for a single per?formance would often number in die several thousands. But the size of the ensemble wasn't the only variable. Mozart re-orchestrated Handel's score in 1789, adding extra parts for woodwinds to give the orchestral writing richer harmonies and a more varied timbre. Sir Arthur Sullivan and Eugene Goosens likewise made their own arrangements of the orchestral parts, updating the work for their respective audiences. And in 1993, a popular recording of excerpts from Messiah titled A Soulful Celebration brought togedier Stevie Wonder, Quincy Jones, Al Jarreau, the Boys Choir of Harlem, and others in a gospel-style interpretation of Handel's music. The diversity of performance styles and enthusiastic responses to this oratorio
over the centuries testify to its immense pop?ularity.
The oratorio as a musical genre originated during the seventeenth century in the churches and monasteries of Italy. In the Oratory (a side chapel found in many con?secrated buildings), the theatrical presenta?tion of vocal music on a sacred topic was an adjunct to the liturgy of the Church. But by 1700, oratorios were being performed in private chapels and palaces as a form of entertainment, and had taken on the now-standard characteristics of a sung drama on sacred texts, without staging or costumes.
Handel composed several oratorios early in his career, including some in Italian -Trionfo del Tempo e del Disinganno and La Resurrezione -and the later English-language works Esther, Deborah, and Athalia. But after the collapse of his operatic ventures in London around 1740, Handel devoted him?self to the oratorio as a form in which he could combine his flair for dramatic vocal writing and his experience as a composer of sacred, devotional music. With these later oratorios Handel eventually won back the esteem of the London critics, and secured a phenomenal public following that would ensure his future success and reputation.
The text for Messiah was selected and compiled from the Authorized (Kingjames) Version of the Bible by Charles Jennens, an aristocrat and musicianpoet of modest talent and exceptional ego. With Messiah, Jennens seems to have outdone himself in compiling a libretto with profound thematic coherence and an acute sensitivity to the inherent musical structure. With the finished libretto in his possession, Handel began setting it to music on 22 August 1741, and completed it twenty-four days later. He was certainly working at white-hot speed, but this didn't necessarily indicate he was in the throes of devotional fervor, as legend has often stated. Handel composed many of his works in haste, and immediately after completing
Messiah he wrote his next oratorio, Samson, in a similarly brief time-span.
The swiftness with which Handel composed Messiah can be partially explained by the musical borrowings from his own earlier compositions. For example, the melodies used in the two choruses "And He shall purify" and "His yoke is easy" were taken from an Italian chamber duet Handel had written earlier in 1741, "Quelfior che all' alba ride." Another secular duet, "No, di voi non vo'fidarmi" provided material for the famous chorus "For unto us a Child is born," and the delightful "All we like sheep" borrows its wandering melismas from the same duet. A madrigal from 1712, "Se tu non lasci amore" was transformed into a duet-chorus pair for the end of the oratorio, "O Death, where is thy sting," and "But thanks be to God." In each instance, however, Handel does more than simply provide new words to old tunes. There is considerable re-composition, and any frivolity that remains from the light-hearted secular models is more than com?pensated for by the new material Handel masterfully worked into each chorus.
Over-enthusiastic Handelists in the nine?teenth century perpetuated all sorts of leg?ends regarding the composition of Messiah. An often-repeated story relates how Handel's servant found him sobbing with emotion while writing the famous "Hallelujah Chorus," and the composer claiming, "I did think I did see all Heaven before me and the great God Himself." Supposedly Handel often left his meals untouched during this compositional period, in an apparent display of devotional fasting and monastic self-denial. Present-day historians more familiar with Handel's life and religious views tend to downplay these stories. It has been suggested that if Handel did indeed have visions of Heaven while he composed Messiah, then it was only in the same manner in which he visualized the Roman pantheon of gods while he composed his opera Semele.
Handel's religious faith was sincere, but tended to be practical rather than mystical.
Handel was also not a native English-speaker, and examples of awkward text-setting in Messiah demonstrate some idiosyncrasies in his English declamation. He set the word "were" as if it had two syllables, and "surely" with three syllables. In the bass aria, "The trumpet shall sound," Handel originally declaimed "incorruptible" with emphasis on the second and fourth syllables. While these can be corrected by the editor of the score or the singer in performance, sometimes Handel placed rhythmic accents on the wrong words entirely. Yet they are so familiar to us now that we don't hear them as unusu?al: "For unto us a Child is born," or "Come unto Him, ye that are heavy laden."
The first public performance of Messiah took place in Dublin, Ireland, on 13 April 1742. As this was to be a benefit performance for charity, the ladies were asked not to wear hoop dresses, and the men to leave their swords at home, in order to accommodate more people in the hall. Messiah was an unqualified success in Dublin; Handel had worked for months preparing his chorus and orchestra, and brought in some of the finest solo singers from England. The alto soloist in particular sang so affectingly that after one aria an audience member exclaimed from his chair, "Woman, for this, be all thy sins forgiven." But when Handel took Messiah to London the following season, it received a chilly reception. Even though King George II attended the first performance at Covent Garden Theatre (and, it is claimed, initiated' the tradition of standing for the "Hallelujah Chorus"), London audiences found its contemplative texts lacking in drama and narrative action, and it closed after only three performances. Some clergy considered the theatre in general a den of iniquity and certainly no place for a work on such a sacred topic (Handel couldn't win -when it was scheduled to be performed in
Westminster Abbey, other members of the clergy declared it sacrilege for a public entertainment to take place in a consecrated church). And Jennens, the librettist, wasn't entirely pleased with what Handel had done to his texts. After initially voicing his thorough disappointment with the work, Jennens later declared Handel's composition "a fine Entertainment, tho' not near so good as he might & ought to have done." It wasn't until 1750, when another performance for charity was staged at the Foundling Hospital in London, that English audiences took Messiah to their hearts, and yearly perfor?mances at the hospital from that time on established the lasting popularity of both the work and its composer. Upon Handel's death in 1759, he willed his score and parts for Messiah to the Foundling Hospital in a charitable gesture of gratitude.
The tradition of performing Messiah at Christmas began later in the eighteenth cen?tury. Although the work was occasionally performed during Advent in Dublin, the oratorio was usually regarded in England as an entertainment for the penitential season of Lent, when performances of opera were banned. Messiah's extended musical focus on Christ's redeeming sacrifice also makes it particularly suitable for Passion Week and Holy Week, the periods when it was usually performed during Handel's lifetime. But in 1791, the Caecilian Society of London began its annual Christmas performances, and in 1818 the Handel and Haydn Society of Boston gave the work's first complete per?formance in the United States on Christmas Day -establishing a tradition that contin?ues to the present. The University Musical Society is a direct result of this tradition. In 1879, a group of local university and towns?people gathered together to study Handel's Messiah; this group assumed the name The Choral Union" and, in 1880, the members of the Choral Union established the University Musical Society.
Following the pattern of Italian baroque opera, Messiah is divided into three parts. The first is concerned with prophecies of the Messiah's coming, drawing heavily from messianic texts in the Book of Isaiah, and concludes with an account of the Christmas story that mixes both Old and New Testament sources. The second part deals with Christ's mission and sacrifice, culminat?ing in the grand "Hallelujah Chorus." The final, shortest section is an extended hymn of thanksgiving, an expression of faith beginning with Job's statement "I know that my Redeemer liveth" and closing with the majestic chorus "Worthy is the Lamb" and a fugal "Amen." In its focus on Christ's sacri?fice Messiah resembles the great Lutheran Passions of Schutz and Bach, but with much less direct narrative and more meditative commentary on the redemptive nature of the Messiah's earthly mission. Handel scholar Robert Myers suggested that "logically Handel's masterpiece should be called Redemption, for its author celebrates the idea of Redemption, rather than the personality of Christ."
For the believer and non-believer alike, Handel's Messiah is undoubtedly a majestic musical edifice. But while a truly popular favorite around the world, Messiah aspires to more than just a reputation as an enjoyable musical event. After an early performance of the work in London, Handel was congratu?lated by Lord Kinnoul on the "noble enter?tainment" he had recently brought to the city. Handel is said to have replied, "My Lord, I should be sorry if I only entertained them; I wished to make them better." Certainly Messiah carries an ennobling mes?sage to people of all faiths and credos, pro?claiming "peace on earth, and goodwill towards men" -a message that continues to be timely and universal.
Program note by Luke Howard
Part I
1 Sinfonia
2 Arioso
Isaiah 40: 1 Isaiah 40: 2
Isaiah 40: 3
3 Air
Isaiah 40: 4
4 Chorus
Isaiah 40: 5
5 Accompanied recitative Haggai 2: 6
Haggai 2: 7 Malachi 3: 1
6 Air
Malachi 3: 2
7 Chorus Malachi 3: 3
8 Recitative Isaiah 7: 14
9 Air and Chorus
Isaiah 40: 9
Isaiah 60: 1
Mr. Watson
Comfort ye, comfort ye my people, saith your God.
Speak ye comfortably to Jerusalem, and cry unto her that her
warfare is accomplished, that her iniquity is pardoned. The voice of him that crieth in the wilderness: Prepare ye the way
of the Lord, make straight in the desert a highway for our God.
Mr. Watson
Every valley shall be exalted, and every hill and mountain . . . made low: the crooked ...straight, and the rough places plain:
And the glory of the Lord shall be revealed, and all flesh shall see it together: for the mouth of the Lord hath spoken it
Mr. McMillan
. . . thus saith the Lord of hosts: Yet once, ... a little while, and I will shake the heavens and the earth, the sea and the dry land;
And I will shake all nations, and the desire of all nations shall come: . . .
. . . the Lord, whom ye seek, shall suddenly come to his temple, even the messenger of the covenant, whom ye delight in: behold, he shall come, saith the Lord of hosts.
Mr. McMillan
But who may abide the day of his coming And who shall stand when he appeareth For he is like a refiner's fire, . . .
. . . and he shall purify the sons of Levi, . . . that they may offer unto the Lord an offering in righteousness.
Ms. Fritz
Behold, a virgin shall conceive, and bear a son, and shall call his name Immanuel, "God-with-us."
Ms. Fritz
O thou that tellest good tidings to Zion, get thee up into the high mountain; O thou that tellest good tidings to Jerusalem, lift up thy voice with strength; lift it up, be not afraid; say unto the cities of Judah: Behold your God!
Arise, shine; for thy light is come, and the glory of the Lord is risen upon thee.
10 Anoso
Isaiah 60:2
Isaiah 60:3
11 Air
Isaiah 9:2
12 Chorus
Isaiah 9: 6
13 Pifa
14 Recitative
Luke 2: 8
15 Arioso
Luke 2: 9
16 Recitative
Luke 2: 10
Luke 2: 11
17 Arioso
Luke 2: 13
18 Chorus
Luke 2: 14
19 Air
Zechariah 9: 9
Zechariah 9: 10
Mr. McMillan For behold, . . . darkness shall cover the earth, and gross darkness
the people: but the Lord shall arise upon thee, and His
glory shall be seen upon thee. And the Gentiles shall come to thy light, and kings to the
brightness of thy rising.
Mr. McMillan
The people that walked in darkness have seen a great light: and they that dwell in the land of the shadow of death, upon them hath the light shined.
For unto us a child is born, unto us a son is given: and the
government shall be upon his shoulder, and his name shall be called Wonderful, Counselor, The Mighty God, The Everlasting Father, The Prince of Peace.
(Pastoral Symphony)
Ms. Williams
. . . there were . . . shepherds abiding in the field, keeping watch over their flock by night.
Ms. Williams
And, lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them: and they were sore afraid.
Ms. Williams
And the angel said unto diem, Fear not: for, behold, I bring you good tidings of great joy, which shall be to all people.
For unto you is born this day in die city of David a Saviour, which is Christ the Lord.
Ms. Williams
And suddenly there was with the angel a multitude of die heavenly host praising God and saying,
Glory to God in the highest, and peace on earth, good will toward men.
Ms. Williams Rejoice greatly, O daughter of Zion; shout, O daughter of Jerusalem:
behold, thy King cometh unto thee: he is the righteous
Saviour, . . . . . . and he shall speak peace unto the heathen: . . .
20 Recitative
Isaiah 35: 5
Isaiah 35: 6
21 Air
Isaiah 40: 11
Matthew 11: 28 Matthew 11:29
22 Chorus
Matthew 11: 30
Ms. Fritz
Then shall the eyes of the blind be opened, and the ears of the
deaf. . . unstopped. Then shall the lame man leap as a hart, and the tongue of the
dumb shall sing: . . .
Ms. Williams and Ms. Fritz
He shall feed his flock like a shepherd: and he shall gather the
lambs with his arm, and carry them in his bosom, and . . .
gently lead those that are with young. Come unto Him, all ye that labour and are heavy laden, and He
will give you rest. Take His yoke upon you, and learn of Him, for He is meek and
lowly of heart: and ye shall find rest unto your souls.
. . . His yoke is easy, and His burden is light.
Intermission
Part II
23 Chorus
John 1: 29
24 Air Isaiah 53: 3
Isaiah 50: 6
25 Chorus
Isaiah 53: 4 Isaiah 53: 5
26 Chorus
Isaiah 53: 4
... Behold, the Lamb of God, that taketh away the sin of the world! ...
Ms. Fritz He was despised and rejected of men; a man of sorrows, and
acquainted with grief: . . . He gave his back to the smiters, and His cheeks to them that
plucked off the hair: He hid not His face from shame
and spitting.
Surely he hath borne our griefs, and carried our sorrows: . . . ... he was wounded for our transgressions, he was bruised for
our iniquities: the chastisement of our peace was upon him;
and with his stripes are we healed.
All we like sheep have gone astray; we have turned every one to his own way; and the Lord hath laid on him the iniquity of us all.
27 Arioso Psalm 22: 7
28 Chorus Psalm 22: 8
29 Accompanied recitative
Psalm 69: 20
30 Arioso
Lamentations 1: 12
31 Accompanied recitative Isaiah 53: 8
32 Air
Psalm 16: 10
33 Chorus Psalm 24: 7
Psalm 24: 8 Psalm 24: 9 Psalm 24: 10
34 Recitative
Hebrews 1: 5
35 Chorus Hebrews 1: 6
36 Air
Psalm 68: 18
37 Chorus Psalm 68: 11
Mr. Watson
All they that see him laugh him to scorn: they shoot our their lips, and shake their heads, saying:
He trusted in God that he would deliver him: let him deliver him, if he delight in him.
Mr. Watson
Thy rebuke hath broken his heart; he is full of heaviness: he
looked for some to have pity on him, but there was no man; neither found he any to comfort him.
Mr. Watson
. . . Behold and see if there be any sorrow like unto his sorrow . . .
Mr. Watson
... he was cut off out of the land of the living: for the transgressions of thy people was he stricken.
Mr. Watson
But thou didst not leave his soul in hell; nor didst thou suffer thy Holy One to see corruption.
Lift up your heads, O ye gates; and be ye lift up, ye everlasting
doors; and the King of glory shall come in. Who is this King of glory The Lord strong and mighty, the Lord
mighty in battle. Lift up your heads, O ye gates; and be ye lift up, ye everlasting
doors; and the King of glory shall come in. Who is this King of glory The Lord of hosts, he is the King of glory.
Mr. Watson
. . . unto which of the angels said he at any time, Thou art my son, this day have I begotten thee . . .
... let all the angels of God worship him.
Ms. Fritz
Thou art gone up on high, thou has lead captivity captive: and received gifts for men; yea, even for thine enemies, that the Lord God might dwell among them.
The Lord gave the word: great was the company of the preachers.
38 Air
Isaiah 52: 7
39 Chorus
Romans 10: 18
40 Air and
Accompanied recitative
Psalm 2:1 Psalm 2: 2
41 Chorus
Psalm 2: 3
42 Recitative
Psalm 2: 4
43 Air
Psalm 2: 9
44 Chorus
Revelation 19: 6 Revelation 11: 15
Revelation 19: 16
45 Air
Job 19: 25
Job 19: 26 I Cor. 15: 20
Ms. Williams
How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things . . .
Their sound is gone out into all lands, and their words unto the ends of the world.
Mr. McMillan
Why do the nations so furiously rage together, . . . why do the
people imagine a vain thing The kings of the earth rise up, and the rulers take counsel
together against the Lord and his anointed, . . .
Let us break their bonds asunder, and cast away their yokes from us.
Mr. Watson
He that dwelleth in heaven shall laugh them to scorn: the Lord shall leave them in derision.
Mr. Watson
Thou shalt break them with a rod of iron; thou shalt dash them in pieces like a potter's vessel.
Hallelujah: for the Lord God omnipotent reigneth.
. . . The kingdom of this world is become the kingdom of our
Lord, and of his Christ; and he shall reign for ever and ever. . . . King of Kings, and Lord of Lords.
You are invited to join the Choral Union in singing the "Hallelujah" chorus. Please leave the music at the door when exiting the auditorium. Thank you.
Part III
Ms. Williams
I know that my redeemer liveth, and that he shall stand at the
latter day upon the earth. And though . . . worms destroy this body, yet in my flesh shall I
see God. For now is Christ risen from the dead, . . . the first fruits of them
that sleep. .
46 Chorus
Cor. 15: 21
I Cor. 15: 22
47 Accompanied recitative
Cor. 15: 51
I Cor. 15: 52
48 Air
Cor. 15: 52
I Cor. 15: 53
49 Recitative Cor. 15: 54
50 Duet
Cor. 15: 55 I Cor. 15: 56
51 Chorus
Cor. 15: 57
52 Air
Romans 8: 31 Romans 8: 33
Romans 8: 34
53 Chorus
Revelation 5:12
Revelation 5: 13
. . . since by man came death, by man came also the resurrection
of the dead. For as in Adam all die, even so in Christ shall all be made alive.
Mr. McMillan
Behold, I tell you a mystery; we shall not all sleep, but we shall
all be changed, In a moment, in the twinkling of an eye at the last trumpet:
Mr. McMillan
. . . the trumpet shall sound, and the dead shall be raised
incorruptible, and we shall be changed. For this corruptible must put on incorruption, and this mortal
must put on immortality.
Ms. Fritz
. . . then shall be brought to pass the saying that is written, Death is swallowed up in victory.
Ms. Fritz and Mr. Watson
O death, where is thy sung O grave, where is thy victory The sting of death is sin; and the strength of sin is the law.
But thanks be to God, who giveth us the victory through our Lord Jesus Christ.
Ms. Williams
If God be for us, who can be against us
Who shall lay anything to the charge of God's elect It is God
thatjustifieth. Who is he that condemneth It is Christ that died, yea rather,
that is risen again, who is ... at the right hand of God, who
. . . maketh intercession for us.
