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UMS Concert Program, Thursday Mar. 12 To 22: University Musical Society: 1997-1998 Winter - Thursday Mar. 12 To 22 --

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University Musical Society
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Season: 1997-1998 Winter
University Of Michigan, Ann Arbor

of the University of Michigan, Ann Arbor
The 1998 Winter Season
On the Cover
Included in the montage by local photographer David Smith are images taken from the University Musical Society's 1996-97 season. A member of Steve Turre's Shell Choir plays his conch shell as part of the Blues, Roots, Honks and Moans concert, mezzo-soprano Ewa Podles performs in Hill Auditorium and dancers perform the snow scene from Vie Harlem Nutcracker at the Power Center.
4 Letter from the President
5 Corporate UnderwritersFoundations
9 UMS Board of DirectorsSenate
StaffAdvisory Committees
10 General Information
13 Ticket Services
14 UMS History
15 UMS Choral Union
16 Auditoria Burton Memorial Tower 20 Education and Audience Development 22 Season Listing
Concert Programs begin after page 26
Volunteer Information
Restaurant & Lodging Packages
The UMS Card
Gift Certificates
Sponsorship and Advertising
Group Tickets
Advisory Committee
Ford Honors Program
UMS Contributors
UMS Membership
Advertiser Index
Dear Friend,
Thanks very much for attending this perfor?mance and for supporting the University Musical Society (UMS) by being a member of the audience. I'd like to invite you to become even more involved with UMS. There are many ways you can do this, and the rewards are great.
Educational Activities. This season UMS is hosting more than 150 performance-related educational events, nearly all of them free and open to the public. Want to learn from a member of the New York City Opera National Company what it's like to be on the road for four months, or find out from Beethoven scholar Steven Whiting why the composer's music, beloved by today's audi?ences, was reviled by many in Beethoven's own time Through our "Master of Arts" interview series, Performance-Related Educational Presentations (PREPs), post-per?formance chats with the artists, and a variety of other activities, I invite you to discover the answers to these and other questions and to deepen your understanding and appreciation of the performing arts.
UMS Choral Union. Does singing with an outstanding chorus appeal to you UMS' own 180-voice chorus, which performs annu?ally on the UMS series and as guest chorus with leading orchestras throughout the region, invites you to audition and to experience the joys of musicmaking with the wonderful people who make up the chorus.
Volunteering. We couldn't exist with?out the marvelous work of our volunteers. I invite you to consider volunteering -usher?ing at concerts, staffing the information kiosk in the lobby, serving on the UMS Advisory Committee, helping prepare our artists' welcome packets, offering your special talent to UMS, etc. -and joining the more than 500 people
who make up this absolutely critical part of the UMS family.
Group Activities. If you are a member of a service club, youth group, religious orga?nization, or any group that enjoys doing things together, I invite you to bring your group to a UMS event. There are terrific dis?counts and other benefits, not to mention the fun your group can have before, during, and after a UMS event.
UMS Membership. If you're not already a UMS member, I hope you'll consider becoming one. Not only do you receive the satisfaction of knowing that your financial support is helping us bring the world's best artists to our community, but there are numerous benefits to enjoy, including advance ticket purchase, invitations to special events, opportunities to meet artists, and more.
You can obtain further information about all of these opportunities throughout this pro?gram book and on our website ( You can also stop by the information kiosk in the lobby or come and talk to me directly. I'd love to meet you, answer any questions you might have, and, most importantly, learn of anything we can do at UMS to make your concertgoing experience the best possible. Your feedback and ideas for ways we can improve are always welcome. If you don't happen to catch me in the lobby, please call me at my office in Burton Tower at 734.647.1174, or send an e-mail message to
Kenneth C. Fischer President
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 local?ized 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 cornerstone 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.
F. Bruce Kulp
Chair, UMS Board of Directors
Sam Edwards
President, Beacon
Investment Company "All of us at Beacon know that the University Musical Society is one of this community's most
valuable assets. Its long history of present?ing the world's outstanding performers has established Ann Arbor's reputation as a major international center of artistic achievement. And its inspiring programs make this a more interesting, more adven?turous, more enjoyable city."
Chairman of (he Board and Chief Executive Officer, Gmtin ''ravel "Conlin Travel is pleased to support the significant cultural
and educational projects of the University Musical Society."
CARL A. BRAUER, JR. Owner, Brauer Investment Company "Music is a gift from God to enrich our lives. Therefore, I enthusiastically sup?port the University
Musical Society in bringing great music to our community."
joseph curtin and Gregg Alf
Oumers, Curtin CsfAlf "Curtin & Alf's support of the University Musical Society is both a priv?ilege 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 excel?lence across the land."
DAVID G. LOESEL President, T.M.L. Ventures, Inc. "Cafe Marie's support of the University Musical Society Youth Program is an honor
and a privilege. Together we will enrich and empower our community's youth to carry forward into future generations this fine tradition of artistic talents"
JOHN E. LOBBIA Chairman and Chief Executive Officer, Detroit Edison "The University Musical Society is one of the organiza?tions that make the
Ann Arbor community a world-renowned center for the arts. The entire community shares in the countless benefits of the excellence of these programs."
The Edward Surovcll
"It is an honor for
Edward Surovell
Company to be able
to support an insti-
tution 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."
John Psarouthakis,
Chairman and Chief
Executive Officer,
"Our community is
enriched by the
University Musical
Society. We warmly support the cultural events it brings to our area."
RONALD WEISER Chairman and Chief Executive Officer, McKinlcy Associates, Inc.
"McKinlcy Associates is proud to support the University
Musical Society and the cultural contribu?tion it makes to the community."
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 but for all of Michigan to enjoy."
President, Kathleen G. Charla Associates, Publishers Representatives "Music is a wondrous gift that nurtures the soul. Kathleen G. Charla Associates is
pleased and honored to support the University Musical Society and its great offerings of gifts 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."
ALEX TROTMAN Chairman, Chief Executive Officer, Ford Motor Company "Ford takes particular pride in our long?standing association with the University
Musical Society, its concerts, and the educa?tional programs that contribute so much to Southeastern Michigan."
William S. Hann
President, KeyBank. "Music is Key to keep?ing our society vibrant and Key is proud to support the cultural institution rated num?ber one by Key Private Bank clients"
Miller, Canfield,
Paddock and Stone,
Miller, Canfield,
Paddock and Stone
is particularly
pleased to support the University Musical Society and the wonderful cultural events it brings to our community.
First Vice President and Manager, NBD Bank "NBD Bank is honored to share in the University Musical Society's
proud tradition of musical excellence and artistic diversity"
Ronald M. Cresswell, Ph.D.
Chairman, Parke-Davis Pharmaceutical "Parke-Davis is very proud to be associat?ed with the University Musical
Society and is grateful for the cultural enrichment it brings to our Parke-Davis Research Division employees in Ann Arbor."
Chairman and CEO, Vie Irwin Group of Companies. President, Wolverine Temporaries, Inc. "Wolverine Temporaries began its support of
the University Musical Society in 1984, believing that a commitment to such high quality is good for all concerned. We extend our best wishes to UMS as it continues to culturally enrich the people of our community."
LARRY MCPHERSON President and COO, NSK Corporation "NSK Corporation is grateful for the opportunity to con?tribute to the University Musical
Society. While we've only been in the Ann Arbor area for the past 83 years, and UMS has been here for 119, we can still appreci?ate the history they have with the city -and we are glad to be part of that history."
MICHAEL STAEBLER Managmg 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."
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."
President, Regency Travel Agency, Inc. "It is our pleasure to work with such an outstanding organi?zation as the Musical
Society at the University of Michigan."
The University Musical Society of the University of Michigan
F. Bruce Kulp, chair
Marina v.N. Whitman, vice chair
Stuart A. Isaac, secretary
Elizabeth Yhouse, treasurer
Herbert S. Amster
Gail Davis Barnes
Maurice S. Binkow
Lee C. Bollinger
Janice Stevens Botsford
Paul C. Boylan Barbara Everitt Bryant Letitia J. Byrd Leon S. Cohan Jon Cosovich Ronald M. Cresswell Robert F. DiRomualdo David Featherman Beverley B. Geltner
Walter L. Harrison Norman G. Herbert Alice Davis Irani Thomas E. Kauper Earl Lewis Rebecca McGowan Lester P. Monts Joe E. O'Neal lohn Psarouthakis
Richard H. Rogel George I. Shirley John O. Simpson Herbert Sloan Carol Shalita Smokier Peter Sparling Edward D. Surovell Susan B. Ullrich Iva M. Wilson
UMS SENATE (former members of the UMS Board of Directors)
Robert G. Aldrich Richard S. Berger Carl A. Brauer Allen P. Britton Douglas Crary John D'Arms James J. Duderstadt Robben W. Fleming
Randy J. Harris Harlan H. Hatcher Peter N. Heydon Howard Holmes Kay Hunt David B. Kennedy Richard L. Kennedy Thomas C. Kinnear
Patrick B. Long Judythe H. Maugh Paul W. McCracken Alan G. Merten John D. Paul Wilbur K. Pierpont Gail W. Rector John W. Reed
Harold T. Shapiro Ann Schriber Daniel H. Schurz Lois U. Stegeman E. Thurston Thieme Jerry A. Weisbach Eileen Lappin Weiser Gilbert Whitaker
AdministrationFinance Kenneth C. Fischer, President Elizabeth Jahn, Assistant to
the President John B. Kennard, Jr.,
Administrative Manager R. Scott Russell, Systems Analyst
Box Office
Michael L. Gowing, Manager Sally A. Cushing, Staff Ronald J. Reid, Assistant Manager and Group Sales
Choral Union Thomas Sheets, Conductor Edith Leavis Bookstein, Manager Donald Bryant, Conductor Emeritus
Catherine S. Arcure, Director
Elaine A. Economou, Assistant
Director -Corporate Support Susan Fitzpatrick,
Administrative Assistant Lisa Murray, Advisory Support I. Thad Schork, Gift Processor Anne Griffin Sloan, Assistant Director -Individual Giving
EducationAudience Development Ben lohnson, Director Yoshi Campbell, Manager
MarketingPromotion Sara Billmann, Director Sara A. Miller, Advertising and
Promotion Coordinator John Peckham, Marketing Coordinator
Gus Malmgren, Director
Emily Avers, Artist Services and
Production Coordinator Kathi Reister, Head Usher Paul lomantas, Assistant Head
Michael Kondziolka, Director
Kate Remen, Manager
Work-Study Laura Birnbryer Rebekah Camm Danielle DeSwert Nikki Dobell Ron Dolen Mariela Flambury Amy Hayne Sara lensen
Bert Johnson Melissa Karjala Un )ung Kim Adrienne Levengood Beth Meyer Albert Muzaurieta Rebekah Nye Tansy Rodd
Laura Birnbryer Jack Chan Carla Dirlikov Colin Myscuwuec Amy Tubman
President Emeritus Gail W. Rector
Gregg Alf
Martha Ause
Paulett Banks
Kathleen Beck
lanice Stevens Botsford
Jeannine Buchanan
Letitia J. Byrd
Betty Byrne
Phil Cole
Mary Ann Daane
H. Michael Endres
Don Faber
Katherine Hilboldt Farrell
Penny Fischer
Sara Frank
Barbara Gelehrter
Bevcrlcy B. Gcltner
Joyce Ginsberg
Linda Greene
Dianne Harrison Debbie Herbert Tina Goodin Hertel Matthew Hoffmann Maureen Isaac Darrin Johnson Barbara K.ilm Mercy Kasle Steve Kasle Maxine Larrouy Beth LaVoie Barbara Levitan Doni Lystra Esther Martin Margie McKinley Jeanne Merlanti Scott Merz Ronald G. Miller Robert B. Morris
Len Niehoff Nancy Niehoff Karen Koykka O'Neal Marysia Ostafin Mary Pitlman leva Rasmussen Nina Swanson Robinson Maya Savarino Janet Shatusky Meg Kennedy Shaw Aliza Shevrin Loretta Skewes Cynny Spencer Ellen Stross Kathleen Treciak Susan B. Ullrich Dody Viola David White Jane Wilkinson
Fran Ampey
Kitty Angus
Gail Davis Barnes
Alana Barter
Elaine Bennett
Letitia J. Byrd
Diane Davis
Deb Katz
John Littlcjohn
Dan Long
Laura Machida
Ken Monash
Gayle Richardson
Karen Schulte
Helen Siedel
Sue Sinta
Sandy Trosien
Linda Warrington
Tlie University Musical Society is an equal opportunity employer and services without regard to race, color, religion, national origin, age, sex or handicap. The University Musical Society is supported by the Michigan Council for the Arts and Cultural Affairs.
General Information
Coat Rooms
Hill Auditorium: Coat rooms are located on the east and west sides of the main lobby and are open only during the winter months. Rackham Auditorium: Coat rooms are located on each side of the main lobby. Power Center: Lockers are available on both levels for a minimal charge. Free self-serve coat racks may be found on both levels. Michigan Theater: Coat check is available in the lobby.
Museum of Art: A coat closet is located to the right of the lobby gallery, near the south stair?case.
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 auditoria have barrier-free entrances. Wheelchair locations are available on the main floor. Ushers are available for assistance.
Lost and Found
For items lost at Hill Auditorium, Rackham Auditorium, Power Center, and Mendelssohn Theatre call University Productions: 734.763.5213.
For items lost at St. Francis of Assisi Catholic Church, the Michigan Theater and the U-M Museum of Art, call the Musical Society Box Office at 734.764.2538.
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the perfor?mance begins. Free parking is available to UMS members at the Principal level. Free and reserved parking is available for UMS mem?bers at the Leader, Concertmaster, Virtuosi, Maestro and Soloist levels.
Public Telephones
Hill Auditorium: A wheelchair-accessible pub?lic 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.
Museum of Art: No public phones are avail?able at the Museum of Art. The closest public phones are located across the street in the basement level of the Michigan Union.
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.
Hill Auditorium: Men's rooms are located on the east side of the main lobby and the west side of the second balcony lobby. Women's rooms are located on the west side of the main lobby and the east side of the first bal?cony lobby.
Rackham Auditorium: Men's room is located on the east side of the main lobby. Women's room is located on the west side of the main lobby.
Power Center: Men's and women's rooms are located on the south side of the lower level. A Wheelchair-accessible restroom is located on the north side of the main lobby and off of 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 bal?cony level.
Michigan Theater: Men's and women's rooms are located in the mezzanine lobby. Wheelchair-accessible restrooms are located on the main floor off of aisle one.
Mendelssohn: Men's and women's rooms are located down the long hallway from the main
floor seating area.
St. Francis: Men's and women's rooms are
located in the basement at the bottom of the
front lobby stairs.
Museum of Art: Women's rooms are located
on the first floor near the south staircase.
Men's rooms are located on the basement level
near the south staircase.
Smoking Areas
University of Michigan policy forbids smok?ing in any public area, including the lobbies and restrooms.
Guided tours of the auditoria are available to groups by advance appointment only. Call 734.763.3100 for details.
UMSMember Information Booth
A wealth of information about UMS events, restaurants and the like is available at the information booth in the lobby of each audi?torium. UMS volunteers can assist you with questions and requests. The information booth is open thirty minutes before each concert, during intermission and after the concert.
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
From outside the 313 and 734 area codes,
call toll-free
M-F 10 a.m. to 6 p.m. Sat. 10 a.m. to 1 p.m. Order online at the UMS Website
Visit our Box Office in person
At the Burton Tower ticket office on the University of Michigan campus. Performance hall box offices open 90 minutes before the performance time.
Returns If you are unable to attend a con?cert 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. Refunds are not available; however, you will be given a receipt for an income tax deduction. Please note that ticket returns do not count toward UMS membership.
University Musical Society
of the University of Michigan
The goal of the University Musical Society (UMS) is clear: to engage, educate, and serve Michigan audiences by bringing to our community an ongoing series of world-class artists, who represent the diverse spectrum of today's vigorous and exciting live performing arts world. Over its 119 years, strong leader?ship coupled with a devoted community have placed UMS in a league of internationally-recognized performing arts presenters. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich and varied his?tory, balanced by a commitment to dynamic and creative visions of where the performing arts will take us in the next millenium. Every day UMS seeks to cultivate, nurture and stim?ulate public interest and participation in every facet of the live arts.
The Musical Society grew from a group of
local university and townspeople who gath?ered 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. Their first performance of Handel's Messiah was in December of 1879, and this glorious oratorio has since been performed by the UMS Choral Union annually.
As a great number of Choral Union members also belonged to the University, the University Musical Society was established in December 1880. The Musical Society included the Choral Union and University Orchestra, and throughout the year presented a series of concerts featuring local and visiting artists and ensembles.
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 theatre. Through educational endeavors, com?missioning of new works, youth programs, artists residencies and other collaborative pro?jects, UMS has maintained its reputation for quality, artistic distinction and innovation. The Musical Society now hosts over 70 concerts and more than 150 educational events each season. UMS has flourished with the support of a generous community which gathers in Hill and Rackham Auditoria, the Power Center, the Michigan Theater, St. Francis of Assisi Catholic Church, the Museum of Art and the Lydia Mendelssohn Theatre.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor campus, and a regular collaborator with many University units, the Musical Society is a separate not-for-profit organization, which supports itself from ticket sales, corporate and individual contribu?tions, foundation and government grants, and endowment income.
UMS Choral Union
Thomas Sheets, conductor
For more information about the UMS Choral Union, please call 734.763.8997.
Throughout its 119-year history, the University Musical Society Choral Union has performed with many of the world's distinguished orches?tras and conductors.
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. Four years ago, the Choral Union further enriched that tradition when it began appearing in concert with the Detroit Symphony Orchestra. Among other works, the chorus has joined the DSO in Orchestra Hall and Meadowbrook for subscrip?tion performances of Beethoven's Symphony No. 9, Orff's Carmina Burana, Ravel's Daphnis et Chloe, Prokofiev's Aleksandr Nevsky, and has recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd.
In 1995, the Choral Union entered into 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, Bach's Mass in b minor and Verdi's Requiem. Last sea?son, the Choral Union again expanded its scope to include performances with the Grand Rapids Symphony, joining with them in a rare presen?tation of Mahler's Symphony No. 8.
In this, its 119th season, the Choral Union will present Mendelssohn's Elijah with the Ann Arbor Symphony Orchestra under the direction of Thomas Sheets. The chorus will also perform Porgy and Bess with the BirminghamBloomfield Symphony Orchestra and The Dream ofGerontius with the Toledo Symphony.
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.
Hill Auditorium
Standing tall and proud in the heart of the University of Michigan campus, Hill Auditorium is associated with the best performing artists the world has to offer. Inaugurated at the 20th Annual Ann Arbor May Festival in 1913, this impressive structure has served as a showplace for a variety of impor?tant debuts and long relationships throughout the past 84 years. With acoustics that highlight everything from the softest high notes of vocal recitalists to the grandeur of the finest orches?tras, Hill Auditorium is known and loved throughout the world.
Former U-M regent Arthur Hill bequeathed $200,000 to the University for the construction of an auditorium for lectures, concerts and other university events. Then-UMS President Charles Sink raised an addi?tional $150,000, and the concert hall opened in 1913 with the Chicago Symphony Orchestra performing Beethoven's ever-popular Symphony No. 5.
The 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 improved wheelchair seating (1995), decreased the seating capacity to its current 4,163.
Hill Auditorium is slated for renovation. 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 conve?niences.
Rackham Auditorium
Sixty years ago, 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, Newberry Hall and the current home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strongly in the importance of the
study of human history and human thought, died in 1933, his will established the Horace H. Rackham and Mary A. Rackham Fund, which subsequently awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School which houses the 1,129-seat Rackham Auditorium, but also to establish a $4 million endowment to further the development of graduate stud?ies. Even more remarkable than the size of the gift, which is still considered one of the most ambitious ever given to higher-level education, is the fact that neither of the Rackhams ever attended the University of Michigan.
Power Center for the Performing Arts
The Power Center for the Performing Arts was bred from a realization that the University of Michigan had no adequate proscenium-stage 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, together with their son Philip, wished to make a major gift to the University, and amidst a list of University priorities was mentioned "a new theatre." The Powers were immediately interest?ed, realizing that state and federal government were unlikely to provide financial support for
the construction of a new theatre.
The Power Center opened in 1971 with the world premiere of The Grass Harp (based on the novel by Truman Capote). No seat in the Power Center is more than 72 feet from the stage. The lobby of the Power Center fea?tures two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes by Pablo Picasso.
Michigan Theater
The historic Michigan Theater opened January 5,1928 at the peak of the vaudeville movie palace era. Designed by Maurice Finkel, the 1,710-seat 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 sec?ond 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 stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ, acclaimed as the best of its kind in the country. Restoration of the bal?cony, outer lobby and facade is planned for 2003.
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 dedicated the new St. Francis of Assisi Church. Father James McDougal was appointed pastor in 1997.
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 900 people and has ample free parking. In 1994 St. Francis purchased a splendid three manual "mechanical action" organ with thirty-four stops and fourty-five ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedication, 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 church a gathering place for the enjoyment and contem?plation of sacred a cappella choral music and early music ensembles.
Auditoria, continued
Lydia Mendelssohn Theatre
Notwithstanding an isolated effort to estab?lish 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 theatre for the 100th May Festival's Cabaret Ball. Now, with a new pro?grammatic initiative to present song in recital, the superlative Mendelssohn Theatre has become a recent venue addition to the Musical Society's roster and the home of the Song Recital series. This year's series cele?brates the alto voice with recitals by Marilyn Home, David Daniels, and Susanne Mentzer.
U-M Museum of Art
The University of Michigan Museum of Art houses one of the finest university art col?lections in the country and the second largest art collection in the state of Michigan. A community museum in a university set?ting, the Museum of Art offers visitors a rich and diverse permanent collection, supple?mented by a lively, provocative series of special exhibitions and a full complement of inter?pretive programs. UMS presents two special concerts in the Museum in the 1997-98 season.
Burton Memorial Tower
Ci een from miles away, this well-known University of Michigan and Ann Arbor U landmark is the box office and administra?tive location for the University Musical Society.
Completed in 1935 and designed by Albert Kahn, the 10-story tower is built of Indiana limestone with a height of 212 feet. During the academic year, visitors may climb up to the observation deck and watch the carillon being played from noon to 12:30 pm weekdays when classes are in session and most Saturdays from 10:15 to 10:45 am.