. . . Worthy is the Lamb that was slain and hath redeemed us to God by His blood to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing.
. . . Blessing, and honour, . . . glory, and power, be unto Him that sitteth upon the throne, and unto the Lamb for ever and ever.
Amen.
'Tremendously acclaimed star of the evening and one of the most phenomenal discoveries of recent times, Janet Williams..." Such was the critical acclaim from Berlin's Der Tagesspiegel following the artist's debut at the Berlin Staatsoper in October of 1992 as Cleopatra in a new
production of Graun's Cleopatra e Cesare, confirming that the artist is one of the bright?est new talents on the international music scene. The artist has also been acclaimed for per?formances at the
Bastille Opera, San Francisco Opera, Dallas Opera, Nice Opera, Opera de Lyon as well as in concerts throughout Europe, North America, Canada, and Japan with conduc?tors including Vladimir Ashkenazy, Daniel Barenboim, Rene Jacobs, Neemejarvi, Sir Neville Mariner, Zubin Mehta, and Gerard Schwarz.
Last season, Detroit-native Janet Williams made her Metropolitan Opera debut as Adele in Die Fledermaus and also made her debut with Washington Opera as Sophie in Der Rosenkavalier, a role she repeated at the Berlin Staatsoper under Donald Runnicles. She also appeared in concert for the Marilyn Home Foundation and the Mostly Mozart Festival in New York and sang Villa Lobos' Bachianas Brasilieras No. 5 with Frankfurt's Hessische Symphony Orchestra and a performance of Mahler's Symphony No. 2 at the Spoleto Festival (Italy).
Ms. Williams will launch this season singing the title role of Handel's Semele in a new production at the Berlin Staatsoper, Rene Jacobs conducting. She will also appear in Berlin as Pamina in The Magic Flute, Sophie in Der Rosenkavalier and Rosina in The Barber of Seville. In addition, the artist
will sing Susanna in The Marriage of Figaro with Michigan Opera Theatre and these University Musical Society Messiah perfor?mances.
These performances mark Janet Williams' debut under UMS auspices.
Malin Fritz was a National Finalist in the Metropolitan Opera Auditions this year, and won first prize in the Metropolitan Opera Auditions Eastern Regional Finals. Highlights of her 1996-97 season include Cornelia in Handel's Giulio Cesare and the Third Lady in Die Zauberflote with the Virginia Opera. Ms. Fritz's orchestral engagements include the mezzo-soprano solo in Prokofiev's Alexander Nevsky and Handel's Messiah with the Virginia
Symphony as well as these University Musical Society performances. She recently sang the contralto solo in Mahler's Symphony No. 3 with the Toledo Symphony Orchestra and was re-engaged for the upcoming season
to sing Verdi's Requiem. She will be a guest artist in the Shreveport Opera Met Audition Winners Concert.
These performances mark Malin Fritz's debut under UMS auspices.
This season, William Watson is appearing in these University Musical Society perfor?mances of Messiah and with the Buffalo Philharmonic in Bach's St. Matthew Passion. Other engagements for this season include a series of concerts with Chicago's esteemed Music of the Baroque. Engagements for last season included a five-concert series with Music of the Baroque, St. John Passion with
the Youngstown Symphony, Carmina Burana with Sun Cities Symphony, Christmas Oratorio with Canterbury Choral Society and The Jewel Box with Chicago Opera Theatre.
On the concert
stage, Mr. Watson debuted in Holland, per?forming St. Matthew Passion with the Noord Nederlands Orkest to critical acclaim. Concert appearances in America included both the Springfield and Wichita Symphonies, the Berkshire Choral Festival, and several concerts with Chicago's Music of the Baroque, including Handel's opera Alcina and Monteverdi's Orfeo. Carnegie Hall audiences heard Mr. Watson in Carmina Burana and Mendelssohn's Walpurgis Nacht with New York's St. Cecilia Chorus.
In opera, Mr. Watson has performed many lyric tenor roles including Tamino in Mozart's The Magic Flute with the Chicago Symphony and Tonio in Daughter of the Regiment, a role which he sang with both Chicago Opera Theatre and on national tour with Texas Opera Theatre. Also with the Chicago Opera Theatre, he has per?formed Almaviva in The Barber of Seville, Ernesto in Don Pasquale, and Nemorio in L'Elisir d'amore. He sang Don Ottavio in Don Giovanni with the Pennsylvania Opera Theatre and with the Cleveland Opera he has performed Jaquino in Fidelio and Pedrillo in Abduction from the Seraglio.
These performances mark William Watson's debut under UMS asupices.
Kevin McMillan has quickly become one of the most sought after concert baritones of his generation. Critics continue to praise his "elegant voice" and "singularly remarkable interpretive skills" and these qualities were
acknowledged in a 1992 Grammy Award. His engagements over the past few years include appearances with virtually every major North American orchestra, under the direction of such renowned conductors as Masur, Norrington, Blomstedt, Commissiona, Boulez, Friihbeck. de Burgos, Lopez-Cobos, Davis, Jarvi, Shaw and Dutoit. His stature is also growing in Europe where he has made many recent auspicious debuts -Berlin, Munich, Leipzig, Hamburg, Madrid and Cologne.
After preliminary schooling in his native Canada, he studied at the Britten-Pears School in England, and did graduate work at The Juilliard School in New York. His vocal proficiency
and scholarly musi?cianship afford him a broad range of styles and peri?ods in the orches?tral and oratorio repertoire -from Bach's St. Matthew Passion and the title role in Monteverdi's Orfeo
to Mahler's Lieder eines fahrenden Gesellen and Penderecki's St. Luke Passion. Despite injuries sustained in an accident years ago, operatic singing also plays a part in his career. He counts among his concert presen?tations the roles of Schaunard in Puccini's La Boheme and Papageno in Mozart's Die Zauberjlote.
Mr. McMillian's first love has always been the solo recital, and justly so. He has been described as "an outstanding Schubertian," whose "young voice of glowing freshness and beauty is at the service of an intelligent, lively, and distinctive personality." He has debuted with resounding success in both London and New York, and he is probably the busiest recitalist in Canada, regularly heard on CBC broadcasts. Most recently, he
was invited back to Lyon, France after a debut there singing Die schone Miillerin received much critical acclaim, and he returned to Europe for Schubert recitals at three major European festivals.
Kevin McMillan made his UMS debut at the 1992 May Festival in a performance oCarmina Burana with the Detroit Symphony Orchestra. These performances mark his second and third performances under UMS auspices.
Janice Beck's performance career spans two continents and includes recitals in some of the most prestigious venues. While a Fuibright Scholar in Paris studying with Jean Langlais, she presented the world premiere of his American Suite. During tours of France and the United Kingdom she has presented concerts in the Cathedral of St. Maurice, Angers; the Cathedral of St. Pierre, Montpellier; St. David's Hall, Cardiff; Southwell Minster; and Coventry Cathedral. During May, 1995 she was the featured organ recitalist at the Bury St. Edmunds Music Festival in St. Edmundsbury Cathedral. She concertizes throughout North America, and has presented recitals at national conven-
tionsofThe American Guild of Organists and the Organ Historical Society. Recently in the United States, she participated in the University of Michigan Conference on Organ Music
Celebrating the life and work of Jean Langlais, and played a recital in the First Congregational Church of Los Angeles.
Forthcoming engagements include recitals in Christ Church Cathedral Ottawa, Canada; the Ann Arbor New Music Festival; the International Festival of Organ and
Chamber Music, Szczecin, Poland; the International Festival of Organ Music, Gdansk, Poland; thejozef Gresak Festival, Bardejov, Slovakia; All Saints Collegiate Church, Maidstone, England; and Westminster Abbey, London.
Janice Beck was born in Newport News, Virginia, and as a child studied organ in Williamsburg where she played many recitals in Historic Bruton Parish Church. Subsequent study was at Rollins College with Catharine Crozier, her major teacher, die University of Michigan with Marilyn Mason, and in Paris with Jean Langlais and Nadia Boulanger. She is a recipient of the Algernon Sydney Sullivan Award, presented by Rollins College, "for leadership, great achievement in one's chosen field, and service to others." She resides in Ann Arbor, Michigan where she has been a member of the Alumnae Board of Governors of the University of Michigan School of Music, and the Advisory . Committee of the University Musical Society. During 1995-96 she was Dean of the Ann Arbor Chapter of the American Guild of Organists.
Janice Beck performed in the UMS presentation of Messiah in 1995. These are her third and fourth performances under UMS auspices.
Edward Parmentier, harpsichordist and director of the Early Music Ensemble, has performed throughout the United States, Russia, Western Europe, Japan and Korea on harpsichord and historic organs. He is a frequent recitalist, lecturer and adjudicator at symposia and festivals. His collection of recordings has won both critical and popu?lar acclaim. Recent releases include Bach's partitas, French seventeenth-century harpsi?chord music, sonatas of Scarlatti and music of die English virginalists. He appears fre?quently in ensemble settings as a continuist and concerto soloist. Mr. Parmentier conducts modern instrument chamber orchestras in performances of baroque and classical
repertoire. His annual summer harpsichord work?shops at the University of Michigan attract performers from all over the world. Mr. Parmentier holds degrees in classical languages
and literatures, humanities and musicology from Harvard and Princeton. His harpsi?chord teachers were Albert Fuller and Gustav Leonhardt.
Edward Parmentier appeared in the 1995 perfor?mances q"Messiah. These performances mark his third and fourth performances under UMS auspices.
Thomas Sheets is an accomplished and ver?satile conductor whose work with communi?ty choruses, academic institutions and opera companies has received widespread acclaim.
Appointed Music Director of the University Musical Society Choral Union in 1993, he is the tenth conductor to hold this position in the ensemble's 118-year history. In the past three seasons, he has prepared the Choral Union for several notable perfor?mances given by the Detroit Symphony Orchestra under the direction of Neeme Jarvi and Jerzy Semkow, and by the Toledo Symphony under the direction of Andrew Massey.
Last season, Mr. Sheets conducted the Choral Union's annual holiday perfor?mances of Handel's Messiah with the Ann Arbor Symphony Orchestra and Bach's Mass in b minor with the Toledo Symphony. In February of 1996, he led the Choral Union and the University of Michigan Dance Company in four performances of Orff s Carmina Burana.
Before moving to Ann Arbor, Mr. Sheets was Associate Conductor of two prominent Southern California choruses, the William
Hall Chorale and the Master Chorale of Orange County, both conducted by his men?tor, the distinguished choral conductor William Hall. During that time, he assisted in preparing all the major choralorchestral works in the current repertoire, in some instances for performances led by Robert Shaw, Jorge Mester, Joann Faletta and Michael Tilson-Thomas. As chorusmaster in 1988 for Long Beach Opera's highly-acclaimed American premiere of Szymanowski's King Roger, his efforts on behalf of the chorus received accolades from critics on four continents. He was engaged in the same role in 1992 for that company's avant-garde staging of Simon Boccanegra, where the chorus again received singular plaudits.
Thomas Sheets is also Music Director of the 120-voice Toledo Symphony Chorale. He
received the degree Doctor of Musical Arts from the University of Southern California and has held appointments as Director of Choral Activities at several colleges and uni?versities. Dr. Sheets is a frequent con-
ference leader and clinician; his editions of choral music are published by Augsburg-Fortress, and he is a regular contributor of articles on choral music performance.
These performances mark the fourth year that Thomas Sheets has conducted Messiah under UMS auspices. In March of 1996 he conducted the Choral Union urith the Toledo Symphony in a performance of Bach's Mass in b minor.
Throughout its 118-year history, the University Musical Society Choral Union has performed with many of the world's distinguished orchestras and conductors.
In recent years, the chorus has sung under the direction of Neemejarvi, Kurt Masur, Eugene Ormandy, Robert Shaw, Igor Stravinsky, Andre Previn, Michael Tilson-Thomas, Seiji Ozawa 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.
Based in Ann Arbor under the aegis of the University Musical Society, the 180-voice Choral Union remains best known for its annual performances of Handel's Messiah each December. Three years ago, the Choral Union further enriched that tradition when it was appointed resident large chorus of the Detroit Symphony Orchestra. In that capaci?ty, the ensemble has joined the orchestra for subscription performances of Beethoven's Symphony No. 9, Orffs Carmina Burana, Ravel's Daphnis et Chloe and Prokofiev's Aleksandr Nevsky. In 1995, the Choral Union began an artistic association with the Toledo Symphony, inaugurating the partnership with a performance of Britten's War Requiem, and continuing this past season with perfor?mances of the Berlioz Requiem and Bach's Mass in b minor.
In the upcoming season, the UMS Choral Union will again expand its scope to include performances with a third major regional orchestra. Continuing its association with the Detroit Symphony Orchestra, the Choral Union will collaborate in January 1997 with Maestro Jarvi and the DSO. In March, the chorus will make its debut with the Grand Rapids Symphony, joining with them in a
rare presentation of the Symphony No. 8 (Symphony of a Thousand) by Gustav Mahler. This extraordinary season will culminate in a May performance of the Verdi Requiem with the Toledo Symphony.
The long choral tradition of the University Musical Society reaches back to 1879, when a group of local church choir members and other interested singers came together to sing choruses from Handel's Messiah, an event that signaled the birth of the University Musical Society. Participation in the Choral Union remains open to all by audition. Representing a mixture of townspeople, students and faculty, members of the Choral Union share one common passion -a love of the choral art.
The UMS Choral Union began performing in 1879 and has presented Messiah in unbroken annual performances. These performances mark their 367th and 368th appearances under UMS auspices.
The UMS Choral Union
Thomas Sheets, conductor Donald Bryant, conductor emeritus Jean Schneider-Claytor, accompanist Timothy Haggerty, manager
Soprano
Marie Ankcnbruck-Davis
Elizabeth Ballcnger
Janet L. Bell
Maria Besson
Marisa Bond
Edith Leavis Bookstein
Debrajoy Brabenec
Susan F. Campbell
I .mi.i Christian
Cheryl D. Clarkson
Carla Dirlikov
Kathy Neufeld Dunn
Kathryn Foster Elliott
Laurie Erickson
Patricia Forsberg-Smith
Mary L. Golden
Lori Kathleen Gould
Deirdre Hamilton
Elizabeth E.Jahn
Dorcen J. Jessen
Julia Jones
Meredyth M.Jones
Kelly Klooster
Mary Kay Lawless
Carolyn Leyh
Loretta Lovalvo
Melissa Hope Marin
Linda Marshall
Marilyn Meeker
Trisha Neff
Lydia Nichols
Madelyn Nichols
Carole Lynch Pennington
Margaret Dcarden Petersen
SaraPeth
Judith A. Premin
Virginia Reese
Jennifer Richardson
Mary A. Schieve
Cindy Schloesser
Denisc Rae Scramstad
Lindsay Shipps
Leslie Helene Smith
Sue Ellen Straub
Susan Topol
Jean Marion Urquhart
Barbara Hertz Wallgren
Rachelle Barcus Warren
Margaret Warrick
Mary Wigton
Linda Kaye Woodman
Kathleen A. Young
Karin Zitzewitz
Alto
Leslie Austin
Mary Jo Baynes
Carol Beardmore
Myrna Berlin
Paula Brostrom
Nancy Wilson Celebi
Alice Cerniglia
I ..mi.i Clausen
Dolores Davidson
Anne C. Davis
Deborah Dowson
Anna Egert
Marilyn Finkbeiner
LeAnn Eriksson Guyton
Hilary Haftel
Nancy Ham
Carol Hohnkc
Nancy Houk
Cinzia Iaderosa
Olga Johnson
Sally A. Kope
Jean Leverich
Suzanne Stepich Lewand
Cynthia Lunan
Jeanette Luton
Laura McDonald
Erin McFall-Witte
Carol Milsicin
Holly Ann Muenchow
Nancy L. Murphy
Lisa Michiko Murray
Lotla Olvegard
Kathleen Opcrhall
Karen Osborn
Lynn Powell
April Pronk
(..iiicii Sandall
Margaret Sharemet
Beverly N. Slater
Amy Smith
Jari Smith
Cynthia Sorensen
Patricia Stciss
Cheryl Utiger
Jane Van Bolt
Tracey Zavadi)
Tenor
Chris Barllctt
Fred L. Bookstein
Tobias Breyer
Fr. Timothy J. Dombrowski
Philip Enns
Stephen Erickson
John W. Etsweiler
Albert P. Girod
Roy Glover
Lionel R. Guerra
Arthur Gulick
Brandon Ivie
Henry Johnson
Douglas Keasal
Robert KlafTke
Martin G. Kope
Howard Lee
Paul Lowry
Robert MacGregor
Mike Needham
William Ribbens
Phillip Rodgers
Scott Silveria
Elizabeth Sklar
Carl Smith
Daniel Sonntag
Thomas Spafford
John Stiles
Samuel C. Ursu
James Van Bochove
Nicholas Wallin
Richard Ward
William Guy Barast Howard Bond Harry Bowen Thomas Bress John M. Brucger Glenn Bugala Jonathan Burdette Kee Man Chang Don Faber ('.. William Ferguson Philip Gorman Donald L. Haworth Gene W. Hsu Charles T. Hudson Andrew Jordan Mark K. Lindley George Lindquist Thomas Litow Lawrence Lohr Charles Lovelace Robert A. Markley Jeremy Mathis William McAdoo Joseph D. McCadden Gerald Miller Cameron Paterson Michael Pratt William Premin Bradley Prilts David Sandusky Sheldon Sandwciss Edward Schramm Marshall S. Schuster John T. Sepp William Simpson Alan Singer Jeff Spindler Robert Stawski Jayme Stayer Robert D. Strozier Terril O. Tompkins John Van Bolt Jack Waas Benjamin Williams
The Ann Arbor Symphony Orchestra
What began in 1928 as an all-volunteer orchestra, performing a brief season of com?munity concerts, has grown sixty-eight years later into an all-professional, resident orchestra which annually presents six main-stage and two youth concerts in the historic Michigan Theater. In addition, the Ann Arbor Symphony Orchestra (A'-'SO) serves as the orchestra in residence for The University Musical Society's Messiah and was the orchestra for the 1994 UMS presentation of the Martha Graham Dance Company's, In the American Grain.
The A2SO's Education and Outreach Programs reach more than 25,000 young people annually through a number of unique initiatives. Among these, the Mentorship Program for youth at risk provides concert tickets for 133 economically at risk youngsters and their families in a program sponsored jointly by the A2SO and area businesses; the Daytime Youth Concerts serve thirty-three area school districts for 3,400 students; the Youth Soloist Competition allows Michigan youngsters under twenty to compete for the honor of performing a complete Mozart concerto with the A2SO as part of their sub?scription series concerts; the free Preconcert Lectures are presented by Music Director Conductor Samuel Wong, and average 200 -500 people per lecture.