Education and Audience Development
During the past year, the University Musical Society's Education and Audience Development program has grown signifi?cantly. With a goal of deepening the under?standing 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 part?nerships to reach into the many diverse com?munities 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 6,000 stu?dents will attend the Youth Performance Series, which includes The Harlem Nutcracker, Chick Corea and Gary Burton, the New York City Opera National Company, Los Munequitos de Matanzas, and STREB.
The University Musical Society and the Ann Arbor Public Schools are members of the Kennedy Center Performing Arts Centers and Schools: Partners in Education Program.
Some highlighted activities that further the understanding of the artistic process and appreciation for the performing arts include:
Master of Arts Interview Series
In collaboration with Michigan Radio WUOM WFUMWVGR, the Institute for the Humanities, and the Institute for Research on Women and Gender, UMS presents a series of informal and engaging dialogues with UMS Artists.
The American String Quartet will be interviewed in conjunction with the Beethoven the Contemporary Series and will discuss their commitment to contemporary classical music and its future.
MacArthur "Genius" grant winner Elizabeth Streb discusses her unique choreographic vision with UMS' Director of Education and Audience Development, Ben Johnson.
Terri Sarris and Gaylyn Studlar, U-M Film
and Video Studies, will interview filmmaker Ngozi Onwurah, Artist in Residence for the Institute for the Humanities and the Paula and Edwin Sidman Fellow in the Arts.
PREPs (Performance-Related Educational Presentations)
Attend lectures and demonstrations that sur?round UMS events. PREPs are given by local and national experts in their field, and some highlights include:
Richard LeSueur, Vocal Arts Information Services, will conduct PREPs on vocal music before David Daniels, Susanne Mentzer, and the New York City Opera National Company.
Alberto Nacif, Cuban music expert, will share his knowledge of Afro-Cuban Music and his personal experiences with the members of Los Munequitos de Matanzas.
Glenn Watkins and Travis Jackson of the U-M School of Music will talk about Wynton Marsalis' world premiere being paired with Stravinsky's L'histoire du Soldat in "Marsalis Stravinsky," a joint project with the Chamber Music Society of Lincoln Center and Jazz at Lincoln Center.
A special concertgoer's tour of the new U-M Museum of Art Monet exhibit "Monet at Vetheuil" prior to Jean-Yves Thibaudet's recital.
And many other highlighted PREPs featur?ing Ellwood Derr, Andrew Lawrence-King, Ohad Naharin, and Helen Siedel.
Teacher Workshop Series
A series of workshops for all K-12 teachers, these workshops are a part of UMS' efforts to provide school teachers with professional development opportunities and to encourage on-going efforts to incorporate the arts in the curriculum.
Space, Time and the Body: STREB Workshop Leader: Hope Clark, Associate Artistic Director of STREB and Director of KidACTION. Monday, January 12, 4:00 6:00pm, Washtenaw Intermediate School District, Grades K-12.
Scientific Thought in Motion Workshop Leader: Randy Barron, Kennedy Center Arts Educator. Monday, January 26, 4:00 7:00 pm, Washtenaw Intermediate School District, Grade level: K-12
Infusing Opera into the Classroom: New York City Opera National Company's Daughter of the Regiment
Workshop Leader: Helen Siedel, Education Specialist, UMS. Monday, February 9, 4:00 -6:00 pm, Washtenaw Intermediate School District, Grade Level: 4-6
Rhythms and Culture of Cuba: Los Munequitos de Matanzas Workshop Leader: Alberto Nacif, Musicologist, educator and host of WEMU's "Cuban Fantasy" Tuesday, February 17, 4:00 -6:00 pm, Washtenaw Intermediate School District, Grade Level: K-12
To Register or for more information, call 734.763.3100.
Beethoven the Contemporary
We are in the first of three seasons in this historic residency comparing the formidable legacy of Beethoven with the visions of many contemporary composers. Some residency highlights include:
Brown Bag lunches and lectures by three of the featured composers whose contempo?rary works are featured as part of this dynamic series: Kenneth Fuchs, Amnon Wolman, and George Tsontakis.
Professor Steven Whiting's lecture series on Beethoven with live demonstrations by U-M School of Music students which precede all six concerts by Ursula Oppens and the American String Quartet.
A variety of interactive lecturedemon?strations by Ursula Oppens and the American String Quartet on these and other important contemporary composers and Beethoven's canon of works.
Other Educational Highlights
World renowned choral conductor Dale Warland (Dale Warland Singers) will lead conducting seminars and chamber choir mas?ter classes.
Many post-performance Meet the Artists have been planned for concerts including the Petersen Quartet, Hagen Quartet, Susanne Mentzer, STREB, the Australian Chamber Orchestra, Ursula Oppens and the American String Quartet, and Christopher Parkening.
STREB will be in residency for one week for many interactive activities, discussions, and master classes.
The 1998 Winter Season
Friday, January 9,8pm
Mendelssohn Theatre
PREP "David Daniels and His Program"
Richard LeSueur, Vocal Arts Information
Services. Fri. Jan 9, 7pm, Rackham Assembly
Hall, 4th floor.
This performance is presented through the
generous support of Maurice and Linda B'mkow.
ISRAEL PHILHARMONIC ZUBIN MEHTA, CONDUCTOR Saturday, January 10, 8pm Hill Auditorium
Sunday, January 11,4pm
Rackham Auditorium
Meet The Artist Post-performance dialogue
from the stage.
Sponsored by Thomas B. McMullen Co.
BOYS CHOIR OF HARLEM Sunday, January 18, 7pm Hill Auditorium
Sponsored by the Detroit Edison Foundation. Additional support provided by Beacon Invest?ment Company and media partner WDET. 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 1998 Rev. Dr. Martin Luther King, Jr. Day Symposium.
Thursday, January 22, 8pm Rackham Auditorium
BEETHOVEN THE CONTEMPORARY AMERICAN STRING QUARTET Friday, January 30, 8pm Rackham Auditorium Master of Arts Members of the American String Quartet, interviewed by Mark Stryker, Arts & Entertainment Reporter, Detroit Free Press. Wed. Jan 28, 7pm, Rackham Amphitheatre.
University Hospital's Gifts of Art free concert by the American String Quartet in the University Hospital Lobby, Thu. Jan 29, 12:10pm. Open Rehearsal with the American String Quartet and composer George Tsontakis, Jan 29, 7pm, U-M School of Music Recital Hall Brown Bag Lunch with composer George Tsontakis, Fri. Jan 30, 12 noon, Michigan League Vandenberg Rm. PREP "Compliments and Caricatures; or Beethoven Pays His Respects" Steven Whiting, U-MAsst. Professor of Musicology, with U-M School of Music students. Fri. Jan 30, 6:30pm, Rackham Assembly Hall.
Meet the Artists Post-performance dialogue from the stage, with composer George Tsontakis. Sponsored by the Edward Surovell Co. Realtors. Additional funding provided by the I tin Wallace-Reader's Digest Arts Partners Program, the National Endowment for the Arts and media partner Michigan Radio, WUOMJ WFUW WVGR. The University Musical Society is a grant recipient of Chamber Music America's Presenter-Community Residency Program fund?ed by the lila Wallace-Readers Digest Fund.
Saturday, January 31, 8pm Rackham Auditorium PREP "When Two Movements are Enough: Lyricism, Subversion, Synthesis" Steven Whiting, U-M Asst. Professor of Musicology, with U-M School of Music students. Sat Jan 31,6:30pm, Michigan League Hussey Rm. Meet the Artist Post-performance dialogue from the stage, with composer Amnon Wolman. LectureDemonstration "The Adventure of Contemporary Piano Music" Ursula Oppens, Sun. Feb I, 3pm, Kerrytown Concert House. In collaboration with the Ann Arbor Piano Teacher's Guild.
LectureDemonstration with Ursula Oppens and composer Amnon Wolman, Mon. Feb 2, 12:30pm Room 2043, U-M School of Music. Piano Master Class with Ursula Oppens and School of Music students, Mon. Feb 2, 4:30pm, U-M School of Music Recital Hall Sponsored by the Edward Surovell Co. Realtors. Additional funding provided by the Lila Wallace-Readers Digest Arts Partners Program, the National Endowment for the Arts and media partner Michigan Radio, WUOM WFUMAWGR.
DALE WARLAND SINGERS Thursday, February 5, 8pm St. Francis of Assisi Catholic Church Conducting Seminar Conductor Dale Warland and U-M conductors, Feb 6, 11 am, U-M School of Music Recital Hall. Chamber Choir Master Class Conductor Dale Warland works with the U-M Chamber Choir, Feb 6,1:30pm, U-M School of Music Recital HalL
Friday, February 6,8pm
Hill Auditorium
Sponsored by NBD.
Sunday, February 8,4pm
Hill Auditorium
Co-sponsored by First of America and Miller,
Canfield, Paddock, and Stone, PLC.
Friday, February 13, 8pm
Rackham Auditorium
Presented with support from media partner
CHEN ZIMBALISTA, PERCUSSION Saturday, February 14, 8pm Rackham Auditorium This program is part of the Mid EastWest Fest International Community of Cultural Exchange sponsored by Amstore Corporation, W.K. Kellogg Foundation, Lufthansa, the Ministry for Foreign Affairs of Israel Cultural Department and Ben Teitel Charitable Trust, Gerald Cook Trustee.
Thursday, February 19, 8pm
Rackham Auditorium
Meet the Artists Post-performance dialogue
from the stage.
Friday, February 20,8pm
Michigan Theater
Presented with support from media partners
Ann Arbor Symphony Orchestra
Thomas Sheets, conductor
Katherine Larson, soprano
Jayne Sleder, mezzo-soprano
Richard Fracker, tenor
Gary Relyea, baritone
Sunday, February 22,4pm
Hill Auditorium
PREP "Felix Mendelssohn-Bartholdy: Felicitous
Choral Conductor and Choral Composer,"
Ellwood Den, V-M Professor of Music, Feb 22,
3pm, MI League Koessler Library.
This performance is presented through the
generous support of Carl and Isabelle Brauer.
Master of Arts Ngozi Onwurah, filmmaker and Institute for the Humanities artist-in-residence and the Paula and Edwin Sidtnan Fellow for the Arts, interviewed by Lecturer Terri Sarris and Director Gaylyn Studlar of the V-M Program in Film & Video Studies. Mar 9, 7pm, Rackham Amphitheatre
Tuesday, March 10, 8pm
U-M Museum of Art
PREP A concert goer's tour of "Monet at
Vttheuil: The Turning Point" Tue. Mar 10.
6:30pm, West Gallery, 2nd Floor, U-M
Museum of Art. Concert ticket required for
Presented with the generous support of
Dr. Herbert Sloan.
Thursday, March 12,8pm
Friday, March 13, 8pm
Saturday, March 14, 2pm (75-minute
Family Performance) Saturday, March 14,8pm Power Center
PREP "The Comic Donizetti" Richard LeSueur, Vocal Arts Information Services, Tim. Mar 12, 7pm, Michigan League, Koessler Library. PREP Member of the New York City Opera National Company, Fri. Mar 13, 7pm, Michigan League Vandenberg Rm. PREP for KIDS "Know Before You Go: An Introduction to Daughter of the Regiment" Helen Siedel, UMS Education Specialist, Sat. Mar 14, 1:15 pm, Michigan League, Hussey Room.