Under the direction of Maestro Samuel Wong, a protege of both Kurt Masur and Zubin Mehta, the A2SO has grown in musical stature, receiving national recognition as one of the very best regional orchestras. Its exciting 1996-97 season, which has already included a performance of Shoshtakovich's Tenth Symphony, and will include Stravinsky's Firebird Suite and Mahler's Fourth Symphony, is a testament to the range, ambition and talent of this exceptional orchestra.
The Ann Arbor Symphony Orclieslra has performed in the UMS presentation of Messiah every year since 1988. This weekends performances mark their twenty-third and twenty-fourth appearances under UMS auspices.
Violin I
Stephen Shipps, Concertmastn
Melissa Yeh
Afag Sadykhly
Alexander Margolis
Jane Price
Lucia Santizo Kern
Violin II
Barbara Sturgis-Everett
Jay Lee
Alexandra Tsilibes
Bryan Johnston
Anne Ogren
Jackie Livesay
Viola
Barbara Zmich Nathan Peters Sarah Moseley Carolyn Tarzia Susan Schreibcr
Cello
Vladimir Babin Margot Amrine Carrie Dunning Alison Badger
Bass
Gregg Emerson Powell Chad Kuypers Jean Marie Posekany
Oboe
Lorelei Crawford Kristin Reynolds Judi Scramlin Greta Seymour
Bassoon
Dean Zimmerman
Trumpet
David Kuehn Christopher Bubolz
Timpani James lancioni
UNIVERSITY
MUSICAL
SOCIETY
presents
Kathleen Battle
soprano
So Many Stars
with Special Guests Cyrus Chestnut, piano James Carter, saxophone Christian McBride, bass Romero Lubambo, guitar Cyro Baptista, percussion
PROGRAM
Friday Evening, December 13, 1996 at 8:00
Hill Auditorium Ann Arbor, Michigan
This evening's performance will be chosen from the following selections:
I
Couldn' hear nobody pray Traditional
This litde light o'mine Traditional
Steal Away Traditional Ms. Battle, Mr. Chestnut, Mr. Carter, Mr. McBride
Holy, holy, holy Traditional
Jesus loves me, this I know Traditional Mr. Chestnut
II
Glory, glory Halleluia Traditional Mr. Chestnut, Mr. Carter, Mr. McBride
Hush! Somebody's Calling My Name Traditional
Guide my feet Traditional
He's got the whole world in His hands Traditional Ms. Battle, Mr. Chestnut, Mr. Carter, Mr. McBride
III
Cancion de cuna Anonymous
Para ninar Paurillo Barroso
So Many Stars Sergio Mendes
Fais do do Traditional Creole
Ms. Battle, Mr. Chestnut, Mr. Carter, Mr. McBride,
Mr. Lubambo, Mr. Baptista
INTERMISSION
IV
Melodia sentimental HeitorVilla-Lobos
Del cabello mas sutil Fernando Obradors
Azulno Jayme Ovalle
Ms. Battle, Mr. Chestnut, Mr. Carter, Mr. McBride,
Mr. Lumbambo, Mr. Baptista
V
Don't get around much anymore Duke Ellington
Prelude to a Kiss Duke Ellington
In a Sentimental Mood Duke Ellington
Just Squeeze Me Duke Ellington
Ms. Battle, Mr. Chestnut, Mr. Carter, Mr. McBride,
Mr. Lumbambo, Mr. Baptista
VI
Caravan Duke Ellington Mr. Chestnut, Mr.Carter, Mr. McBride
Heaven Duke Ellington
Come Sunday Duke Ellington Ms. Battle, Mr. Chestnut, Mr. Carter, Mr. McBride
Twenty-seventh Concert of the 118th Season
Jazz Directions Series
The Jazz Directions Series is presented with support from media partner WEMU, 89.1 FM, Public Radio from Eastern Michigan University.
The Steinway piano used in this evening's performance is made possible by Mary and William Palmer and Hammell Music, Inc., Livonia, Michigan.
Tonight's floral art is provided by Cherie Rehkopf and John Ozga of Fine Flowers, Ann Arbor.
Kathleen Battle's lyric soprano voice and unique artistry have captivated audiences around the world, making her one of the most acclaimed k singers of our time. Miss Battle has appeared on the stages of the world's leading opera houses including The Metropolitan Opera, the opera houses of Vienna, Paris, San Francisco, Chicago, and the Royal Opera House Covent Garden. She has performed with the world's great orchestras including the New York Philhar?monic, Chicago Symphony Orchestra, Boston Symphony Orchestra, Philadelphia Orchestra, Cleveland Orchestra, Los Angeles Philharmonic, Berlin Philharmonic, Vienna Philharmonic, and Orchestre de Paris, and also at the festivals of Salzburg, Ravinia, Tanglewood, Caramoor, Hollywood Bowl, Mann Music Center, and at Cincinnati's May Festival. In recital, Miss Battle has toured extensively across the United States and Canada, South America, Europe, and the Far East, performing regu?larly in such music capitals as New York, Boston, Chicago, Washington DC, Paris, London, Vienna, Berlin, Tokyo, and Milan. Her many recordings and television appear?ances have brought her voice and musician?ship into millions of homes world-wide. With a stage repertoire spanning the centuries from Handel (Cleopatra in the Metropolitan Opera's 1988-89 premiere staging of Giulio Cesare) to Richard Strauss, Kathleen Battle is equally at home perform?ing Mozart's Susanna in Le nozze di Figaro as she is in the bel canto operas of Rossini ( Barbiere di Siviglia) and Donizetti (L'elisir d'amore). Her Pamina in Die Zauberflote has been hailed as one of the greatest Mozartean characterizations of our genera?tion, and her glittering Zerbinetta in Ariadne aufNaxos received the Laurence Olivier Award for Best Performance in a New
Opera Production for her debut at London's Royal Opera House Covent Garden. In addition she has performed Zerlina in Mozart's Don Giovanni and Despina in Cosifan tutte, Sophie in Richard Strauss' Der Rosenkavalier and Zdenka in Arabella, Marie in Donizetti's Lafille du regi?ment, and Norina in Don Pasquale.
Kathleen Battle enjoys close musical col?laborations with many of the most noted artists of our time. She has appeared in con?cert with the world's major conductors, including Herbert von Karajan, Riccardo Muti, Seiji Ozawa, Leonard Slatkin, Andre Previn, Claudio Abbado, Sir Georg Solti, James Levine, Lorin Maazel, and Sir Neville Marriner. She has performed with soprano
Jessye Norman, tenors Luciano Pavarotti and Placido Domingo, violinist Itzhak Perlman, trumpeter Wynton Marsalis, flutist Jean-Pierre Rampal, guitarist Christopher Parkening, and saxophonist Grover Washington, Jr. These partnerships are documented on numerous recordings and video discs. In 1992 Miss Battle present?ed the world premiere of Honey and Rue, a song cycle with music by Andre Previn and lyrics by Nobel Prize-winning author Toni
Morrison, commissioned for Miss Battle by Carnegie Hall. The first recording of this cycle appears with Barber's Knoxvilk: Summer of 1915 and arias from Gershwin's Porgy and Bess on Kathleen Battle's most recent recording for the DG label, which was released in October 1995. Her collaboration over many years with the noted scenic and costume designer Rouben Ter-Arutunian produced a series of gowns for her most important engagements.
Kathleen Battle has established herself as a distinguished recording artist with a wide range of releases encompassing complete opera, concert, choral, and solo albums on all major labels. She has received five Grammy Awards, including three as Best Classical Vocal Soloist. Her performance of the title role in die DG recording of Handel's Semek, with Marilyn Home, Samuel Ramey, and John Nelson conducting, earned Miss Battle a Grammy for Best Opera Recording again in 1993.
In her album of French Opera Arias, released by DG in the summer of 1996, Kathleen Battle is accompanied by the Paris Opera Orchestra and conducted by Myung-Whun Chung. In addition, the recent Angels' Glory on Sony Classical with Christopher Parkening joining Miss Battle is a unique collection of Christmas songs from around the world.
Kathleen Battle's first crossover album, So Many Stars, was released in September 1995 by Sony Classical and is the inspiration for tonight's live concert. In this recording, Miss Batde is joined by leading jazz musicians including Grover Washington, Jr., Cyrus Chestnut, Christian McBride, and James Carter in a collection of lullabies, spirituals, and folksongs.
A native of Portsmouth, Ohio, Kathleen Batde has earned both her Bachelor and Master degrees from die College Conservatory of Music, University of Cincinnati. She made her professional debut at die Spoleto Festival
in Brahms' Ein deutsches Requiem, under the baton of Thomas Schippers. Her Metropolitan Opera debut came only five years later in Wagner's Tannhduser. Kathleen Battle has been awarded six honorary doctoral degrees -from her alma mater, the University of Cincinnati; Westminster Choir College in Princeton, New Jersey; Ohio University; Xavier University in Cincinnati; Amherst College; and from Seton Hall University.
Kathleen Battle made her UMS recital debut in January 1989 with pianist Martin Katz. Tonight's performance marks her second appear?ance under UMS auspices.
Born in Baltimore, Maryland on January 17, 1963, Cyrus Chestnut first received musical training at age five from his father, McDonald Chestnut. His first public performance was
two years later at the Mt. Calvary Star Baptist Church in Baltimore. He received further musical training from the Peabody Conservatory and the Berklee College of Music in Boston.
Mr. Chestnut began his profes-
sional career working with several celebrated artists, including Wynton Marsalis, drummer Carl Allen and trumpeter Terence Blanchard. In September of 1991 he began a two year tenure with jazz legend Betty Carter. He then recorded Revelation, his debut for Atlantic Jazz.
Tonight's performance marks Cyrus Chestnut's second appearance under UMS auspices.
James Carter was born and raised in Detroit, Michigan. His musical education consisted of private studies with local bop scene veteran Donald Washington as well as tenures at the prestigious Blue Lake Fine Arts Camp.
Carter first came to national attention touring with Wynton Marsalis while only seventeen.
In addition to recording two albums with his own quartet and recording a set of ballads as a solo
artist, Mr. Carter works with The Mingus Big Band, the New York Organ Ensemble and The Lincoln Center Jazz Orchestra. He also recendy reunited with Mr. Marsalis and die Lincoln Center Jazz Orchestra on the album Blood On The Fields. Mr. Carter has received numerous awards, including the first 1995 Cal ArtsAlpert Award, granted to young artists who are making a significant impact in theater, dance, visual arts, music, and filmvideo. This year, he was a first-place winner of N2K's Global Jazz Poll Award on Jazz central radio.
Tonight's performance marks James Carter's debut under UMS auspices.
Christian McBride was born in Philadelphia and started out by playing the electric bass when he was eight years old. Inspired by his father, Lee Smith, he studied classical bass at Philadelphia's High School for the Creative and Performing Arts. He also took lessons from Neil Courtney, bassist with the
Philadelphia Orchestra.
One of the most respected bassists working today, by the time he was twenty-two years old, he had worked on over seventy recordings. He has anchored sessions for artists ranging
from Freddy Hubbard and Betty Carter to Joshua Redman and Wynton Marsalis. He recently released his debut album as a leader on Verve. It is his expertise that assures him the pick of so many choice musical projects. The most recent include appearances with McCoy Tyner, Kathleen Battle, and David Sanborn. Mr. McBride also recorded with Dave Brubeck, and appeared on the live Grammy Telecast with Brubeck in February 1996. He had a featured musical role in the Robert Altman film Kansas City and was part of Chick Corea's All Star Quintet during the Summer of 1996.
The city of Philadelphia honored McBride by establishing a "Christian McBride Day" during the Mellon Jazz Festival.
Tonight's performance marks Christian McBride's debut under UMS auspices.
Romero Lubambo
was born in 1955 in the beautiful city of Rio de Janeiro. As a young boy, he studied classical piano and musical theory, but from the time he played his first notes on the guitar at the age of thirteen, he
devoted himself exclusively to that instrument. At seventeen, Lumbambo enrolled in the Villa-Lobos School of Music in Rio as a student of classical guitar, graduating in 1978 with outstanding results. He then pursued a degree in mechanical engineering at the Pontifica Universidade Catolica do Rio de Janeiro, which he received in 1980.
Between 1980 and 1985, he performed with Mauro Senise, Lany Andrade, Hermeto Pascoal, and Rildo Hora. In 1985, Lubambo left Brazil and moved to New York, where he immediately found employment with Astrud Gilberto, which continued for four years.
Since his arrival in New York, Lubambo has performed and recorded with a long list of outstanding artists that includes Herbie Mann, Billy Cobham, Dori Caymmi, Larry Coryell, Eliane Elias, Flora Purim and Airto, Paquito D'Rivera, Harry Belafonte, Jon Hendricks, and Grover Washington, Jr.
Tonight's performance marks Romero Lubambo's debut under UMS auspices.
Brazilian percussionist, Cyro Baptista, has . played a wide array of traditional and self-created percussion instruments over his twenty-year career. Since his arrival in New York City in 1980, he has performed and recorded with an impressive collection of artists including Paul Simon, Laurie Anderson, Brian Eno, Kathleen Battle,
James Taylor, David Byrne, Carly Simon, Cassandra Wilson, Chuck Mangione, Steve Gadd, Michael Tylson Thomas, Nana Vasconcelos, Janis Ian, Edie Brickell, Robert Palmer. Rvuichi
Sakamoto, John Zorn, Herbie Mann, Ruben Blades, Paula Robinson, Gato Barbieri, The Chieftains, and the Saturday Night Live Band.
Tonight's performance marks Cyro Babtista's debut under UMS auspices.
UNIVERSITY
MUSICAL
SOCIETY
and
THE GRAYLING FUND
present
The Harlem Nutcracker Honorary Chairs Coretta Scott King Ruth Ellington
World-premiere Season
THE HARLEM NUTCRACKER.
ChoreographerDirector Donald Byrd
Composer
Peter Ilyich Tchaikovsky
Music arranged by
Duke Ellington with Billy Strayhorn
David Berger
Librettist Donald Byrd
PROGRAM
Wednesday Evening, December 18, 1996 at 8:00
Thursday Evening, December 19, 1996 at 8:00
Friday Evening, December 20, 1996 at 8:00
Saturday Afternoon, December 21, 1996 at 2:00 (Family Show)
Saturday Evening, December 21, 1996 at 8:00
Power Center
Ann Arbor, Michigan
with
Donald ByrdThe Group
Michael Blake, Deborah Crocker, Stephanie Guiland, Clay Jackson, Martin Lofsnes, Aldawna Morrison, Benoit-Swan Pouffer, Laura Rossini, Leonora Stapleton
Guest Artists
Eleanor Me Coy, Gus Solomons jr., Kevin Boseman, Brian Brooks, Terry Callaway, Ferdinand de Jesus, Lakey Evans, Michele Golden, Elizabeth Parkinson, Karen Savage, Hannah Sweets, Nathan Trice
The Harlem Nutcracker Band David Berger, conductor Marcus Belgrave, leader
Ernie Rogers, reeds, Vincent York, winds, Peter Kahn, reeds, Miller Brisker, reeds, Beans Bowles, reeds, Marcus Belgrave, trumpet, Dwight Adams, trumpet, Rayse Biggs, trumpet, Maurice Davis, trumpet, Ed Gooch, trombone, Albert Dunkan, trombone, Ronald Kischuk, trombone, Harold McKinney, piano, Don Mayberry, bass, Gerald Cleaver, drums
and
The Willis Patterson Our Own Thing Chorale
Twenty-eighth, Twenty-ninth, Thirtieth, Thirty-first, and Thirty-second Performances of the 118th Season
The Harlem Nutcracker residency activities are made possible through the generous support of the Grayling Fund, an affiliated foundation of the Community Foundation for Southeastern Michigan.
Additional support for The Harlem Nutcracker and the Links to Literature is provided by Project Management Associates, Inc.
This program is supported by Arts Midwest, a regional arts organiza?tion serving America's heardand, in partnership with the National Endowment for the Arts, and other public and private institutions.
The Donald Byrd Dance Foundation's creation of The Harlem Nutcracker has been made possible in part by public funds from the National Endowment for the Arts. Additional support has been pro?vided by Aaron David Hall's Fund for New Work; the Harkness Foundation for Dance; Lila Wallace Reader's Digest Arts Partners Program, administered by the Association of Performing Arts Presenters; Live music is made possible by the Mary Flagler Cary Charitable Trust. Children's clothing provided by Gap Kids.
The world premiere co-commissioner is Arizona State University Public Events. The co-commissioners are 651, An Arts Center, Aaron Davis Hall, Brooklyn Academy of Music, District Curators, George Mason University, James A. Dolitde's Southern California Theatre Association, New Jersey Performing Arts Center, Northrop Auditorium at the University of Minnesota, UCLA Center for the Performing Arts, University Musical Society at University of Michigan and Washington Performing Arts Society.
Thank you to the parents of the children's casts for their time and commitment.
Thank you to Eva Powers, Wayne State University Dance Program, and Eunice Moore, Detroit Public Schools' Dance Program in the coordination of the children's casts and rehearsals.
Thank you to Rick Sperling and the Mosaic Youth Theater, Detroit for their involvement in this residency.
Thank you to Lola Jones, Bamidele Aybasegbe Demerson, Earl Jackson and JoAnne Hall, African American Cultural and Historical Museum Project of Ann Arbor, for curating the lobby exhibit in con-juction with this residency.
Thank you to Barbara Meadows and the Ann Arbor Chapter of the Links, Inc. for their involvement in the "Links to Literature" program and providing lobby hosts to The Harlem Nutcracker performances.
Thank you to the volunteers for the Youth and Family performances.
Thank you to the Ann Arbor District Library, Ann Arbor Public Schools, Borders Books and Music, Inc., Ann Arbor Chapter of the Links, Inc., and African American Historical and Cultural Museum of Ann Arbor for their involvement with The Givens Foundation for African American Literature Exhibit entitled "A Stronger Soul Within A Finer Frame: Portraying African Americans in the Black Renaissance."
Large print programs are available upon request.
Overture
Act I
Clara's Home in Harlem
Scene 1 Empty House Blues
Scene 2 Clara Dances with Her Two Children
Children's Dance Spanish Dance Memory of Romance
Later That Evening
Scene 3 Glimpse of Death
Memory of the Nutcracker Death and his Maidens Batde
Scene 4 Walking Through Snow
Snow Dance
Scene 5 Outside Club Sweets
INTERMISSION
Act II
Club Sweets
Scene 1 Inside Club Sweets
The Magic Show Toot Toot Tootie Toot Peanut Britde Brigade Sugar Rum Cherry Volga Vouty Chinoiserie
Waltz of the Floreodores Arabesque Cookie
Scene 2 Passing Through Time
Clara's Home in Harlem ? Scene 3 Christmas Morning
Synopsis Act I
It is Christmas eve in Harlem. Clara, a seventy-six year old grandmother, awaits her children and grandchildren. Sitting alone in her living room, she misses her husband who recently passed away. The memory of the many Christmases they spent together becomes a tangible and exhilarating reality, as Clara relives the moment when her husband gave her the gift which has remained most pre?cious to her: a large nutcracker. Clara's vision of the past is dispelled by the arrival of her family and friends. During the party, Clara moves between two worlds: the present, where she is busy making everybody feel at home, and the memories of her husband and their life together.
Everybody but Clara has gone to sleep. As she sits alone, Clara suddenly faces a deathly figure who has entered the space with an army of horrible creatures. Frightened, Clara seeks to escape when the nutcracker, who has magically come to life, begins to single-handedly defend her from the attack. When it seems as if the nutcracker is about to be defeated, Clara joins the battle in a desperate attempt to save him. She forces the army to retreat. As she kneels by the nutcracker, she discovers that he is her hus?band. They suddenly find themselves on a street in Harlem, promenading through a beautiful snow storm. Their journey takes them to the entrance of Club Sweets -the place Clara always dreamed of visiting.
Act II
Clara and her husband enter Club Sweets, which is filled with the most fabulous people having a marvelous time. There is special entertainment, which includes dances reflecting other cultures. At the end, the deathly figure enters the club and forces Clara to watch another kind of entertainment, which includes seven tableaux that depict
significant moments in Clara's life. Witnessing this "show" weakens Clara more and more. In the end, she comes to lean on Death.
It is Christmas morning. Clara's daughter despairs when she finds her mother lying motionless on the living room floor. The whole family hurries to help. Clara awakens and is made comfortable on the sofa. As everybody begins to open their presents, Clara sees the deathly figure once again. Yet, this time, it reminds her of her husband and she resolves to accompany him.
Dramaturge's Statement
Dream of a Life Fulfilled: The Harlem Nutcracker
Since its first United States production in 1940, the classic Nutcracker ballet with music by Tchaikovsky has become almost a Christmas ritual in many American cities. Originally based on a story by the German Romantic writer E.T.A. Hoffmann, called Nutcracker and Mouseking, most Nutcracker ballets describe how a little girl, excited by the wonders of Christmas Eve (which includes the gift of a beautiful nutcracker), undertakes a fantastic journey. Traveling from the Kingdom of Snow to the Land of Sweets, the little girl's dream culminates in a fairy tale ending -her marriage to the Nutcracker prince.
With The Harlem Nutcracker, Donald Byrd set out to examine what made Tchaikovsky's ballet an American institution. Asking what meaning is embedded in the story that appeals specifically to Americans, Byrd focused on the way in which the piece enforces the idea of family, revealing the value of compassion, love and support in a family setting. At a time when African American communities suffer from devasta?tion wrought by drugs, violence, and pover?ty, Byrd means to create a reminder of the
resilience of African Americans families in particular, and family (in the sense of com?munity) in general.
The Harlem Nutcracker, which includes Duke Ellington's Nutcracker Suite and addi?tional composition by David Berger, takes up the story at the point where other ver?sions leave off. Here Clara is a grandmother who experiences the joy of sharing a Christmas with her children and grandchil?dren, but also feels the pain of celebrating the holiday for the first time without her husband who recently passed away.
As Clara lives through the night of Christmas eve, her Harlem mansion
becomes a stage on which her past unfolds. Not only is she invited to observe key moments of her life, but she is allowed to live the times she could only dream of. Although the Clara of The Harlem Nutcracker looks back rather than into the future, her life does not seem less of a fairy tale. In fact, reviewing Clara's history and aspirations provides what Bruno Bettelheim, in his description of fairy tales, called "a magic mirror which reflects some aspect of your inner world, and the steps required by our evolution from immaturity to maturity."'
Bruno Bcllc-lhcim, The Meaning and Importance of Fairy Tabs, 1976.
A Note from Ken Fischer
Executive Director of the University Musical Society
It was two years ago at the National Conference of the Association of Performing Arts Presenters in New York City that I met David Lieberman, manager for Donald ByrdThe Group. Until then I had known David only by reputation, as a manager of per?forming artists dedicated to working closely with the communities in which they were per?forming on tour.
During the course of our conversation at the conference, David told me about a "work in progress" by choreographer Donald Byrd called The Harlem Nutcracker. Byrd, he explained, was reinterpreting the well-known holiday classic and setting it in Harlem. The Harlem Nutcracker, he said, would be designed in a way to involve young dancers, gospel singers, and jazz musicians from the local community, working hand-in-hand widi the professional dancers from Donald Byrd's company.
The more I thought about this project, the more fascinated I became. Early in my tenure at UMS I presented traditional versions of The Nutcracker. What Donald Byrd was planning was a whole new take on the classic, one that would mesh beautifully with our own commitment to presenting works that reflect the cultural and ethnic diversity of the Southeastern Michigan community. UMS would have the opportunity to bring to our community a Nutcracker that had imagination, vitality and excitement -a set of performances reflective of the UMS of the '90s.
UMS decided to get on board in a signifi?cant way by becoming one of six commission?ing partners nationwide. We joined distin?guished presenting organizations in Tempe, Minneapolis, Brooklyn, Los Angeles, and Washington DC, in committing resources both to the creation of the work and its presentation on the inaugural tour. UMS staff have partici?pated in workshops with Donald Byrd in New York and Fairfax, Virginia over the past year.
Throughout the summer and fall, we invit?ed guest artists from the local community to
join us in the exciting adventure. First, we invited Michigan-based trumpeter Marcus Belgrave to put together the band for the per?formances, knowing we could rely on him to enlist Michigan's finest jazz musicians. Next, because the production calls for a gospel choir, we invited Willis Patterson, Associate Dean of the University's School of Music, and his Our Own Thing Chorale to be the featured ensem?ble. Dr. Patterson, in turn, called on several other regional gospel choirs to join in. Ben Johnson, our Director of Education and Audience Development, who worked closely with Dr. Patterson, invited the outstanding dance program in the Detroit Public Schools to play a principal role in helping us find young dancers for the performances. Antonio Carlos Scott, formerly a member of Byrd's troupe, came to southeast Michigan in September to audition young dancers in Detroit and to teach the gospel choir the dance steps they would perform on stage.
In addition, we worked closely with various community groups to promote creative, perfor?mance-related educational programs. In a pro?gram called Links to Literature, The Links, Inc. -an African American women's group that supports the arts -and Borders Books and Music and the Ann Arbor District Library orga?nized readings and storytelling sessions led by senior citizens who shared experiences of life in Harlem during the 1930's, the time frame for much of The Harlem Nutcracker, at Borders and the Ann Arbor Public Library. In addition, an exhibit from the Givens Foundation for African-American Literature, "A Stronger Soul Within a Finer Frame: Portraying African-Americans in the Black Renaissance" will be on display at the Ann Arbor Public Library through January 6, containing art works produced during the 1920s and 1930s that reflect the cultural, artistic, and intellectual trends that produced the movement known as the Harlem Renaissance.
UMS is delighted to be supporting the cre?ative work of Donald Byrd and to be working in partnership with so many community groups to bring The Harlem Nutcracker to Michigan. Thank you for your attendance.
Cast Act I
Clara.........................Eleanor Me Coy
Ghost Of Her Husband..........Gus Solomons jr.
Clara's Son....................Michael Blake
His Wife......................Karen Savage
Their Children.................See Children's Casts
Clara's Daughter ...............Lakey Evans
Her Husband..................Aldawna Morrison
Their Children.................See Children's Casts
Hispanic Neighbors
Husband...................Ferdinand De Jesus
Wife ......................Laura Rossini
Grandfather ................Benoit-Swan Pouffer
Their Children..............See Children's Casts
Homeys
Husband...................Terry Callaway
Wife ......................Leonora Stapleton
Their Children..............See Children's Casts
Death........................Martin Lofsnes
Dogs & Maidens................Terry Callaway, Deborah Crocker,
Ferdinand De Jesus, Lakey Evans, Clay Jackson, Elizabeth Parkinson, Karen Savage, Nathan Trice
Ghouls .......................Michael Blake, Brian Brooks,
Stephanie Guiland, Aldawna Morrison, Benoit-Swan Pouffer, Laura Rossini, Leonora Stapleton, Hannah Sweets
Snow ........................Michael Blake, Kevin Boseman,
Terry Callaway, Deborah Crocker, Michele Golden, Stephanie Guiland, Aldawna Morrison, Elizabeth Parkinson, Benoit-Swan Pouffer, Laura Rossini, Karen Savage, Leonora Stapleton, Hannah Sweets, Nathan Trice
Car Driver ....................Clay Jackson
The Doormen .................Brian Brooks, Terry Callaway,
Nathan Trice
Act II
Sweets For The Sweets ...........Brian Brooks, Ferdinand De Jesus,
Lakey Evans, Stephanie Guiland, Elizabeth Parkinson, Karen Savage, Leonora Stapleton, Hannah Sweets, Nathan Trice
Cigarette Girl ..................Deborah Crocker
Waiter........................Kevin Boseman
Master Of CeremoniesMagician . . . Michael Blake With Michele Golden,
Stephanie Guiland
Toot Toot Tootie Toot ...........Aldawna Morrison With Lakey Evans &
Martin Lofsnes, Elizabeth Parkinson & Benoit-Swan Pouffer, Laura Rossini & Kevin Boseman, Karen Savage & Terry Callaway, Leonora Stapleton & Brian Brooks
Peanut Brittle Brigade ...........Nathan Trice & Laura Rossini With
Stephanie Guiland & Ferdinand De Jesus, Karen Savage & Kevin Boseman, Leonora Stapleton & Aldawna Morrision, Hannah Sweets & Terry Callaway
Sugar Rum Cherry..............Elizabeth Parkinson, Michael Blake,
Ferdinand De Jesus (1st Cast) Lakey Evans, Terry Callaway, Clay Jackson, Nathan Trice, (2nd Cast)
Volga Vouty....................Stephanie Guiland & Nathan Trice,
Karen Savage & Terry Callaway, Leonora Stapleton & Brian Brooks, Hannah Sweets & Clay Jackson
Chinoiserie....................Elizabeth Parkinson, Aldawna Morrison
Waltz Of The Floreodores
Dewdrop ...................Laura Rossini
Couples....................Deborah Crocker & Benoit-Swan Pouffer,
Lakey Evans & Brian Brooks, Stephanie Guiland & Ferdinand De Jesus, Karen Savage & Kevin Boseman
Arabesque Cookie...............Laura Rossini & Clay Jackson
Bodybuilders...................Michael Blake, Martin Lofsnes,
Aldawna Morrison, Nathan Trice,
Harem........................Elizabeth Parkinson & Leonora Stapleton
With Deborah Crocker, Lakey Evans, Michele Golden, Stephanie Guiland, Karen Savage, Hannah Sweets
casting subject to change
Children's Casts
Tony Smith -Rehearsal Director Children's Casts Lynnette H. Forde -Residency Coordinator Children's Casts
Cast A
Wednesday, Dec. 18, 8:00pm Saturday, Dec. 21, 8:00pm
Toni Battle Kcnyatta Beckon Angela Blocker Charles Burton Clarissa Doyle McKenzie Frye Keisha Hopkins Camille Redmond Lauren Sims Monet Wilks Erin Wright
Cast B
Thursday, Dec 19, 10:00am Friday, Dec. 20, 8:00pm
Jessica Courtland Ashley Looney Candice Mitchell Ryan Myers Amber Shadd Latricia Simpson Jenita Sturgis Charl Washington Stacy Williams Martise Wilson Ashely Wilson
Cast C
Thursday, Dec. 19, 8:00pm Saturday, Dec. 21, 2:00pm
Lynnea Blocker LeAunte Johnson Myron Lee Tawana Page Meagan Pitts Lakena Pruitt Angela Reeves Nakia Thomas LaDawn Williams Sarah Williams Akeem Wilson
Undtntudies Marcus Bright Sheila Mixon
The Wills Patterson Our Own Thing Chorale
Flint Chorale and Voices of Bethel Roster
Sopranos Bonita Tucker Sandra Robinson Cassie Haynes Aja Hunter Anna Aycox Vanessa Smilh Brcnda Wimberly Elizabeth O. Weil Dorothy Laws Deborah Williams Doris Anderson Salieia Jenkins Majore Winfolsky Florida Miller I riin.i Byrd Kimberly Haynes Monica Cantrell Francetta Ampey Doris Calvert Karen Johnson Alisha Clark E. Dahra Taylor-Ross
Altos
Dorian Morris
Georgia Fields
Brenda Doster
Dorian Caratini-Williams
Kathy Wade
Paddy A. Ash "
Kathleen Jones
Mary Roth
Deborah Mullice Helen Oliver Barbara Meadows Dorothy Waller Louise Carman Fikisha Sills Janet Johnson Haynes Lynn Slallworth
Tenors Rachel Woods Hank Davis Henry G. Davis, Jr. Cornell Kirkland Diane Novakowski Marcus Sims Bernard Patterson Bill Wade Steve Marchese Fritz Vaughn Larnetta Gully Christopher Eaglin
Gerald Harden Bob Patterson Paul Haynes Harrison McGee Ronald Woods Hollis Jordan William McAdoo Rory Dabney Herbert Ellis Jesse Ellis
Music DirectorConductor David Berger
Gabriel Berry, Costume Design Eduardo Sicangco, Scenic Design David H. Rosenburg, Lighting Design Isaiah Sheffer, Lyricist Elizabeth Powers, Executive Director Jonathan D. Secor, Production Manager Betsy Herst, Production Stage Manager Fabrice Lemire, Rehearsal Director Joseph Robinson, Technical Director Doug Rice, Sound Design
onald Byrd (choreogra-k phei directoi i started A his company, Donald I ByrdThe Group, in H I ,os Angeles, (lalifornia m in 1978, moving it to -MmNew York City in 1983. Prior to that time, Mr. Byrd studied at Tufts and Yale Universities, The Cambridge School of Ballet, the London School of Contemporary Dance, The Alvin Ailey American Dance Center, and with Mia Slavenska. He danced with Twyla Tharp, Karole Armitage, and Gus Solomons jr. Since 1976, Mr. Byrd has created over eighty works for his own company and others, including the Alvin Ailey American Dance Theater, the Alvin Ailey Repertory Ensemble, Adanta Ballet, Dayton Contem?porary Dance Company, Philadelphia Dance Company, De Nieuwe DansGroep of Amsterdam, and Phoenix Dance Company of Leeds, England. Mr. Byrd has choreographed for numerous stage productions, including Honey Chil' Milk, an original music theater
work commissioned by the Maryland Art Place, Eric Overmyer's The Heliotrope Bouquet by Scott Joplin and Louis Chauvin, Blood Wedding and Dancing on Moonlight at The Public Theater in New York, and the Peter Seller's productions of A Soldier's Take, The Seven Deadly Sins, and Was Looking at the Ceiling and Then I Saw the Sky. Mr. Byrd is the recipient of a fellowships from the New York Foundation for the Arts, Metropolitan Life Foundation, and the National Endowment for the Arts. In 1992, he received a Bessie Award for The Minstrel Show. Mr. Byrd served on the faculty of the California Institute for the Arts for six years, and has also taught at Wesleyan University, the School of Visual Arts, Harvard Summer Dance Center, California State University Long Beach, the University of California at Santa Cruz, and Ohio University. Mr. Byrd is currently an associate-artist at the Yale Repertory Theater and serves on the Board of Trustees for Dance Theater Workshop and DanceUSA.
These performances mark Donald ByrdThe Group's debut under UMS auspices.
Duke Ellington (music arranger) created over 1000 compositions during his lifetime, among them "sacred concerts," symphonic works, film scores, ballets, suites, and popular songs. In 1937, following the death of his mother, he created his first long work, Reminiscence in Tempo. In the 1940s, he began composing tone poems, the first of which was Black, Brown and Beige, a history of black people. In 1959, he received the Presidential Medal of Freedom. Duke Ellington's contribution to music history was acknowledged with twenty-four honorary degrees presented to him from various institutions throughout his life.
Billy Strayhorn was arranger and occasional second pianist and lyricist with Duke Ellington beginning in 1939. The collaboration contin?ued until the 1960s. Among his hundreds of compositions best known are Lush Life and Take the A Train. During the pre-bob period of the mid 1940s Strayhorn experimented
with false modulations and expanded the swing vocabulary of chord voicings.
David Berger (music directorconductor) is recognized internationally as a leading authority on the music of Duke Ellington and the swing era. Conductor and arranger for the Lincoln Center Jazz Orchestra from its inception in 1988 through 1994, Berger has transcribed more than 300 of Ellington's works and has collaborated on a variety of
musical projects with Ellington fami?ly members, notably the late Mercer Ellington, director of The Duke Ellington Orchestra, and choreographer Mercedes Ellington. In addition, Berger has written scores
for television, Broadway shows, including Sophisticated Ladies; films, including The Cotton Club; and dance companies, including the Alvin Ailey American Dance Theatre. He maintains a close association with Wynton Marsalis through collaborations on projects for NPR, PBS and Columbia Records. Berger's compositions and arrangements also may be found on recordings and in the libraries of Quincy Jones, Thad JonesMel Lewis, Clark Terry and the late Gerry Mulligan. A seven-time recipient of National Endowment for the Arts fellowships, Berger resides in New York City, where he is a member of the Manhattan School of Music jazz faculty.
Isaac Ben Ayala (rehearsal pianist) received his BM from Oberlin where he majored in historical performance on the harpsichord. He has performed live with the Victor Jones Hip Hop Band and Trio, the Tess Marsalis Quartet, the Antonio Hart Quartet; in Cleveland with Eddie Harris and Louis Bellson; in NYC with Frank Lacy, Walter Booker and Sherman Irby; and has com-
posed, arranged, directed and performed around the world. He is the Founder and Director of Jazz Studies at the Brooklyn Music School.