Sponsored by TriMas with support from the National Endowment for the Arts.
MICHIGAN CHAMBER PLAYERS Sunday, March 15, 4pm Rackham Auditorium Complimentary Admission
LOS MUNEQUITOS DE MATANZAS Wednesday, March 18,8pm Power Center
PREP "Los Munequitos: Cuban Ambassadors of the Rumba," Alberto Nacif, Musicologist and Host of WEMU's "Cuban Fantasy:' Wed. Mar 18, 7pm, Michigan League Hussey Rm. Presented with support from media partner WEMU.
Ohad Naharin, artistic director Saturday, March 21,8pm Sunday, March 22,4pm Power Center
Master class Advanced Ballet with Alexander Alexandrov, company teacher. Sat. Mar 21, I2:30-2:00pm, Dance Gallery, Peter Sparling & Co. Studio. Call 734.747.S885 to register. PREP "Vie Batsheva Dance Company" Ohad Naharin, Artistic Director, Sat. Mar 21, 7pm Michigan League Michigan Room. Sponsored bythe University of Michigan with support from Herb and Carol Amster.
Tuesday, March 24, 8pm
Hill Auditorium
Sponsored by Kathleen G. Charla Associates
with support from Conlin Travel and British
Wednesday, March 25, 8pm
Rackham Auditorium
Meet the Artists Post-performance dialogue
from the stage.
Friday, March 27,8pm
Rackham Auditorium
University Hospital's Gifts of Art free concert
performed by Ursula Oppens in the University
Hospital Lobby, Thu. Mar 26, 12:10 pm.
LectureDemonstration "Piano Music: 1945
to the Present" Ursula Oppens, Thu. Mar 26,
3pm, U-M School of Music Recital Hall
PREP "Motivic Comedies, Moonlit Fantasies
and 'Passionate Intensity"' Steven Whiting,
U-M Asst. Professor of Musicology, with U-M
School of Music students, Fri. Mar 27, 6:30pm,
Michigan League Vandenberg Rm.
Meet the Artist Post-performance dialogue
from the stage
Sponsored by the Edward Surovell Co.
Realtors. Additional funding provided by the
Lila Wallace-Readers Digest Arts Partners
Program, the National Endowment for the Arts
and media partner Michigan Radio, WUOM
Saturday, March 28,8pm
Hill Auditorium
Presented with support from media
partner WEMU.
Sunday, March 29,4pm Rackham Auditorium PREP "From Romeo to Lenore: Tlie Operatic Quartet" Steven Whiting, U-M Asst. Professor of Musicology, with U-M School of Music students. Sun Mar 29,2:30pm, Michigan League Hussey Rtn. Meet the Artists Post-performance dialogue from the stage, with composer Kenneth Fuchs. Brown Bag Lunch with composer Kenneth Fuchs, Mon. Mar 30, 12:30pm, Room 2026, U-M School of Music.
LectureDemonstration with the American String Quartet and composer Kenneth Fuchs, Mon. Mar 30, 2:30pm Room 2026, U-M School of Music.
Youth Quartets Master Class with the Ann Arbor School for the Performing Arts, Mon. Mar 30, 6pm, Concordia College. LectureDemonstration An evening with the
American String Quartet and the Michigan American String Teacher's Association (MASTA) and their students. Tue. Mar 31, 5-7pm, Kerrytown Concert House. Sponsored by the Edward Surovelt Co. Realtors. Additional funding provided by the I tin Wallace-Reader's Digest Arts Partners Program, the National Endowment for the Arts and media partner Michigan Radio, WVOM WFUM WVGR. Vie University Musical Society is a grant recipient of Chamber Music America s Presenter-Community Residency Program fund?ed by the Lila Wallace-Reader's Digest Fund.
Friday, April 3, 8pm Saturday, April 4, 8pm Power Center
Master of Arts Choreographer and 1997 MacArthur "Genius" Grant recipient Elizabeth Streb, interviewed by Ben Johnson, UMS Director of Education and Audience Development, Thu. Apr 2, 7pm, Raddiam Amphitheatre. Meet the Artists Post-performance dialogue from the stage, both evenings. Master Class FamilyACTlON: Movement Class for Families, Tue. Mar 31, 7pm, Dance GalleryPeter Sparling & Co. Studio. For par?ents and children ages 4 and up, led by Hope Clark, Associate Artistic Director. Call 734.747.8855 to register. Master Class PopACTION: Master Class, Wed. Apr I, 7pm, Dance GalleryPeter Sparling & Co. Studio. PopACTION technique class led by members of STREB. Call 734.747.8855 to register. Presented with support from media partner WDET, Arts Midwest, New England Foundation for the Arts and the National Endowment for the Arts.
Tuesday, April 7, 8pm
Mendelssohn Theatre
PREP "Susanne Mentzer. The Recital" Richard
LeSueur, Vocal Arts Information Services, Tue.
Apr 5, 2pm, Ann Arbor District Library.
Meet the Artist Post-performance dialogue
from the stage.
Monday, April 13,8pm
Hill Auditorium
Sponsored by Parke-Davis Pharmaceutical
Thursday, April 23,8pm
Mendelssohn Theatre
PREP Andrew Lawrence-King, Artistic
Director ofTfie Harp Consort, Tfiu. Apr 23,
7pm, Michigan League Koessler Library.
Presented with support from media partner
World Premiere! MARSALIS STRAVINSKY A joint project of the Chamber Music Society of Lincoln Center, David Shifrin, Artistic Director and Jazz at Lincoln Center, Wynton Marsalis, artistic director Friday, April 24,8pm Rackham Auditorium PREP "Marsalis and Stravinsky: A Dialogue" Travis Jackson, U-M Professor of Musicology and Musk History, and Glenn Watkins, Earl V. Moore Professor of Musicology, Fri. Apr 24, 7pm, Ml League Henderson Rm. Co-Sponsored by Butzel-Long Attorneys and Ann Arbor TemporariesPersonnel Systems Inc. with additional support by media partner WDET.
Wednesday, April 29,8pm
Rackham Auditorium
Meet the Artists Post-performance dialogue
from the stage.
featured artist will be announced in
February, 1998
Saturday, May 9,6pm
Hill Auditorium
Sponsored by Ford Motor Company.
University Musical Society
of the University of Michigan 1997-1998 Winter Season
Event Program Book
Thursday, March 12, 1998 through Sunday, March 22, 1998
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 performances. 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 accompa?nying them, will be asked by an usher to leave the auditorium. Please use discretion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
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 predetermined time in the program.
Cameras and recording equipment
are not allowed in the auditorium.
If you have a question, ask your usher. They are here to help.
Please take this opportunity to exit the "information superhighway" while you are enjoying a UMS event: Electronic beeping or chiming digi?tal watches, beeping pagers, ring?ing cellular phones and clicking portable computers should be turned off during performances. In case of emergency, advise your paging service of auditorium and seat loca?tion and ask them to call University Security at 313-763-1131.
In the interests of saving both dollars and the environment, please retain this program book and return with it when you attend other UMS perfor?mances included in this editon. Thank you for your help.
New York City Opera National Company 3 Donizetti's Daughter of the Regiment
Thursday, March 12, 8:00pm
Friday, March 13, 8:00pm
Saturday, March 14,2:00pm (Family show)
Saturday, March 14, 8:00pm
Power Center
Faculty Artists Concert 17
Michigan Chamber Players Sunday, March 15,4:00pm Rackham Auditorium
Los Munequitos de Matanzas 23
Wednesday, March 18, 8:00pm Power Center
Batsheva Dance Company
Saturday, March 21, 8:00pm 29
Sunday, March 22, 4:00pm 33
Power Center
New York City Opera National Company
and TriMas
Music by Libretto by
Recitative Version & Orchestral Reduction by
Set and Costume Designer
Lighting Designer
Thursday Evening, March 12,1998 at 8:00
Friday Evening, March 13, 1998 at 8:00
Saturday Afternoon, March 14,1998 at 2:00 (Family Show)
Saturday Evening, March 14,1998 at 8:00
Power Center, Ann Arbor, Michigan
Daughter of the egiment
(La Fille du Regiment)
Gaetano Donizetti
J.H. Vernoy de Saint-Georges and F. Bayard
Joseph Colaneri
Braden Toan Matthew Lata Allen Moyer Clifton Taylor Cori Ellison
Forty-seventh, Forty-eighth, Forty-ninth, and Fiftieth Performances of the 119th Season
Special thanks to Brian Campbell for his continued support of the University Musical Society through TriMas Corporation.
Special thanks to Richard LeSueur and Helen Siedel for their involvement in this residency.
The carillon recital preceeding the Thursday evening performance was performed by sophmore music major, Steven Ball, a student of Margo Halsted.
Large print programs are available upon request.
Marquise de Berketifeld
A Peasant Sulpice
Marie Tonio
Duchesse de Crackentorp
Peasants, Soldiers & Relatives of the Duchesse
Assistant Director Assistant Set Designer
Assistant Costume Designer
Assistants to Mr. Moyer
(in order of appearance)
Matthew Surapine
Melissa Parks (Thursday, Friday, Saturday evening) Nancy Shade (Saturday afternoon)
Jim Russell
David Ward (Thursday, Saturday evening)
William Fleck (Friday)
Michael O'Hearn (Saturday afternoon)
Cathy Thorpe (Thursday, Saturday evening) Jane Cummins (Saturday afternoon) Robin Blitch Wiper (Friday)
Matthew Chellis (Thursday, Saturday evening) Richard Kosowski (Saturday afternoon) Thomas Trotter (Friday)
John Arthur Miller
Nancy Shade (Thursday, Friday, Saturday evening) Patti Jo Stevens (Saturday afternoon)
Juli Borst John Arthur Miller
Cory Scott Colton Michael O'Hearn
Jane Cummins Jim Russell
Gary Dimon John Schumacher
Camille Kowash Patti Jo Stevens
Richard Kosowski Shannah Timms
Kevin Murray Martin Vasquez
Paul Marquis Susan Yankee
Casts subject to change.
David Grabarkewitz Dan Kuchar
Laurie Churba
Angela Kahler, Warren Karp
Somewhere in the Alps, in the not too distant past Act I: The central square of a small village
Intermission Act II: The drawing room of the Chateau Berkenfeld
Act I
As villagers watch a distant battle between their troops and the French, the Marquise de Berkenfeld seeks refuge in the village to wait out the danger. Sergeant Sulpice, a rugged old army veteran, appears followed by the high-spirited young Marie. She is the French regiment's vivandiere (or canteen-girl) and communally adopted daughter. They reminisce about how Marie came to be the "Daughter of the Regiment." When Sulpice asks Marie about a young peasant with whom she has been seen, she explains that he saved her life. Suddenly, the peasant is dragged in by the other soldiers, who are ready to execute him, believing him to be a spy. After Marie tells them that this young man, Tonio, was the same one who saved her from falling off a cliff, he is welcomed by the soldiers. The drum sounds, and the soldiers are summoned to roll call. Left alone, Tonio and Marie declare their love for each other. The Marquise reappears to ask Sulpice for a safe passage to her home, the Chateau Berkenfeld, the mention of which triggers Sulpice's memory of Captain
Robert. Startled, the Marquise abruptly claims that Captain Robert married her late sister and had a daughter named Marie who was lost in the chaos of the war. Sulpice, recalling the letters he found with Marie when she was a baby, realizes that Marie is actually the Marquise's niece. By authority of the late Captain Robert's will, Marie is to become a Duchess, and the Marquise pre?pares to take her back to the family estate. Tonio appears, having enlisted in the army to be near Marie. He and the rest of the sol?diers are heartbroken as Marie bids a bitter?sweet farewell to her regiment.