Trumpeter, flugelhornist and educator, Marcus Belgrave was born in 1936 into a family of musicians in Chester, Pennsylvania. He began playing trumpet at age six and professionally performing at age twelve. He started traveling with Ray Charles at age eighteen and that last?ed over a decade. Then he settled in Detroit and contributed his talents to Motown Records until the late 1960s. He returned to the road again with Slide Hampton but finally chose Detroit as his permanent residence in 1967. While Marcus has developed his own career by his world-wide appearances, he also has kept jazz alive in Detroit inspiring musicians and nurturing young talents. During the course of his distinguished career, Marcus has performed and recorded with many legendary stars such as Ella Fitzgerald, Max Roach, Charles Mingus, Ron Carter, Bud Powell, Tony Bennett, Eric Dolphy, Aretha Franklin, Sammy Davis Jr., Tommy Flanagan, Barry Harris, Eddie Jefferson, McCoy Tyner, Mickey Tucker and Dizzy Gillespie.
Marcus is internationally known for his dedication to educational activities. He was a co-founder of the jazz studies program at the Detroit Metro Arts Complex, an original member of the faculty at the Oakland University jazz studies program and a founder of the Jazz Development Workshop in Detroit. Pianist Geri Allen, bassist Robert Hurst and saxophonist Kenny Garrett are only some of many young talented musicians that Marcus inspired and nurtured. Despite his busy schedule, Marcus keeps in contact with many universities, schools and music institutions which have been sending him continual calls for his workshops and guest professorships. His outstanding artistry as a performer and educator, life long achievement in jazz, and continuous contributions to the community have resulted in his receiving such honors as
the 1991 Arts Midwest's Jazz Master Award, the 1994 Michigan Governor's Arts Award and the 1995 Louis Armstrong Award.
Marcus performs world-wide at numerous jazz festivals, premier jazz clubs and concert halls with expertise in both big bands and small ensembles. He continues to tour with the Lincoln Center Jazz Orchestra every year as an original member since 1988. Marcus Belgrave recently performed at the 102nd May Festival as a part of the Michele Ramo Latin Jazz Group in 1995. This is his second performance under UMS auspices.
Gabriel Berry (costume designer) has designed more than 200 productions for theatre, opera and dance including sixty world or American premieres. She is the winner of an Obie award for her theatre work and a 1992 Bessie Award for Donald Byrd's Minstrel Show and Liolissa Fenley's Place. Other projects include The Tempest at American Repertory Theater, Dona Carlos at the Stadtische Buhnen in Augsburg, Germany, Yoshiko Chuma's new work at the 92nd Street Y, JoAnne Akalitis' production of Dance of Death at Arena Stage, and The Beast -The Domestic Violence Project for Donald ByrdThe Group.
Michael Blake (dancer) performed with the Jose Limon Company from 1986-1991. Michael is a well-known and respected teacherchoreog?rapher both in the US and the Far East. He was previously with the Murray Louis Company and Joyce Trisler Danscompany under the direction of Milton Myers. Michael managed and directed a dance school in Osaka, Japan from 1985-90. Michael has danced seven sea?sons with Donald ByrdThe Group over the course of a nine year period.
Kevin Boseman (guest artist) a native of Anderson, South Carolina began his training at the Greenville Ballet. Following he received a scholarship to attend The American Dance Center, and toured as a member of Alvin Ailey. He is currently a member of The Martha Graham Dance Company.
Brian Brooks (guest artist) was born in Pittsburgh, Pennsylvania. His training consist?ed of scholarships with The Dance Theater of Harlem and The Alvin Ailey American Dance Center. He is currently a member of Philadanco.
Terry Callaway (guest artist) began dancing in Philadelphia and studied with Philadanco. He recieved a dance scholarship to the Alvin Ailey American Dance Center and later joined the Alvin Ailey Repertory Ensemble. Terry has worked with such choreographers as Judith Jamison, Kevin Jeff, Dwight Rhoden and Donald Byrd and has choreographed for such artists as En Vogue and Crystal Waters.
Deborah Crocker (dancer) has received a scholarship for her training at the Martha Graham Dance School, Purchase College, Alvin Ailey American Dance Center, David Howard Dance Center, Milwaukee Ballet School and Center of Ballet and Dance Arts. She has performed with Martha Graham Dance and Ballet Hispanico. She has also taught for Ballet Hispanico.
Ferdinand "Freddie" de Jesus (guest artist) is a native of Puerto Rico and grew up in Brooklyn, New York. Mr. de Jesus trained at the Alvin Ailey American Dance Center and The Dance Theater of Harlem. He has danced with Philadanco, Joyce Trisler, and Donald ByrdThe Group. Mr. de Jesus has been a part of The Harlem Nutcracker since Donald Byrd began the work and returns annually to join The Harlem Nutcracker cast.
Lakey Evans (guest artist) a native of Reading, Pennsylvania began her dance training at The University of the Arts in Philidelphia, Pennsylvania. After graduating with a BFA she moved to New York and was awarded a scholarship at The Alvin Ailey Repertory ensemble, with whom she has toured with for the past two years.
Michele Golden (guest artist) from Los Angeles, California trained at thejoffrey Ballet School and The Pacific Northwest Ballet. She received a BA from UCLA as a
dance major. She is now living in New York where she appears with numerous companies as a guest artist.
Stephanie Guiland (dancer) graduated from the Fiorello H. LaGuardia High School of the Performing Arts in 1990 after attending the Joffrey School, the Dance Theater of Harlem School and the Darvash School on scholar?ship. She has performed in such classics as Coppelia and Nutcracker, and on television in music videos with Lisa Stansfield, En Vogue and P.M. Dawn, and on Star Search. In 1994 she participated in the debut performance of Dwight Rhoden and Desmond Richardson's company, Complexions. She joined Donald ByrdThe Group in 1992 and has served as both a performer and rehearsal assistant for Donald ByrdThe Group.
The Harlem Nutcracker Band is composed of some of the finest jazz musicians in the Metro Detroit area. The combined work of Ernie Rogers, Vincent York, Peter Kahn, Miller Brisker, Beans Bowles, Marcus Belgrave, Dwight Adams, Rayse Biggs, Maurice Davis, Ed Gooch, Albert Dunkan, Ronald Kischuk, Harold McKinney, Don Mayberry and Gerald Cleaver has encompassed all areas of the jazz spectrum and many also perform with sympho?ny orchestras and with theatrical productions. Their performances have been heard in local, national and international venues. The musi?cians assembled for these performances can be heard on a wide variety of recordings and have received numerous professional awards.
Mona Heinze-Barrecca (dramaturg) has worked as a dramaturg on numerous produc?tions of classical and new plays, both in the resident and New York theater. She has taught at various universities, most recendy NYU's Tisch School of the Arts and Brooklyn College, where she is Head of the MFA Program in Dramaturgy and dramatic Criticism. Mona is a Fullbright scholar in theater arid holds MFA degrees in Dramaturgy Management (Brooklyn College).
Betsy Herst (stage manager) is a California native who received her training at California Institute of the Arts. She has since served as Production Stage ManagerLighting Designer for the Jazz Tap Ensemble, Technical Director Lighting Designer for the Department of Dance at Cal State UniversityLong Beach, and Production ManagerResident Lighting Designer for Dayton Ballet. She has been with The Group since September 1993.
Clay Jackson (dancer) received his dance training from Martin-Viscount, Steve Jones, North Carolina School of the Arts, Maggie Black, David Howard and Circle in the Square. He has performed with the Amarillo Litde Theater, Fort Worth Ballet, Hip Pocket Theater, Feld BalletNY, Detroit Ballet and Donald ByrdThe Group.
Shelby Jiggetts (dramaturg) is the Director of Play Development at The New York Shakespeare FestivalJoseph Papp Public Theater. Her most recent project was Bring in Da Noise, Bring in Da Funk (NYSF, Broadway). She is very proud to have been invited to participate in The Harlem Nutcracker.
Fabrice Lemire (rehearsal director) has worked as rehearsal director and assistant choreographer for Donald Byrd in the United States and Europe. In addition he assisted the Ballet Master for the Jeune Ballet de France. Also an accomplished performer he has appeared with numerous modern and ballet companies.
Martin Lofsnes (dancer), studied at London Contemporary Dance School and received scholarships to the Alvin Ailey and Martha Graham Schools. In 1992 he started working with the Martha Graham Ensemble, and since 1993 has danced with the Martha Graham Dance Company, performing several major roles, including the Creature of Fear in Errand Into the Maze, and the Stranger in Embattled Garden. He has also worked with BuglisiForman Dance and Pearl Lang Dance Theater. He has taught in London, Paris and
Oslo and is on the faculty of the Martha Graham School. This is Martin's first season with Donald Byrd.
Michael Makman (magic consultant) has created magic for New York's Primary Stages, Circle Rep, York Theater Co., The Juilliard School and most recendy for The Public Theater's production of The Skriker. Also known as Professor Putter, he is one of New York City's busiest children's entertainers appearing regularly at the Plaza Hotel, FAO Schwarz, Lord & Taylor, American Cancer Society as well as museums, schools and cor?porate events. His one-man show Professor Putter & his Gadgetorium has been presented in New York at the Samuel Beckett Theater, The Emelin, The John Drew Theater, Queens Theater in the Park and The 45th Street Theater. Mr. Makman is a member of the Society of American Magicians and Vice President of NYC's International Brotherhood of Magicians.
Eleanor Me Coy's (guest artist) most recent theatre credits include Screened in Porch at the Crossroads Theatre Company, Keeping an Eye on Louie at the Terry Schreiber Studio NYC and Fences at the Pioneer Theatre in Utah. Ms. Me Coy has appeared on Broadway in Timbuktu and The Wiz as well as in prime time television shows, feature films and soap operas across the nadon. Ms. Me Coy also worked as a private coach to such major celebrities as Michael Jackson, Chaka Khan, Donna Summer and Latoya Jackson. She is a graduate of The Juilliard School of Music, has toured internationally widi the Alvin Ailey American Dance Theatre, Pearl Lang Dance Company and was one of the original three ballerinas at the inception of The Dance Theatre of Harlem. Ms. Me Coy is currendy a freelance actress while teaching drama and dance to die youdi of Harlem.
Diana McGuigan (Stage Manager) is currendy Production Stage ManagerLighting Designer for the Jazz Tap Ensemble and Diavolo Dance Theater. Diana received her training at
California Institute of the Arts and UC Santa Cruz.
Aldawna Morrison (dancer), born in Jamaica, started dancing at the age of ten at the Bernice Johnson Cultural Arts Center, followed by training at the Alvin Ailey American Dance Center, and as a scholarship student with Eliot Feld. He attended LaGuardia High School of the Performing Arts. He has performed with the New World Dance Company and Cleo Parker Robinson's Company in Denver, Colorado. He joined Donald ByrdThe Group in September 1992.
David Paley (company manager) is a New York native who has worked in music, film, video, television, and photography production for the past fourteen years. He has toured throughout the world. Some recent projects include work for Mariah Carey, Bruce Springsteen, Bill Cosby, Bruce Weber, Tracey Chapman, and the US Reggae Sunsplash Tour. He began working with Donald ByrdThe Group in January 1996.
Elizabeth Parkinson (guest artist) was a prin?cipal dancer with The Joffrey Ballet and The Feld Ballets NY Currently she is participating in The New Bob Fosse Project. Elizabeth is happy to be dancing again with Donald Byrd The Group. She has previously appeared in The Minstrel Show, Life Situations, and The Beast.
Benoit-Swan Pouffer (dancer) is a native of Paris, France. While in Paris, he attended the Conservatoire National Superieur de Danse de Paris. Receiving first prize at the European Benetton Competition in Italy, Swan was granted a full scholarship at the Alvin Ailey American Dance Center in New York. He has worked with Dwight Rhoden Complexions and performed two seasons with Philadanco. This is his first season with Donald ByrdThe Group.
Doug Rice (sound designer) has designed for Donald ByrdThe Group twice before. Based in New York, his credits include the Celebrate Brooklyn season, the GLAMA awards, as well
as Joe Morello, Lou Reed, Garrison Keillor, Jim Pepper and recordings for the Eastman School of Music. In addition to his sound design, he teaches at the Institute of Audio Research.
Joseph Robinson (technical director) just cel?ebrated his fifth year in New York. Recent NY credits include: Technical Director on Full Gallop, starring Mary Louise Wilson; Produc?tion Manager for Cowgirls at the Minetta Lane Theatre. Also designed sound for Springhill Singing Disaster at Playwrights Horizons and lighting for Region of Shadows, a production of the Microscopic Theatre Co. in NYC. Thanks to Melanie and Johanthon, Jess andjoann.
David H. Rosenburg (lighting designer) has been living and working in the New York area for the past few years, after residing in Boston for eleven years. His work can be seen in the repertories of such dance companies as: The Alvin Ailey American Dance Theater, Donald ByrdThe Group, The Dance Exchange, Le Conservatoire National Superieur in Paris, and the Adanta Ballet. He has designed for Cambridge Christmas Revels and the Boston Dance Umbrella's Aerial Festival. He was the Lighting Director for the Boston Ballet for their 1993 and 1994 seasons. His work has taken him to Holland, Germany, Austria, Hungry, Yugoslavia, and he has worked in such notable venues as Lincoln Center, Kennedy Center, City Center and the Paris Opera. He began working with Donald Byrd The Group in 1993.
Laura Rossini (dancer) started her dance training in Atlanta, Georgia with the late Pittman Corry. She continued with Patricia Bromley and Gary Harrison before accepting a scholarship at the Alvin Ailey Dance Center in NYC. She toured nationally with the Alvin Ailey Repertory Ensemble and has worked with Contemporary Motions, Footprints Project, and Deja Vu Dance Company. She joined Donald ByrdThe Group in 1993.
Karen Denise Savage (guest artist) is a native of Philadelphia, Pennsylvania. She graduated from Adelphi University in Long Island, New York. Ms. Savage is currently a member of Philadanco and also does guest appearances with artists such as George Faison, and Willa Zolar.
Antonio Carlos Scott (children's director) a California native, began dancing while at the High School of Performing and Visual Arts in Houston, Texas. He has trained with Houston's Allegro Ballet, San Francisco Ballet, and Pennsylvania Ballet. Mr. Scott earned his Bachelor of Fine Arts in modern dance from the University of the Arts in Philadelphia. Mr. Scott has been a leading dancer and company teacher for the Philadelphia Dance Company, Judith Jamison's The Jamison Project, and with die Alvin Ailey American Dance Company. Currently he is the rehearsal director and in-house composer for DR2's Complexions -A Concept in Dance. He joined Donald Byrd The Group in 1994.
Jonathan D. Secor (production manager) has worked as a Production Manager for Celebrate Brooklyn, the Brooklyn Academy of Music, 651 an Arts Organization, Manhattan Punch Line, Jennifer Mueller The Works Dance Company and many others. He has stage man?aged on Broadway, Off-Broadway, European and national tours, opera, television and dance. Jonathan taught at Yale School of Drama, and currently teaches at SUNY Purchase, his alma mater. He is delighted to be working with the Donald Byrd company.
Isaiah Sheffer (lyricist) is a founder and Artistic Director of Symphony Space in NYC, where his duties include directing the hit lit?erary series, Selected Shorts: A Celebration of the Short Story. He has directed stage productions at such theatres as Yale Rep and The American Place Theatre. His most recent writing efforts for screen and stage include: Millenniutn, The Rise of David Levinsky, the screenplay of the short feature film Pair of Jokers, Yiddle with a
Fiddle. His new play, Demons and Dreamers: The Worlds of Isaac Bashevis Singer, will open in New York in 1997 after a national tour, and a musical revue he has written about doctors and patients, The Doctor Will See You Now, will have its premiere at The Mayo Clinic in Minnesota in 1997.
Eduardo V. Sicangco (scenic designer) has previously designed two traditional versions of The Nutcracker for Ballet Florida and Ballet Philippines. New York credits include Gentleman Prefer Blondes on Broadway, The Sfrring Spectacular at Radio City Music Hall, The Gershwin Celebration for BAM and PBS, Cavalleria RusticanaPagliacci and Carmen for New York City Opera and the Off-Broadway productions of Das Barbecu, From the Mississippi Delta and Splendora. Regional credits include the world premieres of the KopitYeston Phantom in Houston and Duke Ellington's Queenie Pie at the Kennedy Center, Babes in Toyland for Houston Grand Opera, The Wizard of Oz for the Ordwy Music Theater and the Virginia Opera productions of Manon, La Traviata and The 'Not'Mikado. Other regional companies he has designed for include Hartford Stage, Goodspeed Opera House, McCarter Theater, Seattle Rep, Bay Street Theater, Cincinnati Playhouse, Center Stage, George Street Playhouse, and Chautauqua Opera. He holds the position of Master Teacher of Design at New York University's Tisch School of the Arts.
Gus Solomons jr (guest artist) dances, makes dances (Solomons CompanyDance and oth?ers), teaches dance (NYU Tisch, et. al.), cri?tiques dance (Village Voice, Dance Magazine), loves pockets, puzzles and buildings (architec?ture degree from MIT), and has danced in the companies of Pearl Lang, Donald McKayle, Martha Graham, and Merce Cunningham. In addition, Mr. Solomons serves frequently as an adjudicator and dance panelist for various state arts councils, artistic advisory boards, and private foundations.
Leonora Stapleton (dancer) was born in Leeds, England and trained at London Contemporary Dance School. She came to New York in 1985 and received a scholarship to the Alvin Ailey American Dance Center. She has performed with Blue Mercury Dance Company, Manuel Alum, Anti-Gravity, Jubilation Dance Company, the Dance Theater of Harlem Ensemble, Ethos Dance Company and Footprints Project. She joined Donald ByrdThe Group in January 1992.
Hannah Sweets (guest artist) comes from St. Louis, Missouri. She began her training in 1983 at The Dance Theater of Harlem. She was a member of Dallas Black Dance Theater from 1991-94 and a member of The Alvin Ailey Repertory Ensemble in 1995-1996.
Nathan Trice (guest artist) out of Detroit, Michigan studied at The Alvin Ailey American Dance Center from 1991-93. Since then he has worked with Momix Dance Company and Complexions -A Concept in Dance, Joseph Homes Dance Company and Donald Byrd The Group.
The Detroit Public Schools' Dance Program
has been going strong for over fifty years. It was started in 1925 by Prudentia Huffman Carty, Ruth Lovell Murray, and Delia P. Hussey who wanted to develop creative expe?riences for students. They each had studied with Gertrude Colby, a proponent of "natural dancing" at Columbia Dancing and some of the modern dance pioneers: Martha Graham, Charles Weidman, Doris Humphrey, and Bird Larson.