Act II
In the drawing room of the Chateau Berkenfeld, the Marquise and the Duchess of Crackentorp are arranging a marriage between an unenthusiastic Marie and the Duchess' nephew. Marie takes a singing les?son to prepare for the evening's festivities, at which she will be presented as an aristocrat. Marie and Sulpice mock the high-flown sentiments of the song the Marquise is teaching her, preferring the songs of the reg?iment. Just as Marie has begun to think that all is lost, the regiment suddenly reappears. Tonio has become a lieutenant and is eager
to reclaim Marie, but the Marquise refuses. Alone with Sulpice, the Marquise confesses that Marie is actually her own daughter. After learning of her real parentage, Marie feels obliged to bow to her mother's wishes and sign the marriage contract. The Duchess and her relatives arrive. The cere?mony is interrupted as the regiment piles into the Chateau to save Marie. The Marquise, recognizing Marie's true love for Tonio, is so moved that she forgets her pride and allows Marie to follow her heart and marry the man she loves.
New York City Opera O 1998
Historical Note
Gaetano Donizetti (1797-1848), one of the most prolific composers ever to wield a pen, is known primarily for his contributions to Italian opera. Yet this pliable, driven crafts?man also made a substantial contribution to the French operatic stage -starting with one of the most joyous and immediately appealing of all comic operas, La Fille du regiment.
The creative life for Donizetti -a man who thought little of knocking out as many as eight operas in a given year -was one of almost constant, compulsive activity. He cranked out roughly sixty-six operas, some?times in spans of a few weeks, along with a plethora of religious, chamber, instrumen?tal, piano, and vocal pieces. His thirty-first completed opera, Anna Bolena, was the one that finally made him famous, while L'elisir d'amore and Lucia di Lammermoor anointed him, with the retirement of Rossini and the death of Bellini, as the leading Italian com?poser of the time.
Yet fame could not counterbalance the personal tragedies that haunted Donizetti in his late thirties, for in a short period of
time, he lost his parents, his wife, two sons, a daughter, and several friends. In addition, he was frustrated by bureaucratic setbacks in Italy, such as the censorship of the text of his opera Poliuto and his failure to receive appointments to positions in Naples and Milan. In October of 1838, Donizetti made a move to Paris, where he hoped to make enough money so that he could retire and not have to bother with the absurd politics of opera houses. The workaholic composer immediately plunged himself into revivals of his operas Roberto Devereux and L'elisir d'atnore, as well as a French version of Lucia and a revised Poliuto (retitled Les Martyrs) for the prestigious Paris Opera, and a new opera, Le due d'Albe, destined to remain unfinished.
Amidst this flurry of activity, he had also, according to one of his letters, by early October of 1839, completed a "little opera" for Paris' Opera-Comique -undoubtedly La Fille du regiment. Following French comic opera practices, Donizetti composed Fille with stretches of spoken dialogue tak?ing the place of the plot-advancing recita?tives common to Italian opera, although he did not entirely do away with the latter. Although Fille does have a French flavor, Donizetti's musical idiom is by and large unchanged from his Italian works.
Surprisingly, Fille was not a critical suc?cess at its premiere at Paris' Opera Comique on February 11, 1840, though one can attribute this to jingoistic hostility to an Italian invading sacred French turf. The long knives were out, and one of the sharpest belonged to a critic named Hector Berlioz, who panned the opera and accused the composer of lifting large portions of the score from Adolphe Adam's Le chalet, a charge that Donizetti rebutted in a letter to the editor of the Moniteur universel. Berlioz went on to take a chauvinistic shot at Donizetti's prolific output, which can per?haps be understood in the light of Berlioz'
own problems in getting his music per?formed in Paris. "M. Donizetti seems to treat us like a conquered country; it is a ver?itable invasion," wrote the composercritic. "One can no longer speak of the opera houses of Paris, but only of the opera hous?es of M. Donizetti..."
Yet Fille soon became a popular hit in Paris, racking up forty-four performances in 1840 and ultimately 1,040 performances at the Opera-Comique. Because of its flag-waving patriotism, this opera by an Italian even became a French national work of sorts, performed regularly on Bastille Day for decades.
Naturally Italy was eager to hear it, too, so Donizetti had the French text adapted by Callisto Bassi, replacing the spoken French dialogue with traditional Italian recitatives and deleting some material (including Tonio's exquisite aria, "Pour me rapprocher de Marie"), and staged it at La Scala in Milan on October 3,1840. The Italian ver?sion, Lafiglia del reggimento, is different from the French version in that many of the vocal and choral lines are altered considerably, with newly exposed orchestral passages once hidden under some of the dialogue. (The New York City Opera National Company's version is essentially the original French one, with the Italian recitatives in a French translation taking the place of much of the spoken dialogue.)
While the opera's main role is that of Marie, the military-bred tomboy who is the "Fille" of the title, the tenor role of Tonio, who unhesitatingly throws all of his chips on the table for his ladylove, is also formidable. His famous Act I aria, "Ah! mes amis, quel jour de fete!" is a six-minute obstacle course crowned by no less than nine high Cs.
Going beyond its vocal pyrotechnics, Fille is also a crowd-pleaser for its send-ups of the military and of the foibles of class consciousness, as the Marquise de Berkenfeld tries to impose the rituals of her world upon
Marie. Marie's concealed birthright, a major driving engine of the plot, and her upbring?ing by the rough-housing regiment add comic spice.
Despite Donizetti's incredible facility and popularity, the best of his work was built to last -and Fille is especially well-endowed with melody, laughter, and even in spots, the lyrical pathos that we associate with the dramatic Donizetti. Indeed, in an unguarded moment among friends, even as "serious" a composer as Felix Mendelssohn confessed that yes, he himself would like to have written La Fille du regiment.
Note by Richard S. Ginell O 1998
Established in 1979, the New York City Opera National Company began modestly with a twenty-five performance, five week tour of La Traviata and a two-fold mandate: to take top-quality opera performances to communities throughout the country and to provide talented young artists with valuable performing experience. The company has lived up to its mandate admirably and has grown in step with America's increasing interest in opera. Acclaimed by presenters, audiences and crit?ics alike, the National Company, now in its nineteenth year, is considered the premier touring opera company in the country.
The company travels in an old-fashioned "bus and truck" style, bringing vivid stagings of classic operas to both small rural com?munities and bustling urban centers. Productions such as La Boheme, Rigoletto, Faust, Madama Butterfly, The Barber of Seville, La Traviata, The Marriage of Figaro, and Tosca have played to capacity audiences from coast to coast. Each production is spe?cially designed to show off the remarkable creativity and energy of America's best new
talent, instrumentalists, and designers, many of whom go on to enjoy successful careers with major opera houses around the world. A National Company tour is also the ideal environment for seasoned singers, as it allows them an unprecedented opportunity to perfect a characterization over numerous performances. Thus, audiences throughout the United States and Canada are given the opportunity to see both experienced per?formers and the brightest of the up-and-coming young stars.
Following the 1993 tour, the National Company was completely reorganized, and has been consolidated with New York City Opera itself. The touring division now uti?lizes the talents of producers, artists, and administrators who are members of the main company.
Spurred by the growing national interest in opera, this exciting young company con?tinues to expand and flourish, capturing the hearts and imaginations of the American public.
Bookings are handled by Columbia Artists Management, Inc., the exclusive rep?resentative for the New York City Opera National Company.
This residency marks the New York City Opera National Company's thirteenth Ann Arbor visit under UMS auspices.
Jane Cummins, soprano, is making her NYCO National Company debut as Marie. A native of Livingston, New Jersey, Ms. Cummins is currently a fellow with Jerome Hines' Opera Music Theatre International, where she has sung Zerlina in Don Giovanni, Oscar in Un ballo in maschera and Musetta in La Boheme. A 1996 graduate of Princeton University, she gave two recitals including works by Handel, Schubert, Faure, Bellini, Argento, Bach, Duparc, Villa-Lobos and Copland at Princeton's Taplin Auditorium; sang Anne in A Little Night Music with the Princeton
University Players; appeared with the Princeton University Glee Club as a soloist singing the "Pie Jesu" from the Faure Requiem at the Richardson Auditorium; was a soloist with the Princeton University Chapel Choir and the Princeton Katzenjammers; and per?formed Shostakovich's Blok Songs, Schubert's Die Hirt aufdem Felsen, Roussel's Deux poemes de Ronsard and Vaughan Williams' Vocalises and Blake Songs in concerts at Taplin Auditorium. Ms. Cummins has also sung the Gaelic solo in a production of A Sacred Place directed by Jacques d'Amboise in collaboration with Toni Morrison, and appeared as a soloist at Carnegie's Weill Recital Hall.
Catherine Thorpe, soprano, is making her NYCO National Company debut as Marie. She made her operatic debut at age twenty-four with Baltimore Opera under the baton of Leon Fleischer, and has gone on to per?form at the Kennedy Center, Lincoln Center's Alice Tully Hall and Juilliard Opera Theater, and Boston's Jordan Hall. Her operatic work in Boston includes Dilla in the world pre?miere of Robert Ceely's The Automobile Graveyard, premieres of new works, and numerous recitals. Ms. Thorpe has appeared as a guest performer and soloist with the Baltimore Consort for Early Music, Boston's Chorus Pro Musica and Coro Allegro. She was the featured soloist with the Boston Pops Esplanade Orchestra on their 1996 Christmas tour, under the baton of Keith Lockhart. A recipient of a Liberace Scholarship from the Peabody Institute, Ms. Thorpe was a Young Artist at the Juilliard Opera Center, where she sang Lauretta in Gianni Schicchi and Merry in The Mighty Casey, recorded on Delos International. Ms. Thorpe, who joined NYCO this past fall for Verdi's Macbeth, just returned from a tour through?out Japan performing Handel's Messiah, Bach's Christmas Oratorio and Orff's Carmina Burana with the Tokyo Philharmonic, and
the Telemann Chamber Orchestra of Osaka. She is a member of Boston's Auros Group for New Music.
Robin Blitch Wiper, soprano, is making her NYCO National Company debut as Marie. The Alabama native has performed with Opera Memphis, Indianapolis Opera, Eugene Opera and Cleveland Lyric Opera in such roles as Cunegonde in Candide, Lauretta in Gianni Schicchi, Blondchen in The Abduction from the Seraglio, Despina in Cost fan tutte and Adele in Die Fledermaus. She is currently in her second year in the ensemble of the Lyric Opera Center for American Artists, where she recently portrayed Clorinda in Cinderella and created the role of Gittel in Shulamit Ran and Charles Kondek's Between Two Worlds (The Dybbuk). She has sung the title role in Lucia di Lammermoor and Olympia in The Tales of Hoffmann at the Grant Park Music Festival. This season, Ms. Wiper returns to the Lyric Opera mainstage as the First Niece in Peter Grimes and Barbarina in Le nozze di Figaro. Other Lyric Opera mainstage appearances include Papagena in The Magic Flute, Sister Genovieffa in Suor Angelica, and Don Carlo's Tebaldo, her debut role. Ms. Wiper, a former Metropolitan Opera Auditions Regional Finalist, was a 1997 prizewinner in the MacAllister Awards and the recipient of the MacAllister Alumni Award.
Melissa Parks, mezzo-soprano, debuts with the NYCO National Company as La Marquise de Berkenfeld. The El Paso, Texas native has performed with the Metropolitan Opera in La Fille du regiment and The Rise and Fall of the City of Mahagonny. As a winner of the Fifth Luciano Pavarotti International Voice Competition, Ms. Parks sang Dame Quickly in Falstaff in a gala concert hosted by Mr. Pavarotti. She has sung Mother Goose in The Rake's Progress with the Opera Company of Philadelphia, Mamma McCourt in The
Ballad of Baby Doe with Chautauqua Opera, Mamma Lucia in Cavalleria rusticana with Opera Delaware, Madame Czecznikowa for the American Polish debut of Straszny Dwor with Opera Buffalo, and Berta in barbiere di Siviglia for her home town debut with the El Paso Opera. As an artist in residence at Philadelphia's Academy of Vocal Arts, she appeared as Dryade in Ariadne aufNaxos, La Principessa in Suor Angelica, Zita in Gianni Schicchi, The Witch in Hansel and Gretel, Ulrica in Un ballo in maschera, and the title role in Menotti's The Medium with AVA at the Artpark Festival. Her upcoming schedule includes Mrs. Benson in Lakme with New Orleans Opera, Azucena in trovatore with the AVA Opera Theatre, and La Marquise de Berkenfeld with the Opera Company of Philadelphia.
Nancy Shade, soprano, made her NYCO debut as Musetta in La Boheme. Since then, she has sung numerous roles with City Opera including the title roles in Madama Butterfly and Floyd's Susannah, Santuzza in Cavalleria rusticana, and MariettaMarie in Die tote Stadt. The Illinois native has appeared at the Royal Opera House, Covent Garden, Brussels Opera, Hamburg State Opera, Munich Opera, the Holland Festival, Avignon Opera, and with the Paris Radio Orchestra, among others. She has sung the title role in Manon Lescaut at the Spoleto Festival in Italy, Prince Orlofsky in Die Fledermaus with Mobile and Indianapolis Operas, and, most recently, Princess Clarissa in The Love For Three Oranges with Portland Opera, and was soloist in Vaughn Williams' Sea Symphony with the West Virginia Symphony. Ms. Shade also appeared in the world premiere of The Portrait of Dorian Grey in Monte Carlo and will repeat her role with Florentine Opera in February 1999. A first-prize winner in the Metropolitan Opera National Auditions, she has also sung the title roles in Salome and Tosca with
Nevada Opera, the title role in Carmen with Las Vegas Opera, Tosca in Hawaii, Heloise in the world premiere of Ward's Abelard and Heloise, and the title role in Prokofiev's Maddalena in Graz, including the telecast. Ms. Shade debuts with the NYCO National Company as La Duchesse de Crackentorp, and also sings La Marquise de Berkenfeld.
Patti Jo Stevens, mezzo-soprano, has sung Amneris in Aida with Syracuse Opera, the Lake George Opera Festival and Tampa Bay Opera; Suzuki in Madama Butterfly with Opera North; Maddalena in Rigoletto with Regina Opera; the MotherWitch in Hansel und Gretel with Opera New England, Opera North, and Orlando Opera; Mrs. Ott in Susannah with Dayton Opera; and Musetta in La Boheme, the Third Lady in Die Zauberflote, Zulma in L'ltaliana in Algeri, the Governess in Pique Dame and Giovanna in Rigoletto with Orlando Opera. She made her Cleveland Opera debut as Phoebe in Yeomen of the Guard followed by Florence Pike in Albert Herring, La Zia Principessa in Suor Angelica, and Zita in Gianni Schicchi. Her appearances with Memphis Opera include the world premieres of Michael Chings's Buoso's Ghost as Zita, and Mike Reid and Sarah Schlesinger's Different Fields as Doris. Most recently, Ms. Stevens sang Anna Maurant in Street Scene with the Israel Vocal Arts Institute in Tel Aviv. Next, she reprises the MotherWitch with Opera New England and sings Lola in Cavalleria rusti-cana with Florentine Opera. She sings La Duchesse de Crackentorp for her NYCO National Company debut.
Matthew Chellis, tenor, sings Tonio. Mr. Chellis has also toured with the NYCO National Company as Count Almaviva in The Barber of Seville. His roles with New York City Opera include Don Ottavio in Don Giovanni, Father in The Seven Deadly Sins, and The Mikado's Nanki-Poo, his 1995
debut role. This past fall, Mr. Chellis reprised Tamino in The Magic Flute. The Michigan native recently sang Ferrando in Cost fan tutte and Tamino with Wildwood Park for the Performing Arts in Little Rock, Frederick in The Pirates ofPenzance with Chautauqua Opera, and Rodrigo in La donna del Lago at the Caramoor Festival with the Orchestra of Saint Luke's. He has sung Ramiro in La Cenerentola with Opera du Quebec, Der Giessen Stadt Oper in Germany and at the Caramoor Festival, in La Belle Helene with L'Opera Francais de New York, and appeared as soloist in Messiah with both the National Symphony Orchestra at the Kennedy Center and the Florida Philharmonic. Next, he sings Pong in Turandot with Dallas Opera; performs as soloist in Handel's Messiah with the Colorado Symphony, the Pacific Symphony Orchestra, and the Colorado Springs Symphony; and Mozart's Mass in C Minor with the Hudson Valley Philharmonic.
Richard Kosowski, tenor, sings Tonio for his NYCO National Company debut. Mr. Kosowski recently sang Luis in The Gondoliers with the Cobb Symphony Orchestra, Fenton in Falstaff, Don Octave in P.D.Q. Bach's The Stoned Guest and Des Grieux in Manon with the University of Miami Opera Theater, and Count Almaviva in The Barber of Seville with South Florida Opera. In past seasons, he has sung Turiddu in Cavalleria rusticana and Tamino in The Magic Flute with Grand Theater Opera, Ralph in H.M.S. Pinafore, Nanki-Poo in The Mikado, and Frederick in Pirates ofPenzance with Young Audiences of America, Detlef in The Student Prince, Captain Dick in Naughty Marietta, Lord Tolloler in Iolanthe, Kaspar in Amahl and the Night Visitors and Sid in Desert Song with Savoyards Light Opera. In concert, he has performed Britten's Saint Nicholas with the University of Miami, Requiem, Handel's Messiah, Bach's Mass in b minor and Saint John Passion with
the Choral Guild of Atlanta, and Haydn's Mass in G with the Presbytery of Mexico in Mexico City and Oaxaca. Mr. Kosowski's recordings include A Christmas Potpourri with the Choral Guild of Atlanta on Newport Classics, and P.D.Q. Bach's Oedipus Tex & Other Choral Calamities on Telarc.
Thomas Trotter, tenor, sings Tonio for his NYCO National Company debut. A 1995 world finalist in the Luciano Pavarotti International Voice Competition, Mr. Trotter most recently sang Don Ottavio in Don Giovanni with Opera Birmingham; President Arthur and Sam in The Ballad of Baby Doe with Washington Opera, and Abdallo in Nabucco with Atlanta Opera. He has also sung Arturo in Lucia di Lammermoor with Palm Beach Opera; Andy Anderson in Paul Bunyan with Glimmerglass Opera; Monostatos in Die Zauberflote with Cleveland Opera; Bevolio in Romeo et Juliette, Sesto Pompeo in Guilio Cesare, The Innkeeper and Marschallin's Major-domo in Der Rosenkavalier, Scaramuccio in Ariadne aufNaxos, and Schmidt in Werther with Florida Grand Opera; and El Remendado in Carmen with the Michigan Opera Theater under the direction of John DeMain, and with Pittsburgh Opera under the direction of Tito Capobianco. In concert, he has sung Handel's Messiah, Handel's Judas Maccabaeus, Haydn's Creation and Shubert's Mass in C. He was also soloist in Bach's Magnificat with the AIMS Festival Orchestra in Graz, Austria. Next, he sings Nemorino in L'elisir d'amore with the Pittsburgh Opera Summer Series.
William Fleck, bass, joins the NYCO National Company for the first time as Sulpice. Mr. Fleck made his NYCO debut in 1996 as Baron Ochs in Der Rosenkavalier. He joined the Metropolitan Opera in 1979, where his roles have ranged from Alaska Wolf Joe in The Rise and Fall of the City of Mahagonny to Sacristan in Tosca. He was
also featured on numerous radio broadcasts and telecasts of "Live from the Met." He has performed more than 100 operatic roles including Dr. Bartolo in barbiere di Siviglia, the title role in Le nozze di Figaro, Dr. Dulcamara in L'elisir d'amore, Don Pasquale, Leporello in Don Giovanni, Rocco in Fidelio, and Baron Ochs. He has also sung in such modern works as Menotti's The Last Savage, directed by the composer, Kurt Weill's Street Scene, Robert Ward's The Crucible, and Carlisle Floyd's Susannah, in which he portrayed Olin Blitch. Appearing worldwide throughout Canada, Mexico, and Australia, he has performed in the US with the opera companies of San Francisco, Dallas, Cleveland, Cincinnati, Hawaii, Pittsburgh, Baltimore, and Indianapolis, among others.
Michael O'Hearn, bass-baritone, debuts with the NYCO National Company as Sulpice. Mr. O'Hearn recently appeared in Opera Florham's cabaret series performing arias from works by Bizet, Leoncavallo, Offenbach and Tchaikovsky, and sang Amnhes in the American premiere of Massenet's Cleopatre with Opera Manhattan at Lincoln Center's Alice Tully Hall. This past December, he sang Bertran in Iolanta with the DiCapo Opera Theater. The Atlanta, Georgia native has sung the Commendatore in Don Giovanni, Count Heribert in Schubert's The Conspirators and Dr. Dulcamara in L'elisir d'amore with Bronx Opera; the title role in Falstaff with the University of Miami; Dr. Bartolo in II barbiere di Siviglia with South Florida Opera; Pooh-Bah in The Mikado with Savoyard Light Opera; Astolfo in Lucrezia Borgia with Opera Manhattan; Count Ceprano in Rigoletto with Atlanta Opera; and Scarpia in Tosca, Mho in Cavalleria rusticana and Dr. Grenvil in La traviata with Grand Theater Opera. In concert, Mr. O'Hearn has also performed as soloist in Atlanta, London, and Graz, Austria. Next, he returns to Opera at Florham for a concert of arias.
David Ward, bass-baritone, returns to the NYCO National Company as Sulpice. Mr. Ward made his NYCO debut last season as Dr. Bartolo in Le nozze di Figaro and also sang Kecal in The Bartered Bride for NYCO's Education Department. The New Jersey native has sung Rossini's Dr. Bartolo with Toledo Opera, Virginia Opera, the Aspen Music Festival, the Opera Company of El Paso, and on tour with the NYCO National Company. Mr. Ward recently appeared with Milwaukee's Skylight Opera and Virginia Opera as Dr. Dulcamara in L'elisir d'amore. In past seasons, he has sung the Judge in the world premiere of David Lang's Modern Painters with Santa Fe Opera; Judge Turpin in Sweeney Todd with Portland Opera; the title role in Don Pasquale with Opera Northeast and Oregon's Rogue Opera; the Sacristan in Tosca and Franke in Die Fledermaus with Opera Delaware; Zuniga in Carmen with Nevada Opera; Alcindoro and Benoit in La Boheme with New Orleans Opera; and numerous patter roles with the New York Gilbert & Sullivan Players. Next, Mr. Ward sings the Sacristan with Canada's Opera Hamilton and Opera Ontario.