Today, the Detroit Public Schools' Dance program exists in every level of education. The dance program is nationally recognized as unique and significant. Most of the dance teachers are specialists. There is a special facility, usually a modern studio, provided at the majority of the schools. Of the twenty-two high schools, twenty have dance classes. Most of the classes are still under the aegis of the
Physical Education Department, but three are identified with the Performing Arts Department. Students have the opportunity to choreograph, perform, and take master lessons from professional artists. The University Musical Society is honored to have collaborated with the adminstration, teachers and students of the Detroit Public Schools' Dance Program on The Harlem Nutcracker resi?dency. Their spirit, energy and talent propel the excellence of this production to the high?est standard of the performing arts.
Named for its founder and director, The Willis Patterson Our Own Thing Chorale
began over twenty years ago as a vehicle for participation in music making. Membership consists of singers from Ann Arbor, Ypsilanti, Brighton, Saline, Whitmore Lake and Flint communities.
The Chorale seeks to preserve the perfor?mance exposure of choral compositions by African American composers, with special emphasis on the Negro spirituals. The Chorale has appeared annually in concerts in Ann Arbor and the surrounding area includ?ing Undine Smith Moore's Scenes from tlie Life of a Martyr, Adolphus Hailstork's Done Made My Vow "In Memorium," a concert in honor of Dr. Martin Luther King, Jr., and the 1994 UMS Jester Hairson Concert. They have also presented Duke Ellington's Sophisticated iMdy and excerpts from Porgy and Bess by Gershwin, as well as appearing in concert at the National Association of Negro Musicians Annual Conference in Dallas, Texas in 1994.
The Chorale supports the Our Own Thing Instructional Program. This program, found?ed in 1968, provides assistance to area young?sters in the pursuit of lessons in the arts, both vocal and instrumental, rental of musical instruments and has provided scholarships to the Interlochen Center for the Arts.
Joining the Willis Patterson Our Own Thing Chorale in this production of The Harlem Nutcracker are the Voices of Bethel, of
Bethel A.M.E. Church of Ann Arbor, Francetta Ampey, Director and the Flint Community Chorale, Harrison McGee, Director.
The Willis Patterson Our Own Thing Chorale appeared in 1994 as a part of the Celebration of the Spiritual with the UMS Choral Union and special guest Jester Hairston. These performances mark their second appearance under UMS auspices.
Youth Gospel Choirs
Performing in the Lobby
In collaboration with Another Ann Arbor, Inc.
Wednesday, December 18
New Hope Baptist Church Youth Choir, Ann Arbor Ms. Faye Burton, Choir Director
Thursday, December 19
Second Baptist Church of Ann Arbor
Children's Choir Ms. Daisy Evans, Choir Director
Friday, December 20
Bethel A.M.E. Young People's Choir
Ms. Francetta Ampey, Choir Director
Saturday, December 21, 2:00pm
Halleiujah Choir of the Community Church
of God, Ypsilanti Ms. Lynn Baker, Choir Director
Saturday, December 21, 8:00pm
Youth Choir of the Community Church of God,
Ypsilanti Mr. Dwight Fontenot, Choir Director
Staff for The Harlem Nutcracker
Associate Lighting Designer Jack Mchler
Props Designers
Steven Capone, Nora Pozos
Dramaturge
Mona Heinze-Barrecca, Shelby Jiggetts
Company Manager David Paley
Stage Manager Diana McGuigan
Assistant Company Manager Jason Seamster
Children's Director Antonio Carlos Scott
Rehearsal Pianists
Isaac ben Ayala, Eric Lewis
Master Electrician Todd McCraw
Magic Consultant Mike Makman
Assistant Costume Designers Nancy Brous, Mirena Rada
Costume Coordinator Helen Rodgers
Wardrobe Supervisor Helen Simmons
Assistant Wardrobe Supervisor Melanic Robinson
Assistants to Mr. Sicangco Lars Andersen, Toni Barton, Tim Baumgartner
Property Supervisor Cathy D. Tomlin
Nutcracker Designer Charles Truscott
Assistant Production Manager Sheila Paule
PressRep
Jean Owensby, Claudette Lumpkins
Owensby & Co., Inc.
Ijegal Services
Barry I. Slotnick, Esq., Frank Golding, Esq.
Richards & O'Neil, LLP
Accounting Services Charles A. Kerner, CPA
Travel Agent
Donna Jacobsen, Entertainment Travel
Scenery built by Center line Studios, Inc.; scenery painted by Michael Hagen, Inc.; costumes constructed by Paula Buchert, CostumesCouture, Costume Works, Rodney Gordon, Izquierdo Studios, Panzai Boutique, Studio, Studio Rouge; lighting equip?ment provided by BASH; sound equipment provided by GSD; truck?ing by Road Show Services Inc.; poster design by Eduardo Sicangco; graphics by Rebecca Lown Designs.
Special thanks to Christopher Darling, Bill Easterby, Lawrence Frances, Roger M. Gray, Shelly Gray, Michael Hagen, Janine King and Michael BradleyArtists Community Federal Credit Union, Donna Langtnan, Mark Malamud, Liz Perlman, Don Stern, Sarah Timberlake, The Fund for the City of New York, Rosi Zingales.
National Committee
Reverend Dr. Calvin O. Butts, HI
Professor Henry Louis Gates, Jr.
Nelson George
Honorable Howard Golden
Yolanda King
State Senator Velmanette
Montgomery
Max Roach
Margaret Selby
The Donald Byrd Dance
Foundation, Inc. Board of
Directors
Donald Byrd, President
Caroline Cronson, Chair
Arnoldo Caballero
Clarence Clark
Marilynn Donini
Cheryl D. Fells, Esq.
Linda D. Gray
Alberto Paciucci
Caroline Sharp
Dr. James Spratley
Donald ByrdThe Group Staff: Donald Byrd, Artistic Director; Betsy Herst, Production Stage Manager; Patricia R. Klausner, General Manager; David Paley, Company Manager; Elizabeth Powers, Executive Director; Andrea Star Reese, Videographer; Manuel R. Rodriguez, Development Director; David H. Rosenburg, Technical Director; Tania Varcla-Ibarra, Administrative Assistant
Donald ByrdThc Group is supported in part by public funds from the National Endowment for the Arts, New York State Council on the Arts, New York City's Department of Cultural Affairs and the DCA Cultural Challenge Program.
Additional support for the Donald Byrd Dance Foundation is provided by AT&T, Chase Manhattan Bank, Evelyn Sharp Foundation, The Fund for US Artists at International Festivals and Exhibitions, Jerome Foundation, Lila Acheson Wallace Theater Fund at Comm-unity Funds, Inc., Mid-Adantic Arts Foundation, New York Community Trust, Philip Morris Companies Inc., and Robert Sterling Clark Foundation. Additional support provided by Andrea and Rita Reese.
The Donald Byrd Dance Foundation, Inc. is a not-for-profit organization and relies on the generosity of individuals m make its programs possible. If you would like to make a contribution, or want additional information about the company and its upcoming activities please contact: Donald ByrdThe Group, 30 Flatbush Avenue, Suite 427. Brooklyn, New York 11217, Telephone 718-855-7882, extension 27, Fax 781-802-9095.
Exclusive USA booking director for Donald ByrdThe Group provided by David LicbermanArtists' Representative, 2333 Pontius Avenue, Los Angeles, CA 90064, Telephone 310-312-1648.
Donald ByrdThe Group is a member of the International Association of Blacks in Dance, DanceUSA, the national service organization for the non-profit professional dance which seeks to advance the art form of dance, and Dance Theater Workshop.
PERRY DANCE II is the official studio of Donald ByrdThc Group, 132 4ih Avenue, New York, NY 10003, 212-505-0886. Call for a complete schedule of professional classes and workshops.
The Harlem Nutcracker is a co-production of The Donald Byrd Dance Foundation and 651, An Arts Center. The world pre?miere co-commissioner is Arizona State University Public Events. The co-commis?sioners are 651, An Arts Center, Aaron Davis Hall, Brooklyn Academy of Music, District Curators, George Mason University, James A. Dolittlc's Southern California Theatre Association, New Jersey Perform?ing Arts Center, Northrop Auditorium at the University of Minnesota, UCLA Center for the Performing Arts, University Musical Society at University of Michigan and Washington Performing Arts Society.
Education and Audience Development
During the past year, the University Musical Society's Education and Audience Development program has grown significantly. With a goal of deepening the understanding of the importance of live performing arts as well as the major impact the arts can have in the community, UMS now seeks out active and dynamic collaborations and partnerships to reach into die many diverse communities it serves.
Several programs have been established to meet the goals of UMS' Education and Audience Development program, including specially designed Family and Student (K-12) performances. This year, more than 8,000 students will attend the Youth Performance Series, which includes The Harlem Nutcracker, Sounds of Blackness, New York City Opera National Company's La Boheme, the National Traditional Orchestra of China and U-M's School of Music Opera Theatre production of L 'elisir d 'Amore.
Other activities that further the understand?ing of the artistic process and appreciation for the performing arts include:
MASTERS OF ARTS A new series in collabora?tion with the Institute for the Humanities of one-on-one discussions with artists about their art forms (this season features William Bolcom Meredith Monk, Twyla Tharp, Neeme Jarvi, Wynton Marsalis and Cecilia Bartoli). Free tick ets are required for these events (limit 2 per person) and are available by calling the UMS Box Office at 313.764.2538. PERFORMANCE-RELATED EDUCATIONAL PRESENTATIONS (PREPS) Free lectures, demonstrations and workshops usually held 60-90 minutes before concerts. MEET THE ARTISTS Informal post-perfor?mance dialogues with selected artists.
In addition to these events, which are listed on pages 22-27 of this program book, UMS will be presenting a host of other activities, including master classes, workshops, films, exhibits, pane discussions, in-depth public school partner?ships and other residency activities related to presentations of the Cleveland Orchestra, Tharp! (The Twyla Tharp Dance Company), The Harlem Nutcracker, "Blues, Roots, Honks anc Moans," and the series of Schubert concerts next winter.
ike to help out
VOLUNTEERS AND INTERNS
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; yshering for the Performance Related Educational Presentations (PREPs); staffing the Information Table in the lobbies of concert malls; distributing publicity materials; assisting ith the Youth Program by compiling educa?tional materials for teachers, greeting and Iscorting students to seats at performances; and serving as good-will representatives for I'MS as a whole.
If you would like to become part of the L'niversity Musical Society volunteer corps, llease call 313.936.6837 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, promotion, production and arts education. Semesterand year-long internships are avail?able in many aspects of the University Musical Society's operations. For more information, llease call 313.647.4020 (Marketing Internships) or 313.647.1173 (Production anternships).
COLLEGE WORK-STUDY
Students working for the University Musical Society as part of the College Work-Study pro?gram gain valuable experience in all facets of arts management including concert promotion and marketing, fundraising, and event planning and pro?duction. 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 313.764.2538 or 313.647.4020.
UMS USHERS
Absolute chaos. That is what would ensue without ushers to help concertgoers find their seats at UMS performances. Ushers serve the essential function in 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!
For more information about joining the UMS usher corps, call 313.913.9696
Hungry
DINING EXPERIENCES TO SAVOR: THE THIRD ANNUAL "DELICIOUS EXPERIENCES"
Enjoy memorable meals hosted by friends of the University Musical Society, with all proceeds going to benefit UMS programs.
Following two years of resounding success, wonderful friends and supporters of the University Musical Society are again offering a unique donation by hosting a delectable variety of dining events. Throughout the year there will be elegant candlelight dinners, cocktail parties, teas and brunches to tantalize your tastebuds. And thanks to the generosity of the hosts, all proceeds will go direcdy to UMS.
Treat yourself, give a gift of tickets, purchase an entire event or come alone meet new people and join in the fun while supporting UMS! Among your choices are The Back to Nature Party (September 14); An Evening in Brittany (October 19); A Harvest Feast (November 22); English Afternoon Tea (December 1); A Celeb?ration of Schubert (January 18); A Luncheon Inspired by the Czars (January 26); A Valentine's Brunch (February 9); La Boheme Dinner Party (March 1); Easter Luncheon with Cecilia Bartoli (March 30); Dinner with a Victorian Influence (April 12); Grandmothers, Mothers & Litde Girls Tea and Fashion Show (April 19); An Afternoon Tea (May 15); A Taste of Spring Garden Dinner (May 31); and Nat & Ed's Porch Party (June 7).
For the most delicious experience of your life, call 313.936.6837!
CAMERATA DINNERS
This season, the University Musical Society Board of Directors and Advisor Committee are pleased to host pre-per-formance dinners before a number of the year's great events. Arrive early, park with ease and begin your evening with other Musical Society friends over a relaxed buffet-style dinner in the University of Michigan Alumni Center. The buffet will be open from 6:00 to 7:30 p.m. and is S25 per person. For reservations and information on these dinners, call 313.764.8489. UMS members' reservations receive priority.
Saturday, October 12
The Cleveland Orchestra
Tuesday, October 29
State Symphony Orchestra of Russia
Friday, November 8 Les Arts Florissants
Friday, December 13
"So Many Stars," Kathleen Battle and Friends
Wednesday, January 8
Schubertiade I (Andre Watts and the Chambe
Music Society of Lincoln Center)
Thursday, February 6 Budapest Festival Orchestra
Friday, February 14 Brandenburg Ensemble
Wednesday, February 19
Opening Night of the New York City Opera
National Company
Puccini's La Boheme
Friday, March 14 Richard Goode, piano
Saturday, March 29
Cecilia Bartoli, mezzo-soprano
The UMS Card
Our gift to you! UMS Members (Advocate level and above) and series subscribers receive discounts at a vari?ety of local businesses by using the UMS Card. Participating businesses support the UMS through advertising or sponsorship, and by patronizing the following establishments, you can support the businesses that support UMS. (Listing accurate through September 8.)
Ann Arbor Acura Cafe Marie Chelsea Flowers Dobbs Opticians Gandy Dancer
Perfectly Seasoned Shaman Drum Bookstore SKR Classical Sweetwaters Cafe Whole Foods Market
Presents!
Looking for that perfect meaningful gift that speaks volumes about your taste Tired of giving flowers, ties or jewelry Uncertain about the secret passions of your recipient Try the UMS Gift Certificate. Available in any amount, and redeemable for any of more than 70 events throughout our season, the UMS Gift Certificate is sure to please -and sure to make your gift stand out among the rest.
The UMS Gift Certificate is a unique gift for any occasion worth celebrating, wrapped and delivered with your personal message. Call the UMS Box Office at 313.764.2538, or stop by Burton Tower to order yours today.
Sponsorships and Advertising
UMS CORPORATE SPONSORSHIPS
f orporations who sponsor UMS enjoy ? benefits such as signage, customized X promotions, advertising, pre-perfor-mance mentions, tickets, backstage passes and the opportunity to host receptions. Whedier increased awareness of your company, client cultivation, customer appreciation or promo?tion of a product or service are your current goals, sponsorship of UMS provides visibility to air loyal patrons and beyond. Call 313.647.1176 for more information about the UMS Corporate Sponsor Program.
ADVERTISING WITH UMS
Six years ago, UMS began publishing expanded program books that included detailed information about UMS pro?grams and services. Advertising revenue from these program books now pays for all printing and design costs.
We hope 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 infor?mation that add to each UMS presentation. For information about how your business can become a UMS advertiser, call 313.647.4020.
Group Tickets
Event planning is simple and enjoyable at UMS! Organize the perfect outing for your group of friends or coworkers, reli?gious congregation or conference participants, family or guests, by calling 313.763.3100.
When you purchase your tickets through the UMS Group Sales Office your group can earn discounts of 10 to 25 off the price of every ticket. At least ten people are required to receive a group discount.
The UMS Group Sales Coordinator will pro?vide you with complimentary promotional materials for the event, free bus parking, reserved block seating in the best available seats and assistance with dining arrangements at a facility that meets your group's culinary criteria.
UMS provides all the ingredients for a suc?cessful event. All you need to supply are the participants! Put UMS Group Sales to work for you by calling 313.763.3100.
Advisory Committee
of the University Musical Society
The Advisory Committee is an integral part of the University Musical Society, providing the volunteer corps to support the Society as well as fund raising. The Advisory Committee raises funds for UMS through a variety of events held throughout the concert season: an annual auction, the creative "Delicious Experience" dinners, season opening and pre-and post-concert events, the newly introduced Camerata Dinners, and the Ford Honors Program Gala DinnerDance. The Advisory Committee has pledged to donate $125,000 this current season. In addition to fund raising, this hardworking group generously donates many valuable hours in assisting with educational programs and the behind-the-scenes tasks asso?ciated with every event UMS presents.
If you would like to become involved with this dynamic group, please call 313.936.6837.
ard Honors Program
The Ford Honors Program is a relatively new University Musical Society pro?gram, made possible by a generous grant from Ford Motor Company. Each year, UMS honors a world-renowned artist or ensem?ble with whom we have maintained a long?standing and significant relationship. In one evening, UMS presents the artist in concert, )ays tribute to and presents the artist with the UMS Distinguished Artist Award, and hosts a dinner and party in the artist's honor. Proceeds from the evening benefit the UMS Education Program.
Van Cliburn was selected as the first artist so honored in May 1996 because of his distin?guished performance history under UMS aus?pices, the affection shared between him and the people of Ann Arbor, his passionate devo?tion to young people and to education, and his unique ability to bring together and transform ndividuals and entire nations through the power of music.
This year's Ford Honors Program will be held Saturday, April 26, 1997. The recipient of the Second UMS Distinguished Artist Award will be announced in January.
Thank You!
Great performances--the best in music, theater and dance--are presented by the University Musical Society because of the much-needed and appreciated gifts of UMS supporters, members of the Society.
The list below represents names of current donors as of August 15, 1996. If then has been an error or omission, we apologize and would appreciate a call at (313) 647-1175 to correct this at your earliest convenience.
The University Musical Society would also like to thank those generous donors who wish to remain anonymous.
Burton Tower Society
The Burton Tower Society is a very special group of University Musical Society friends. These people have included the University Musical Society in their estate planning. We are grateful for this important support enabling us to continue the great tra?ditions of the Society into the future.
Mr. Neil P. Anderson
Mr. and Mrs. Pal E. Borondy
Mr. Hilbert Beyer
Mr. and Mrs. John Alden Clark
Graham H. Conger (deceased)
Dr. and Mrs. Michael S. Frank
Mr. Edwin Goldring
Mr. Seymour Greenstone
Judith Heekin (deceased)
Marilyn Jeffs
William R. Kinney (deceased)
Dr. Eva Mueller
Charlotte McGeoch
Mr. and Mrs. Dennis Powers
Mr. and Mrs. Michael Radock
Marie Schlesinger (deceased)
Herbert Sloan
Helen Ziegler
Mr. and Mrs. Ronald G. Zollars
Maestros
Individuals
Dr. and Mrs. James Irwin Elizabeth E. Kennedy Randall and Mary Pittman John Psarouthakis Richard and Susan Rogel Herbert Sloan Carol and Irving Smokier Edward Surovell and Natalie Lacy Ron and Eileen Weiser
Corporations
Conlin Travel
Cunard
Detroit Edison
Ford Motor Company
Ford Motor Credit Company
Forest Health Services Corporation
JPEincThe Paideia Foundation
KeyBank
Mainstreet Ventures, Inc.
Masco Corporation
McKinley Associates, Inc.
NBD Ann Arbor
Regency Travel
TriMas Corporation
Warner-LambertParke-Davis
Wolverine Temporaries, Inc.
Foundations
Arts Midwest
The Grayling Fund
Michigan Council for Arts and
Cultural Affairs
National Endowment for the Arts
Virtuosi
Individuals
Robert and Ann Meredith
Mrs. John F.Ullrich
Paul and Elizabeth Yhouse
Corporations
11.ii in.in Motive Audio Systems NSK Corporation
CONCERTMASTERS
Individuals
Herb and Carol Amster Carl and Isabelle Brauer Dr. James Byrne Mr. Ralph Conger Margaret and Douglas Crary Ronnie and Sheila Cresswell
Mr. and Mrs. Howard S. Holmes Sun-Chien and Betty Hsiao F. Bruce Kulp Mr. David G. Loesel Charlotte McGeoch Mr. and Mrs. George R. Mrkonic Joe and Karen Koykka O'Neal Mrs. M. Titiev
Marina and Robert Whitman and several anonymous donors
Corporations
The Anderson Associates Cafe Marie
Chelsea Milling Company Curtin and Alf Violinmakers Environmental Research Institute
of Michigan First of America Great Lakes Bancorp Thomas B. McMullen Company O'Neal Construction Pepper, Hamilton & Scheetz
Leaders
Individuals
Maurice and Linda Binkow
Dr. Kathleen G. Charla
Katharine and Jon Cosovich
Mr. and Mrs. Thomas C. Evans
John and Esther Floyd
Thomas and Shirley Kaupcr
Rebecca McGowan and Michael Slaeblcr
Dr. and Mrs. Joe D. Morris
John W. and Dorothy F. Reed
Maya Savarino and Raymond Tanter
Mrs. Francis V. Viola III
John Wagner
Corporations
Miller, Canfield, Paddock
and Stone, PLC Mission Health
Foundations
Benard L. Maas Foundation
Principals
Individuals
'rofessor and Mrs.
Gardner Ackley Dr. and Mrs. Robert G. Aldrich tobert and Martha Ause ames R. Baker, Jr., M.D.
and Lisa Baker A.J. and Anne Bartoletto Iradford and Lydia Bates Dr. and Mrs.
Raymond Bernreuter oan A. Binkow loward and Margaret Bond Tom and Carmel Borders Barbara Everitt and
John H. Bryant Mr. and Mrs.
Richard J. Burstein LelitiaJ. Byrd David and Pat Clyde Leon and Heidi Cohan Roland J. Cole and
Elsa Kircher Cole Dennis Dahlmann Robert and
Janice DiRomualdo ack and Alice Dobson Jan and Gil Dorer Cheri and Dr. Stewart Epstein David and JoAnna Featherman Margaret Fisher Richard and Marie Flanagan Robben and Sally Fleming Michael and Sara Frank Mr. Edward P. Frohlich Marilyn G. Gallatin William and Ruth Gilkey Drs. Sid Gilman and
Carol Barbour Sue and Carl Gingles Paul and Anne Glendon Norm Gottlieb and
Vivian Sosna Gotdieb )r. and Mrs. William A. Gracie Ruth B. and
Edward M. Gramlich -inda and Richard Greene Seymour D. Greenstone Valter and Dianne Harrison Anne and Harold Haugh Debbie and Norman Herbert Bertram Herzog ulian and Diane Hofif Mr. and Mrs.
William B. Holmes Robert M. and Joan F. Howe ohn and Patricia Huntington Keki and Alice Irani Mercy and Stephen Kaslc Emily and Ted Kennedy Robert and Gloria Kerry Tom and Connie Kinnear Bethany and
A. William Klinke II Michael and Phyllis Korybalski
Barbara and Michael Kusisto Mr. Henry M. Lee Carolyn and Paul Lichter Evie and Allen Lichter Patrick B. and Kathy Long Dean S. Louis Brigitte and Paul Maassen Ms. Francine Manilow Marilyn Mason and
William Steinhoff Judythe and Roger Maugh Joseph McCune and Georgiana Sanders Paul and Ruth McCracken Reiko McKendry Dr. H. Dean and
Dolores Millard Dr. and Mrs. Andrew
and Candice Mitchell Virginia Patton and
Cruse W. Moss William A. Newman Len and Nancy Niehoff Bill and Marguerite Oliver Mark and Susan Orringer Mr. and Mrs. David W. Osier Mr. and Mrs.
William B. Palmer Dory and John D. Paul John M. Paulson Maxine and
Wilbur K. Pierpont Professor and Mrs.
Raymond Reilly Glenda Renwick Prudence and
Amnon Rosenthal Mr. and Mrs. Charles H. Rubin Don and Judy Dow Rumelhart Richard and Norma Sarns Rosalie and David Schottenfeld Janet and Mike Shatusky Cynthia J. Sorensen Gerard H. and
Colleen Spencer Dr. Hildreth H. Spencer Mr. and Mrs.
John C. Stegeman Victor and Marlene Stoeffler Dr. and Mrs.
Jeoffrey K. Stross Dr. and Mrs.
E. Thurston Thiemc Jerrold G. Utsler Charlotte Van Curler Ron and Mary Vanden Belt Richard E. and
Laura A. Van House Ellen C. Wagner Martha Wallace and
Dennis White Elise and Jerry Weisbach Roy and JoAn Wetzel Len and Maggie Wolin Nancy and
Martin Zimmerman and several anonymous
donors
Corporations
3M Health Care Chi Systems, Inc. Comerica Bank Ford Audio Jacobson Stores Inc. Kitch, Drutchas, Wagner,
& Kenney, P.C. Pastabilities
Shar Products Company Wise and Marsac, P.C.
Foundations
Chrysler Corporation Fund The Mosaic Foundation
(of Rita and Peter Heydon) Washtenaw Council
for the Arts
Benefactors
Individuals
Jim and Barbara Adams Bernard and Raquel Agranoff Carlene and Peter Aliferis Catherine S. Arcure Robert L. Baird Emily Bandera Dr. and Mrs. Robert Bartlett Mrs. Martha K. Beard Ralph P. Beebe Mrs. Kathleen G. Benua Mr. and Mrs. Philip C. Berry Robert Hunt Berry Suzanne A. and
FrederickJ. Beutler John Blankley and
Maureen Foley Charles and Linda Borgsdorf Dean Paul C. Boylan Allen and Veronica Britton David and Sharon Brooks Phoebe R. Bun Betty Byrne Jean W. Campbell Bruce and Jean Carlson Edwin F. Carlson and
Barbara Cooper Jean and Kenneth Casey Mrs. Raymond S. Chase Susan and Arnold Coran H. Richard Crane Alice B. Crawford Peter and Susan Darrow Judith and Kenneth DeWoskin Elizabeth A. Doman Dr. and Mrs. S.M. Farhat Claudine Farrand and
Daniel Moerman Ken, Penny and Matt Fischer Phyllis W. Foster Dr. William and Beatrice Fox David J. Fugcnschuh and
Karey Leach
Beverley and Gerson Geltner Elmer G. Gilbert and
Lois M. Verbrugge Margaret G. Gilbert Grace M. Girvan John R. and Helen K. Griffith Mr. and Mrs. Elmer F. Hamel Jay and Maureen Hartford Harlan and Anne Hatcher Mrs. W.A. Hiltner Matthew C. Hoffmann and
Kerry McNulty Janet Woods Hoobler Mary Jean and Graham Hovcy Che C. and Teresa Huang Gretchen and John Jackson Robert L. and
Beatrice H. Kahn Herb Katz
Richard and Sylvia Kaufman Richard and Pat King Hermine Roby Klingler Jim and Carolyn Knake John and Jan Kosta Mr. and Mrs. Samuel Krimm Suzanne and Lee E. Landes Elaine and David Lebenbom Leo A. Legatski Mr. and Mrs. Carl J. Lutkehaus Robert and Pearson Macek John and Cheryl MacKrell Mark Mahlberg Alan and Carla Mandel Ken Marblestone and
Janisse Nagel
Mr. and Mrs. Damon L. Mark David G. McConnell John F. McCuen Kevin McDonagh and
Leslie Crofford Richard and
Elizabeth McLeary Thomas B. and
Deborah McMuIlen Hattie and Ted McOmber Mr. and Mrs.
Warren A. Merchant Myrna and Newell Miller Grant Moore and
Douglas Weaver John and Michelle Morris M. Haskell and
Jan Barney Newman Marysia Ostarin and
George Smillie Mr. and Mrs. William J. Pierce Barry and Jane Pitt Eleanor and Peter Pollack Jerry and Lorna Prescott Tom and Mary Princing Jerry and Millard Pryor Mrs. Gardner C. Quarton Jim and Bonnie Reece Mr. Donald H. Regan and Ms. Elizabedi Axelson Dr. and Mrs.
Rudolph E. Reichert Maria and Rusty Restuccia Jack and Margaret Ricketts James and June Root Mrs. Doris E. Rowan
Benefactors, continued
Peter Savarino Peter Schaberg and
Norma Amrhein Mrs. Richard C. Schneider Professor Thomas J. and
Ann Sneed Schriber Julianne and Michael Shea Mr. and Mrs.
Fredrick A. Shimp, Jr. Helen and George Siedel Steve and Cynny Spencer Lloyd and Ted St. Antoine Mrs. John D. Stoner Nicholas Sudia and
Nancy Bielby Sudia Mr. and Mrs. Robert M. Teeter James L. and Ann S. Telfer Herbert and Anne Upton Don and Carol Van Curler Bruce and Raven Wallace Angela and Lyndon Welch Raoul Weisman and
Ann Friedman Robert O. and
Darragh H. Weisman Ruth and Gilbert Whitaker Frank E. Wolk Walter P. and
Elizabeth B. Work, Jr.
Corporations
Ann Arbor Stage Employees,
Local 395 Emergency Physicians
Medical Group, PC Guardian Industries
Corporation Masco GmbH Scientific Brake and
Equipment Company
Foundations
The Power Foundation
Millf111.111 Foundation Trust
Associates
Individuals
Dr. and Mrs. Gerald Abrams
Mr. GregT.Alf
Dr. and Mrs. David G. Anderson
John and Susan Anderson
David and Katie Andrea
Harlene and Henry Appclman
Sharon and Charles Babcock
Essel and Menakka Bailey
Lesli and Christopher Ballard
Paulett and Peter Banks
M. A. Baranowski
Cy and Anne Barnes
Gail Davis Barnes
Norman E. Barnett
Dr. and Mrs. Mason Barr.Jr.
Astrid B. Beck and
David Noel Freedman
Neal Bedford and
Gerlinda Melchiori Harry and Betty Bcnford Ruth Ann and Stuart J. Bergstein Ron and Miuu Bogdasarian Jim Botsford and
Janice Stevens Botsford David and Tina Bowcn Beisy and Ernest Brater Mr. and Mrs. Gerald Bright Morton B. and Raya Brown Jeannine and Robert Buchanan Jim and Priscilla Carlson Professor Brice Carnahan Jeannette and Robert Carr Mr. and Mrs. Dennis Carroll Janet and Bill Cassebaum Andrew and Shelly Caughey Yaser Cereb
Tsun and Siu Ying Chang Ed and Cindy Clark Janice A. Clark Alice S. Cohen
Edward J. and Anne M. Comeau Jim and Connie Cook Alan and Bette Cotzin Marjorie A. Cramer Merle and Mary Ann Crawford William H. Damon III I .nunR. Davidson, M.D. Jean and John Debbink Benning and Elizabeth Dexter Martin and Rosalie Edwards Dr. Alan S. Eiser Don Faber
Dr. and Mrs. Stefan Fajans Dr. James F. Filgas Sidney and Jean Fine Herschel and Annette Fink IJnda W. Fitzgerald Ray and Patricia Fitzgerald Stephen and Suzanne Fleming James and Anne Ford Wayne and Lynnctte Forde Ilcnc H. Forsyth Deborah and Ronald Freedman Harriet and Daniel Fusfeld Dr. and Mrs. Richard R. Galpin Gwyn and Jay Gardner Henry and Beverly Gershowitz James and Cathie Gibson Ken and Amanda Goldstein Jon and Peggy Gordon Elizabeth Needham Graham Jerry and Mary K. Gray Dr. John and Rcnee M. Greden Mr. and Mrs. Robert Grijalva Leslie and Mary Ellen Guinn Margaret and Kenneth Guire Philip E. Guire Don P. Haefner and
CynthiaJ. Stewart Veronica Haines Margo Halsted Dagny and Donald Harris Susan R Harris Mr. and Mrs. Ramon Hernandez Fred and Joyce Hershenson Herb and Dee Hildebrandl Joanne and Charles Hocking ClaudetteJ. Stern and
Michael Hogan John H.and
Maurita Peterson Holland
Drs. Linda Samuelson and
Joel Howell Mrs. V. C. Hubbs Ronald R. and
Gaye H. Humphrey Mrs. Hazel Hunsche George and Katharine Hunt Wallie and Janet Jeffries Ellen C.Johnson Susan and Stcvo Julius Mary B. and Douglas Kahn Anna M. Kauper Beverly Klciber Bert and Catherine La Du Henry and Alice Landau Mr. and Mrs. Henry M. Lapeza Ted and Wendy Lawrence Mr. and Mrs. Henry M. Lee John and Theresa hee Ann Leidy Jacqueline H. Lewis Jody and Leo LJghthammer Leslie and Susan Loomans Edward and Barbara Lynn Donald and Doni Lystra Frederick C. and
Pamela J. Mackintosh Steve and Ginger Maggio Virginia Mahle Thomas and
Barbara Mancewiec Edwin and Catherine Marcus Rhoda and William Martel Mrs. Lester McCoy Griff and Pat McDonald Deanna Relyea and
Piotr Michalowski James N. Morgan Sally and Charles Moss Dr. Era L. Mueller Barry Nemon and
Barbara Stark-Nemon MartinNeuliep and
Patricia Pancioli Sharon and Chuck Newman Peter F. Norlin Richard S. Nottingham Marylen and Harold Oberman Richard and Joyce Odell Mark Ouimet and
Donna Hrozencik William C. Parkinson Randolph Paschke Virginia Zapf Person Lorraine B. Phillips Frank and Sharon Pignanelli Dr. and Mrs. Michael Pilepich Richard and Meryl Place Roger W. and Cynthia L_ Postmus Charleen Price Hugo and Sharon Quiroz Mrs. Joseph S. Radom Jim and leva Rasmussen Anthony L. Reffells and
Elaine A. Bennett Elizabeth G. Richart Barbara A. Anderson and
John H. Romani Dr. Nathaniel H. Rowe Jerome M. and Lee Ann Salle Sarah Savarino
Dr. Albert J. and Jane K. Sayed David and Marcia Schmidt
Dr. and Mrs.
Charles R. Schmitter, Jr. Edward and Jane Schulak John s. hull Art and Mary Schuman Joseph and Patricia Seltimi Roger Sheffrey Constance Sherman Hollis and Martlia A. Showalter Edward and Marilyn Sichler Diane Siciliano Scott and Joan Singer John and Anne Griffin Sloan Alene M. Smith Carl and 1.111 Smith Jorge and Nancy Solis Mr. and Mrs. Edward Sopcak Mr. and Mrs. NeilJ. Sosin Gus and Andrea Stager Irving M. Stahl and
Pamela M. Rider Catherine M. Steffek Dr. and Mrs. Alan Steiss Charlotte Sundclson Ronald and Ruth Sutton Brian and Lee Talbot Kathleen Treciak Joyce A. Urba and
David J. Kinsella Hugo and Karla Vandcrsypen Mr. and Mrs. John van dcr Vcldc Warren Herb Wagner and
Florence S. Wagner Gregory and Annette Walker Robert D. and Liina M. Wallin Dr. and Mrs. Jon M. Wardner Karl and Karen Weick Dr. Steven W. Werns Marcy and Scott Westerman B.Joseph and Mary White Mrs. Clara G. Whiting Brymer and Ruth Williams Marion T. Wirick Farris and Ann Womack Richard and Dixie Woods Don and Charlotte Wyche MaryGrace and Tom York R. Roger and Bettc F. Zauel Mr. and Mrs. David Zuk and other anonymous donors
Corporations
Red Hawk Bar and Grill
Advocates
Individuals
Michael and Hiroko Akiyama Anastasios Alexiou Augustine and Kathleen Amaru Hugh and Margaret Anderson James Antosiak and Eda Wcddington Jill and Thomas Archambeau, M.D. Bert and Pat Armstrong Gaard and Ellen Arneson Mr. and Mrs. Arthur J. Ashc Eric M. and Nancy Aupperle
Erik and Linda Lee Austin
Michael Avsharian
Eugene and Charlene Axelrod
Shirley and Don Axon
Virginia andjerald Bachman
Richard and Julia Bailey
Barbara and Daniel Balbach
Roxanne Balousek
John R. Bareham
Mr. and Mrs. Robert M. Barnes
Karen and Karl Bartscht
Mr. John Batdorf
Mr. and Mrs. Sleven R. Beckert
Walter and Antje Benenson
Dr. and Mrs. Ronald M. Benson
Marie and Gerald Berlin
L. S. Berlin
Gene and Kay Berrodin
William and Ilene Birge
Mr. and Mrs. Ray Blaszkiewicz
Dr. George and Joyce Blum
Beverly J. Bole
Robert S. Bolton
Mr. and Mrs. Mark D. Bomia
Harold W. and
Rebecca S. Bonnell Roger and Polly Bookwalter Edward G. and Luciana Borbely Sally and Bill Bowers Paul and Anna Bradley William F. and
Joyce E. Braeuningcr Mr. William R. Brashcar Representative Liz and
Professor Enoch Brater Mr. and Mrs. James Breckenfcld
Ms. Mary Jo Brough June and Donald R. Brown Linda Brown and Joel Goldberg Arthur and Alice Burks Ellen M. Byerlein and
Robert A. Sloan Sherry A. Byrnes Dr. Patricia M. Cackowski Louis and Janet Callaway Edward and Mary Cady Charles and Martha Cannell George R. Carignan Dr. and Mrs. James E. Carpenter Jan Carpman
Marchall E and Janice L. Carr Mr. and Mrs. Jeffrey A. Carter Kathran M. Chan Pat and George Chatas James S. Chen Joan and Mark Chesler George and Sue Chism John and Susan Christensen Edward and Rebecca Chudacoff Robert J. Cierzniewski Pat Clapper
Brian and Cheryl Clarkson John and Kay Clifford Charles and Lynne Clippert Roger and Mary Goe Dorothy Burke Coffey Mr. Larry Cohen Gerald S. Cole and
Vivian Smargon Howard and Vivian Cole Ed and Cathy Colone Lolagene C. Coombs Gage R. Cooper
Advocates, continued
Mary K. Cordes Bill and Maddie Cox Kathleen J. Crispell and
Thomas S. Porter Mr. Lawrence Crochier April Cronin
Pedro and Carol Cuatrecasas Jeffrey S. Cutter Mr. and Mrs. John R. Dale Marylee Dalion DarLinda and Robert Dascola Dr. and Mrs. Charles Davenport Ed and EUic Davidson Mr. and Mrs. Bruce P. Davis James H. Davis and
Elizabeth Waggoner Dr. and Mrs. Raymond F. Decker Laurence and Penny Deitch Peter H. deLoof and
Sara A. Bassett Martha and Ron DiCccco Nancy DiMercurio Molly and Bill Dobson Fr. Timothy J. Dombrowski Dick and Jane Dorr Professor and Mrs.