Matthew Surapine, tenor, sings Hortensius. Mr. Surapine has also toured with the NYCO National Company as Ambrogio in Rossini's The Barber of Seville. Now in his third season as a member of the New York City Opera, Mr. Surapine has performed in Les contes d'Hoffmann, Der Rosenkavalier, The Mikado and Brigadoon. His most recent appearances include Herr Springer in The Bartered Bride with the NYCO Education Department, Sam Polk in Carlysle Floyd's Susannah, Dottore in The Jewell Box at the Circle in the Square Theater on Broadway, and Herr Schlick in Noel Coward's Bittersweet with Lilliane Montevecchi.
Braden Toan, conductor, is making his NYCO National Company debut leading Donizetti's The Daughter of the Regiment. Maestro Toan is a native of New York where he is the assistant conductor for the Broadway production of Miss Saigon. Other ensembles have included The Measured Breaths Opera Company, The New Amsterdam Singers, and the Springfield Symphony Chorus in Massachusetts. Also a bassoonist and tenor, Maestro Toan has played with the New Jersey Symphony, the Cincinnati Chamber Orchestra, the Cincinnati Ballet, New York Grand Opera, and American Chamber Ensemble, and has been a soloist in numer?ous singing venues in New York.
Matthew Lata, director, has a wide reper?toire ranging from Otello for Florida Grand Opera to Carmen in Baltimore, Le nozze di Figaro for Wolf Trap, Turandot for Opera Pacific and Opera de San Juan, Tosca in Tulsa, Cavalleria rusticana and I pagliacci in Cleveland and Miami, Andrea Chenier in Honolulu, La Cenerentoia in Kansas City, and Madama Butterfly in Anchorage. A career highlight for the native of Iowa City, Iowa, was Hugo Weisgall's Six Characters in Search of an Author for the Chicago Lyric's Center for American Artists. He recently staged Don Giovanni and Aida for the Lyric Opera of Chicago, Romeo et Juliette and Der Rosenkavalier for Portland Opera, Lucia di Lammermoor for Florida Grand Opera, and L'ltaliana in Algeri for Opera Columbus and the Hawaii Opera Theatre. This season, he debuts at the Kennedy Center with Don Giovanni for Washington Opera, and stages a new production of the same opera in Honolulu. His future schedule includes new productions of L'ltaliana in Algeri for the Lyric Opera of Kansas City, Gianni Schicchi and pagliacci for Anchorage Opera, Un hallo in maschera in Hawaii, and La Boheme in New Orleans. Mr. Lata, who is currently Director of Opera at the University of
MissouriKansas City's Conservatory of Music, is making his NYCO National Company debut with The Daughter of the Regiment.
Allen Moyer, set and costume designer, made his NYCO debut this past fall with Don Pasquale. His opera credits include sets and costumes for Der Fliegende Hollander for the Canadian Opera Company; Hopper's Wife at Long Beach Opera and the 92nd Street Y; Lucia di Lammermoor for Boston Lyric Opera, directed by Christopher Alden; and Don Pasquale at Glimmerglass Opera. He has designed sets for numerous produc?tions at Minnesota Opera, Opera Company of Philadelphia, Washington Opera, Portland Opera, Teatro Verdi di Sassari (Sardinia), Politeamo Greco di Lecce (Italy), and nine seasons with Wolf Trap Opera. His New York stage credits include As Bees In Honey Drown for the Drama Department at the Lucille Lortel; This Is Our Youth for The New Group directed by Mark Brokaw; Tartuffe: Born Again at Circle in the Square; Oblivion Postponed at Second Stage; Wake Up I'm Fat! at the New York Shakespeare FestivalPublic Theatre; and On The Bum, Sophistry, and five seasons of The Young Playwrights Festival at Playwrights Horizons. Mr. Moyer has also designed for such regional theaters as The Guthrie Theatre, Actor's Theatre of Louisville, Philadelphia Theatre Company, Old Globe, Pittsburgh Public Theatre, Philadelphia Drama Guild, Studio Arena, Huntingdon Theatre Company, and the Bay Street Theatre Festival. The Daughter of the Regiment marks Mr. Moyer's debut with the NYCO National Company.
Clifton Taylor, lighting designer, is making his NYCO National Company debut. He has designed for the Pennsylvania Opera Theater, Opera North, the Opera Ensemble of New York, the American Ballet Theater, Pacific Northwest Ballet in Seattle, the Atlanta Ballet, the Lar Lubovitch Dance Company, where he was the resident light?ing designer, the Elisa Monte Dance Company, where he was also the resident lighting designer, and the American Repertory Ballet. Since 1993, Mr. Taylor has been the lighting designer for the Sardono Dance Theater, a contemporary dancethe?ater company in Indonesia. His designs have also been seen in many of the world's major festivals including the Vienna Dance Festival, the Hamburg Sommertheater Festival, Jacob's Pillow, Singapore's Festival of Asian Arts, Arts SummitJakarta, the Istanbul Festival, and BAMNext Wave Festival. This season, Mr. Taylor is scheduled to design in New York, Florence, Houston and Rio de Janeiro. His designs for leading US theater companies include the American Conservatory Theater, Seattle's ACT Theatre, the Dallas Theater Center, and the Cleveland Playhouse, where he was the resi?dent lighting designer. He has also lit pro?grams for American television on PBS and forA&E.
New York City Opera National Company Administrative Staff
Paul Kellogg
General & Artistic Director
Sherwin M. Goldman Executive Producer
Joseph Colaneri Music Director
Julie N. Samuels Business Manager
Caren France Tour Coordinator
John Knudsen Technical Director
Bettina P. Bierly Director of Wardrobe
Bettina Altman-Abrams Publicity Coordinator
Ed Schneller Company Manager
New York City Opera National Company Production Staff
Denise Winter Production Stage Manager
Nancy Elizabeth Vest Stage Manager
Jim McWilliams Head Carpenter
Matthew Noesen Head Electrician
Eric Thoben Head of Properties
Tony Gorzycki Wardrobe Supervisor
Mary Beth Kosowski WigMakeup Supervisor
Gavin Holmes Assistant Carpenter
Dean V. Kolze Assistant Electrician
Support for the National Company's activi?ties is provided by the GTE Foundation; and The Marie and Victoria Marcheso Trust.
Scenery built by Center Line Studios, Inc. Cornwall, New York. Painting by Michael Hagen Studios, Inc. Lighting equipment supplied by Production Arts Lighting. Uniforms built by Grace Costumes, Inc. The Duchesse costume built by Marianne Krostyne. Marie and the Marquise costumes built in the New York City Opera Costume Shop. Military Accessories by Arnold S. Levine, Inc. Rehearsal facilities provided by Aaron Davis Hall, New York.
New York City Opera National Company exclusive representative: Columbia Artists Management, Inc.
New York City Opera National Company Orchestra
Dale Chao, Concertmaster
Elizabeth Kaderabek, Asst. Concertmaster
Nina Saito, Principal second
Kristina Anderson
Jason Bendler
Jeffrey Ellenberger
Jennifer Guttman
Svetoslav Slavov
David Feltner, Principal Carol Benner David Lennon
Patricia Edens, Principal Tara Chambers Carlo Pellettieri
Tom Vassalotti, Principal
FlutesPiccolos Peter Ader, Principal Linda Ganus
Lisa Kozenko, Principal
Steve Williamson, Principal Karen Fisher
Michael Green, Principal
John Paul Aubrey, Principal Katie Dennis
Andrew Roe, Principal
John Trujillo
Bass Trombone
Steve Trapani, Principal
James Thoma, Principal
Steven Machamer, Principal
Michigan Chamber Players
Faculty Artists of the University of Michigan School of Music
Steven Shipps, Violin
Eriing Blondal Bengtsson, Cello
Bright Sheng, Piano
Paul Kantor, Violin
Rachael Snow, Violin
Yizhak Schotten, Viola Anthony Elliott, Cello Deborah Chodacki, Clarinet Anton Nel, Piano
Wolfgang Amadeus Mozart
Bright Sheng
Gabriel Faure
Sunday Afternoon, March 15,1998 at 4:00 Rackham Auditorium, Ann Arbor, Michigan
Quintet for Clarinet and Strings in A Major, K. 581
Menuetto: Trio I, Trio II
Allegretto con variazione: Adagio, Allegro
Kantor, Snow, Schotten, Elliott, Chodacki
Four Movements (for piano trio) Eighth note = 54 Quarter note = 66 Quarter note =112 Eighth note = 60 (Nostalgia)
Shipps, Bengtsson, Sheng INTERMISSION
Quartet for Piano and Strings in c minor, Op. 15
Allegro molto moderato Scherzo: Allegro vivo Adagio Allegro molto
Shipps, Schotten, Elliott, Nel
Fifty-first Concert of the 119th Season
Large print programs are available upon request.
Quintet for Clarinet and Strings in A Major, K. 581
Wolfgang Amadeus Mozart Born on January 27, 1756 in Salzburg Died on December 5, 1791 in Vienna
In two of Mozart's chamber works, the Horn Quintet (K. 407) from 1782 and the Clarinet Quintet in A Major (K. 581) of 1789, the instrumentation was determined by simply adding a solo wind instrument to the standard string quartet. Both works were written for soloists who were friends of the composer, and in each case he took the opportunity to explore the unique musical qualities of the respective instruments. This grouping allowed Mozart not only to become familiar with the horn and clarinet as solo instruments, but permitted him to work them into a string-dominated (though still thoroughly chamberistic) texture, and grapple with the unique problems that posed. In both cases, he must have felt he achieved a measure of success, as his four horn concertos appeared very soon after the horn quintet was com?pleted, and he completed the justly-famous clarinet concerto within a few months of this clarinet quintet's premiere.
The motivation to compose the clarinet quintet and subsequent concerto came from Mozart's friend and Masonic brother Anton Stadler, clarinetist in the Viennese court orchestra. In fact, Mozart often referred to this work as his "Stadler quintet." Stadler also played bassett horn (a clarinet family "cousin," now obsolete) and researchers have concluded that both the quintet and concerto were almost certainly composed with that instrument in mind. Still, these works have become standards in the clarinet repertoire because they suit the instrument so well and showcase its unique musical attributes. Mozart was one of the first com?posers to exploit the clarinet's warm middle register, its flexibility, and the ease with which it can negotiate rapid runs and wide
leaps. What makes this quintet more remarkable is that the clarinet never "sticks out" in the string ensemble, despite its supe?rior agility and distinctive tone color.
The quintet opens with strings introducing the first theme, a sedate melody harmonized with hymn-like chords. The clarinet enters a little later with a more athletic rejoinder, and soon the strings begin to imitate its energized rhythms. The second theme, again ushered in by the violins, turns more lyrical, though the character of the music changes remarkably when the clarinet plays a minor-mode variant of the theme over a gently-syncopated accompaniment. A closing dialog between clarinet and first violin rounds out the exposition. Mozart begins the brief development section by stating the first theme in the harmonically-distant key of C Major, then extends it with contrapuntal elaboration. In the subtly altered recapitula?tion, the clarinet and first violin exchange roles (a procedure that had already been hinted at in the development) for the first theme, and the second theme returns com?plete with minor-mode episode.