William G. Dow Mr. Thomas Downs Roland and Diane Drayson Harry M. and Norrene M. Dreffs Cecilia and Allan Dreyfuss Rhetaugh G. Dumas Dr. and Mrs. Cameron B. Duncan
Robert and Connie Dunlap
Richard and Myrna Edgar
Mr. and Mrs. John R. Edman
Judge and Mrs. S.J. Elden
Ethel and Sheldon Ellis
Patricia Randle and James Eng
Einil and Joan Engel
David and Lynn Engelbert
Mr. and Mrs. Frederick A. Erb
Mark and Karen Falahee
Elly and Harvey Falit
Dr. and Mrs. Cyrus Farrehi
Cynthia Feller
Phil and Phyllis Fellin
Mrs. Beth B. Fischer
Dr. and Mrs. Richard L. Fisher
Winifred Fisher
James and Barbara Fiugerald
Jonathan Fliegel
Ernest and Margol Fonlheim
Paula L. Bockenstedt and
David A. Fox
Howard and Margaret Fox Richard andjoann Freelhy Joanna and Richard Friedman Gail Frames LelaJ. Fuester Jane Galantowicz Thomas H. Galantowicz Arthur Gallagher Stanley and Priscilla Garn Del and Louise Garrison Drs. Steve Geiringer and
Karen Bantel
Wood and Rosemary Geist Thomas and Barbara Gelehrter Michael Gerstenbergcr W. Scoit Gerstenberger and
Elizabeth A. Sweet Paul and Suzanne Gikas James and Janet Gilsdorf Fred and Joyce M. Ginsberg Maureen and David Ginsburg Albert and Almeda Girod Robert and Barbara Gockel Dr. and Mrs. Edward Goldberg Mary L. Golden Elizabeth Goodenough and
James G. Leaf Graham Gooding Don Gordus Seima and Albert Gorlin Siri Gottlieb Mrs. William Grabb Christopher and Elaine Graham Alan Green
Bill and Louise Gregory Daphne and Raymond Grew Whit and Svea Gray Werner H. Grilk Kay Gugala Margaret Gutowski and
Michael Marietta Helen C. Hall Mrs. William Halstead Herb and Claudia Harjes Nile and Judith Harper Clifford and Alice Hart Elizabeth C. Hassinen Mr. and Mrs. G. Hawkins Laureen Haynes Kenneth and Jeanne Heininger Mrs. Miriam Heins Sivana Heller Rose and John Henderson Norma and Richard Henderson Rose S. Henderson John L. and Jacqueline Henkel Bruce and Joyce Herbert Mr. Roger Hewitt Jacques Hochglaube, M.D., P.C. Bob and Fran Hoffman Richard Holmes Ronald and Ann Holz Jack and Davetta Horner Fred and Betty House Jim and Wendy Fisher House Charles T. Hudson Jude and Ray Huetteman Ann D. Hungerman Diane Hunter and Bill Ziegler Eileen and Saul Hymans Amy Iannacone
Robert B. and Virginia A. Ingling Ann K. Irish John and Joan Jackson Harold and Jean Jacobson K.John Jarrett and
Patrick T. Sliwinski Professor and Mrs.
Jerome Jelinek Keith and Kay Jensen JoAnnJ. Jeromin Paul and Olga Johnson Stephen G.Josephson and
Sally C. Fink
F. Thomas and Marie Juster Mary Kalmes and
Larry Friedman Paul Kantor and Virginia Weckstrom Kantor Mr. and Mrs. Irving Kao
Noboru Kashino
Elizabeth Harwood Katz
Martin and Helen Katz
Mr. and Mrs. N. Kazan
Konstantyn Kim
William and Betsy Kincaid
Brett and Lynnettc King
John and Carolyn Kirkendall
Rlica and Leslie Kish
Shira and Steve Klein
Gerald and Eileen Klos
Barbel Knaupcr
Joseph J. and Marilynn Kokoszka
Melvyn and Linda Korobkin
Dimitri and Suzanne Kosacheff
Edward and Marguerite Kowaleski
Jean and Dick Kraft
Marjorie A. Kramer
Doris and Donald Kraushaar
Alexander Krezel
Alan and Jean Krisch
Ko and Sumiko Knrachi
Dr. and Mrs. Richard A. Kutcipal
Dr. and Mrs.J. Daniel Kutt
Mr. and Mrs. Seymour Lampert
Connie and Dick Landgraff
Patricia M. Lang
Carl and Ann LaRue
Laurie and Robert LaZebnik
Robert and Leslie Lazzerin
Fred and Ethel Lee
Sue Leong
Margaret E. Leslie
Richard LeSueur
Tom and Kathy Lewand
Thomas and Judy Lewis
Mark Lindley
Vi-Cheng and Hsi-Yen Liu
Dr. and Mrs. Peter Y. Lo
Kay H. Logan
Naomi E. Lohr
Dan and Kay Long
Donna and Paul Lowry
Janny Lu
LaMuriel Lyman
Susan E. Macias
Jeffrey and Jane Mackie-Mason
Marcy and Kerri MacMahan
Sally Maggio
Suzanne and Jay Mahler
Dr. Karl D. Malcolm
Claire and Richard Malvin
Mr. and Mrs. Kaztihiko Manabe
Melvin and Jean Manis
John D. Marx, D.D.S.
Dr. and Mrs.Josip Matovinovic
Tamotsu Matsumoto
Mary and Chandler Matthews
Margaret E. McCarthy
Ernest and Adele McCarus
Dores M. McCree
Mary and Bruce McCuaig
Bill and Cinny McKeachie
Dr. and Mrs. Theodore Meadows
Robert and Doris Melling
Mr. and Mrs. John Merrifield
Robert and Bcttic Metcalf
Elizabeth B. Michael
Leo and Sally Miedler
Andy and Nancy Miller
Thomas and Doris Miree
Olga Moir
Mr. and Mrs. William G. Moller.Jr.
Rosalie E. Moore
Marvin and Karen Moran
Robert and Sophie Mordis
Jane and Kenneth Moriarty
Paul and Terry Morris
Mclindn and Bob Morris Dick and Judy Morrissett Brian and Jacqueline Morion Hidcko and Tatsuyoshi Nakamura Dr. andMrs.J.V.Neel Frederick G. Neidhardt and
Gcrmaine Chipault Shinobu Niga Patricia O'Connor Michael J. O'Donnell and
Jan L. Garfinkle Kathleen I. Opcrhall Dr. Jon Oscherwitz Julie and Dave Owens Dr. and Mrs. Sujit K. Pandit Donna D. Park Evans and Charlene Parroit Eszther T. Pattantyus Shirley and Ara Paul Robert and Arlene Paup Ruth and Joe Payne Dr. Owen Z. and
Barbara Perl man Joyce H. Phillips Robert and Mary Ann Pierce Dr. and Mrs. James Pikulski Sheila A. Pitcoff Donald and Evonne Plantinga Mr. and Mrs. John R. Politzer Philip and Kathleen Power Bill and Diana Pratt David and Stephanie Pyne lcl.mil and
Elizabeth Quackenbush William and Diane Rado Michael and Helen Radock Mr. and Mrs.
DouglasJ. Rasmussen Katherine R. Reebel Mr. and Mrs. Stanislav Rehak Charles and Betty Reinhart Molly Resnik and John Martin Constance Rinehart Lisa Rives and Jason Collens Joe and Carolyn Roberson Elizabeth A. Rose Marilynn M. Rosenthal Custave and Jacqueline Rosseels Dr. and Mrs.
Raymond W. Ruddon Tom and Dolores Ryan Ellen and James Saalberg Theodore and Joan Sachs Ina and Terry Sandalow John and Reda Santinga Michael Sarosi and Kimm Skalitzky Sarosi Elizabeth M. Savage Charlene and Carl Schmult Albert and Susan Schultz R. Ryan Lavelle. Ph.D
Marshall S. Schuster, D.O. Ed and Sheila Schwartz Ms. Janet Sell Sherry and Louis Scnunas Ei ik and Carol Serr David and Elvera Shappirio Dr. and Mrs. Ivan Sherick Mr. and Mrs. George Shirley Drs.Jean and Thomas Shope Mary Ann Shumaker Barry and Karen Siegel Dr. and Mrs. Milton Siegel Eldyand Enrique"Signori Ken Silk and Peggy Buttenheim Frances and Scott Simonds Robert and Elaine Sims Donald and Susan Sinta Martha Skindell
Beverly N. Slater
Mr. and Mrs. Robert W. Smith
Virginia B. Smith
Richard Soble and
Barbara Kessler Juanita and Joseph Spaliina Mr. and Mrs. Robert E. Spence Anne L. Spendlove Gretta Spier and Jonathan Rubin L. Grasselli Sprankle Edmund Sprunger Dr. and Mrs. William C. Stebbins Bert and Vickie Steck Thorn and Ann Sterling Harold Stevenson Robert and Shelly Stoler Wolfgang F. Stolper Mrs. William H. Stubbins Drs. Eugene Su and Christin Carte r-Su Keiko Tanaka Lois A. Theis Edwin J. Thomas Bette M. Thompson Ted and Marge Thrasher Albert Tochet
Mr. and Mrs. Terril O. Tompkins Dr. and Mrs. John Triebwasser Mr. Gordon E. Ulrey Joaquin and Mei Mei Uy Madeleine B. Vallier Carl and Sue Van Appledorn Michael L. Van Tassel Phyllis Vegter
Mr. and Mrs. Theodore R. Vogt John and Maureen Voorhees Delia DiPietro and Jack Wagoner Wendy L. Wahl, M.D. and
William Lee, M.D. Mr. and Mrs. Norman C Wait Richard and Mary Walker Lorraine Nadelman and
Sidney Warschausky Robin and Harvey Wax Christine L. Webb Mrs. Joan D.Weber Willcs and Kathleen Weber Deborah Webster and
George Miller Leone Buyse and
Michael Webster Jack and Jerry Weidenbach Mrs. Stanfield M. Wells, Jr. Ken and Cherry Westerman Susan and Peter Westerman Paul E. Duffy and
Marilyn L. Wheaton Harry C. While Janet F. White William and Cristina Wilcox Shelly F. Williams Mrs. Elizabeth Wilson Beth and I.W. Winstcn Charlotte Wolfe Muriel and Dick Wong J. D. Woods
Mr. and Mrs. A. C. Wooll Mr. and Mrs. R.A. Yagle Ryuzo Yamamoto Frank O. Youkstetler Mr. and Mrs. Edwin H. Young Olga Zapotny Roy and Helen Ziegler Mr. and Mrs. F. L. Zeisler David S. and Susan H. Zurvalec and other anonymous donors
Advocates, continued
Corporations
American Metal Products
Brass Craft
Coffee Express Co.
Garris, Garris, Garris & Garris
Law Office
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fane Kulpimki
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S. Laurent
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Mr. and Mrs. Richard S. Lord
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Jcannettc Luion
John J. Lynch, Atty.
Dr. and Mrs. Cecil Mackey
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Roland W. Pratt
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Friends, continued
Lisa Richardson Mr. and Mrs.
Thomas D. Richardson Kurt and Lori Rieggcr R.L. Riley Judy Ripple LJta Ristinc
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Mr. and Mrs. Howard Waldrop Mr. and Mrs. David C. Walker Patricia Walsh Margaret Walter Martha Waller Orson and Karen Wang Eric and Sherry Warden Alice and Martin Warshaw Arthur and Uni.it.i Wasscrman Dr. and Mrs. Andrew S. Watson Loraine Webster Alan and Jean Weamer Edward C. Weber Joan M. Weber Steve Wcikal
David .mil .n ki Weisman Donna G. Weisman Drs. Bernard and Sharon Weiss April Wendling Elizabeth A. Wcntzien Mr. anb Mrs. James B. White Mr. Carl Widmann Sandy Wiener Cyndiia Wilbanks Mr. and Mrs. Peter H. Wilcox Mr. and Mrs. Michael S. Wilhclm James Williams John and Christa Williams
Robert and Anne Marie Willis
Richard C. Wilson
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James H. and Mary Anne Winter
Mary Winter
Lawrence and Mary Wise
Esther and Clarence Wissc
Danielle Wittmann
Mr. Henry Wojcik
Joyce Cuior Wolf. M.D.
Mr. C. Christopher Wolfe and
Ms. Linda Kiddcr Nancy and Victor Wong Mr. and Mrs. David Wood Leonard and Sharon Woodcock Barbara H. Wooding Stewart and Carolyn Work Israel and Fay Woronoff Robert E. Wray, III Frances A. Wright Lynne Wright Ei nst Wuckert Patricia Wulp Jason and Julie Young Robert and Charlene R. Zand Mr. and Mrs. Martin Zeile Gary and Rosalyn Zembala George and Nana Zissis
and several anonymous donors
Corporations Organizations
Barton Hills Women's
Golf Association Crown Steel Rail Company Delta Sigma Theta Sorority -
Ann Arbor Alumnae Liberty Sports Complex Mastcllcr Music, Inc. Michigan Carleton Alumni Club Morgantown Plastics Company Staples Building Company Weiser Lock
Memorials
Robert S. Feldman Zclina Krauss Firth George R. Hunschc Ralph Herbert Kathcrinc Mabarak Frederick C. Matthaei, Sr. Gwcn and Emerson Powrie SlcfTi Reiss Clare Siegcl Ralph L. StefTck Charicnc Parker Slern Witiiam Swank Cli.ulrs R. Tieman John F. Ullrich Francis Viola III Peter H. Woods
In-Kind Gifts
Individuals
Catherine Arcurc Paulett and Pclcr Banks Back Alley Gourmet Barnes and Noble Bookstore Maurice and Linda Binkow Jcanninc and Bob Buchanan Edith and Fred Bookstein Pat and George Chatas Paul and Pat Cousins
Cousins Heritage Inn Katy and Anthony Derezinski Espresso Royale Fine Flowers Ken and Penny Fischer Kcki and Alice Irani Maureen and Stu Isaac Matthew Hoffmann Jewelry Mercy and Stephen Kaslc Howard King F. Bruce Kulp Barbara Lcvitan Maxinc and Dave Larrouy Maggie Long
Perfecdy Seasoned Catering Doni LystraDough Boys Steve MaggioThe Maggio Line James McDonaldBella Ciao Karen and Joe O'Neal Richard and Susan Rogel Janet and Mike Shatusky SKR Classical Herbert Sloan David Smith
David Smith Photography Sweet Lorraine's Susan B. Ullrich Elizabeth and Paul Yhousc
Giving Levels
The Charles Sink Society
cumulative giving totals of more than $15,000.
Maestro $10,000 or more Virtuoso $7,500 9,999 Conccrtmaster $5,000 7,499 Leader $2,500 4,999 Principal $1,000 2,499 Benefactor $500-999 Associate 5250 499 Advocate $100 249 Friend $50 99 Youth 525
Advertiser's Index
36 Afterwords
16 Ann Arbor Acura
47 Ann Arbor Art Center
42 Ann Arbor Reproducuve
Medicine 39 Ann Arbor Symphony
Orchestra 35 Arbor Hospice 29 Bank of Ann Arbor
43 Barclay's Gallery 33 Beacon Investment
Company 39 Benefit Source 10 Bodman, Longley and
Dahling
54 Butzel Long 51 Cafe Marie
39 Chamber Music Society
of Detroit
18 Charles Reinhart
Company
27 Chelsea Community Hospital
19 Chisholm and Dames
Investment Advisors 35 Chris Triola Galk-ry 27 David Smith Photography
40 Detroit Edison
19 Dickinson, Wright, Moon,
frn Dusen and Freeman 35 Dobbs Opticians
20 Dobson-McOmber 49 Dough Boys Bakery
26 Edward Surovell Company 35 Emerson School
48 ER1M
2 Ford Motor Company 31 Fraleighs Landscape
Nursery 8 General Motors
Corporation
49 Gifford, Krass, Groh,
Sprinkle, Patmore, Anderson & Citkowski
11 Glacier Hills
15 Hagopian World of Rugs
49 Harmony House
37 Hill Auditorium Campaign 36 Interior Development 47 Jacobson's
47 Karen DeKoning and
Associates 43 Katherine's Catering and
Special Events 43 Kerrytown Bistro
28 KeyBank
40 King's Keyboard House
11 Lewis Jewelers
29 Marty's Menswear
56 Matthew C. Hoffmann
Jewelry Design 31 Miller, Canfield, Paddock
& Stone
42 Mundus and Mundus
12 NBD Bank
43 Nichols, Sacks, Slank
and Sweet
35 Packard Community Clinic 21 Pen in Hand
40 Persian House of Imports
31 Red Hawk Bar and Grill
Zanzibar
48 Regrets Only
24 SKR Classical
21 Snyder and Company
25 Sweet Lorraine's 20 Sweetwaters Cafe
54 Toledo Museum of Art 34 Top Drawer
36 Ufer and Company
29 U-M Urology
30 University Productions
32 WDET
38 WEMU
55 Whole Foods Market 54 WQRS
27 Wright, Griffin, Davis and Company
41 WUOM

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