In the second-movement Larghetto, the clarinet's lyricism rather than its agility is on display. This is a soft and soulful arioso, with muted strings supporting the clarinet's solo voice. A second, more ornate theme pairs the clarinet with the first violin as they con?verse in alternating phrases. The two themes are then repeated with an even more pene?trating serenity. Mozart must have considered this movement particularly effective, as the slow movement of his clarinet concerto is clearly based on similar textures and melodic figures.
For the Minuet and Trio, Mozart uses rhythmic accents to highlight the differences between various triple-time dances. The opening Minuet is a little more intense and energetic than is usual for this courtly dance; each phrase begins with a vigorous up-beat that gives it an almost rustic vigor.
The first Trio is for strings alone, and shifts to the parallel minor for a pensive waltz laden with appogiaturas and sighing descents. In this section, Mozart adds occasional accents on the second beat of the bar, emphasizing the rhythmic contrast with the Minuet, which repeats immediately after. A second Trio allows the clarinet to take the lead, and is in the style of a landler (a folk-like relative of the waltz), with rhythmic accents falling on the first beat.
The quintet concludes with a theme and variations, another sectionalized movement based on folk-like materials. The strings outline the theme, a model of simplicity and balanced phrasing, while the clarinet joins in unobtrusively at cadence points. In the first variation, the clarinet weaves a flowing countermelody around the string theme, but the focus shifts to the first violin's jaunty rhythms and the lower strings' triplet figures in the next variation. The clarinet maintains its low profile during a viola lament in the par?allel minor key, but springs to center-stage in the fourth variation, where it duels with the first violin in rapid sixteenth-note passage-work. A four-measure transition leads to an adagio section that recalls the tranquility of the second movement, and a varied restate?ment of the original theme brings the work to a cheerful and buoyant conclusion.
Four Movements (for piano trio) Bright Sheng
Bright Sheng began musical studies in his native China before moving to New York as a graduate student in 1982, where his com?position teachers included Leonard Bernstein, Mario Davidovsky, and George Perle. In much of Sheng's music, there persists a sub?stantial connection to China and its musical traditions. Sometimes this is overt, as in his recent Spring Dreams for traditional Chinese orchestra and solo cello (premiered with Yo-
Yo Ma), or the Pulitzer-nominated H'un (Lacerations): In Memoriam 1966-76 from 1988, a powerful and searing orchestral por?trait that vividly recalls the terrors of the Cultural Revolution. Many of his works carry titles that alert the audience to a Chinese element, such as the Seven Tunes heard in China for solo cello (1995), Three Chinese Love Songs (1988) for soprano, viola and piano, or the Two Folk Songs from Qinghai (1989) for chorus and orchestra. At other times the Asian influence is simply one among many, woven into a complex tapestry of styles and references and concealed beneath a generic title. But whether hidden or in plain view, it is almost always present. While Sheng occasionally uses pentatonic scales and percussive effects in his music, it never inclines toward the cliches of Asian exoticism. Neither does his mixture of Western and Eastern styles sound eclectic or incongruous.
Four Movements (for piano trio) was written in 1990 to a commission by the Walter M. Naumburg Foundation for the Peabody Trio, winner of the Naumburg Chamber Music Award in 1989. It gives some indication of the variety of styles and emotions Sheng is capable of expressing in his music. Reversing the traditional ordering, he places the slower movements on the out?side, framing the quicker and more energetic sections. Despite the generic title, division into movements, and classical instrumenta?tion (piano, violin, and cello), the Chinese influence in Four Movements is abundant. The first movement is prelude-like, written in a folkloric style with a typically Asian heterophonic texture, while the second is based on a humorous and joyful folksong from Se-Tsuan. In the third movement, a savage dance, the composer extends the melody through a series of what he has labeled "Chinese Sequences": a kind of melodic development that lengthens the motif and expands the tessitura with each
repetition. As the subtitle of the last move?ment suggests, it evokes a lonesome nostalgia.
Quartet for Piano and Strings in c minor. Op. 15
Gabriel Faure
Born on May 12, 1845 in Pamiers, Ariege,
France Died on November 4, 1924 in Paris.
French composer Gabriel Faure lived during a period of incredible transition in musical styles, from Chopin's early romanticism to Schoenberg's atonal experiments. Through it all, he remained conservative to the core, even by mid nineteenth-century standards, and as a result he is often overshadowed by his more adventurous associates, including Saint-Saens, Debussy, and Ravel. Faure rarely composed in the large-scale orchestral genres that were popular during his lifetime; he published no symphonies or concertos, and his two operas are rather modest in proportion. His only works to have remained in the standard performing reper?toire are the Requiem (noted for its emotional restraint and chamberistic accompaniment), a short Pavane for orchestra, and some songs. Yet his expressive reserve and his penchant for the smaller musical forms are character?istically French. It's significant that France produced no counterpart to Liszt's and Paganini's pyrotechnic virtuosity, Strauss's over-blown romanticism or Puccini's hyper-expressive verismo. Faure's clearheaded clas?sicism epitomizes the French ideal of "le bon gout" (good taste), and like Chopin, he refused even to give expressive titles to his works. His nearest counterpart in the nineteenth century might be Mendelssohn, whose melodic lyricism and gift for counterpoint parallel Faure's musical strengths.
The Piano Quartet in c minor, Op. 15, was Faure's first major chamber work, and
it has become his most popular. He began work on it in 1876 and completed the first three movements in 1879. On several occasions Faure had doubts about how to complete a composition; in the case of this quartet, he sent the first three movements to the pub?lisher in 1880, but destroyed the first version of the finale, and didn't complete a new version until three years later.
For all his classical reticence, Faure's music is still remarkably expressive, and the key of c minor seemed to hold for him the same passion and sternness as it did for Beethoven (whose Symphony No. 5, for instance, is in that key). The first movement of the piano quartet bypasses an introduc?tion and launches straight into a vigorous principle theme by the unison strings, while the piano adds a syncopated chordal accom?paniment. Faure never makes the piano attempt to produce cantabile phrases, recog?nizing that it can't sustain long note values the way a string instrument can. In this first movement (and throughout the rest of the quartet) the piano part is always in motion, whether in the foreground or as a back?ground accompaniment, leaving the long-breathed phrases, such as the viola's undu?lating second theme, for the strings.
The development section begins like a barcarole as dotted rhythms are transformed into triplets, leading to a traditionally-con?ceived recapitulation of themes. The move?ment concludes pianissimo, as the piano's syncopations from the first theme are com?pletely reconciled with the major-mode tranquility of the second. There is passion and emotion in this movement, certainly, but it is never allowed to spill over the bounds of propriety.
A graceful Scherzo (in 68, effectively doubling the tempo) begins with a twisting, playful melody in the piano over plucked chords in the strings. But when the strings take over the tune, the time signature switches from 68 to 24. The alternation,
and occasional combination, of these two patterns adds a sparkling piquancy to the Scherzo's rhythmic character. For the Trio, the strings play a richly harmonized melody with mutes, while the piano spins a continu?ous perpetuum mobile of suave and delicate humor. A repeat of the Scherzo follows without pause.
Returning to c minor for the Adagio brings the listener back to a world of earnest senti?ment. The tripartite song delves into emotions more deep than mere melancholy. (Some have suggested that this movement was Faure's melancholic response to the broken engage?ment with his fiancee, Marianne Viardot, but the prevalent emotion in this movement is quite different in nature. In any case, Faure scrupulously attempted to keep his private and creative lives distinct.) The rising scale theme in the cello, followed by a prayer-like melody over rich piano chords, sounds funereal, though this is implied rather than explicit. The central section, with its constant tripletduplet accompaniment, provides an untroubled respite from the grief.
The last movement is in sonata form, but it's passion pushes the boundaries of classical restraint. The opening theme uses a similar rhythmic pattern to that found in the first movement, combined with the rising scale pattern from the Adagio. Perhaps Faure was attempting to make this movement function as a unifying summary of the earlier move?ments. (Given its lengthy and difficult gesta?tion, this might have seemed a suitable solu?tion to a recurring problem for the composer.) The movement is full of wild mood swings, from the energetic and restless first theme to the cantabile (though still agitated) second theme. A reappearance of the first theme in the development, played sotto voce by the strings, adds to the increasing tension, and the changes of temperament accelerate through the recapitulation, leading to an inevitably fiery conclusion.
Program notes by Luke Howard
Stephen Shipps, violinist, is a member of the Meadowmount Trio, a past member of the Fine Arts Quartet and the Amadeus Trio and has appeared as soloist with the sym?phony orchestras of Indianapolis, Dallas, Omaha, Seattle and Ann Arbor, as well as the Piedmont Chamber Orchestra and the Madiera Bach Festival. Prior to joining the U-M faculty in 1989 he served on the facul?ties of Indiana University, the North Carolina School of the Arts and the Banff Centre in Canada.
Erling Blondal Bengtsson, cellist, came to Michigan following a distinguished teaching and performing career in Europe. Mr. Bengtsson has enjoyed a busy schedule as recitalist and soloist with ensembles includ?ing the Royal Philharmonic, the BBC, English Chamber Orchestra, Detroit Symphony Orchestra, Gulbenkian Orchestra (Lisbon) and Czech Philharmonic and the orchestras of Baden-Baden, Brussels, Cologne, Copenhagen, The Hague, Hamburg, Helsinki, Leningrad, Oslo and Stockholm.
Bright Sheng's music has been widely per?formed in the United States, Europe and China. He has received commissions for and performances of his works by the Houston Grand Opera, New York Philharmonic, Cleveland Orchestra, Philadelphia Orchestra, Orchestra Sinfonica dell'Accademia Nazionale di Santa Cecilia, Lincoln Center Chamber Music Society, the symphony orchestras of Chicago, San Francisco, Baltimore, Honolulu and Shanghai, the New York Chamber Orchestra, the St. Paul Chamber Orchestra, and the summer festivals at Tanglewood, Aspen, Santa Fe, La Jolla, Seattle and Grant Park in Chicago.
Paul Kantor, violinist and chair of the String Department, has appeared as concerto soloist with a dozen symphony orchestras; has served as concertmaster of several orchestral ensembles, including the New Haven
Symphony, Aspen Chamber Symphony, Lausanne Chamber Orchestra and Great Lakes Festival Orchestra; and has been guest con-certmaster of the New Japan Philharmonic and the Toledo Symphony Orchestra. He has been especially active as a chamber musician with such groups as the New York String Quartet, the Berkshire Chamber Players, the Lenox Quartet and the National Musical Arts Chamber Ensemble.
Rachael Snow, violin, received her BM from Rice University, where she studied with Kathleen Winkler. She is currently earning her Masters at the University of Michigan as a Teaching Assistant and a student of Paul Kantor. She has been a full scholarship student at various summer programs, including the Music Academy of the West, Bowdoin, and Aspen.
Viliak Schotten, violist, has concertized in Israel, Holland, England, Austria, Japan, Taiwan, Malaysia, Mexico and Canada. He was a member of the Boston Symphony, an exchange member of the Japan Philharmonic and principal violist of both the Cincinnati and Houston symphonies. Before joining the faculty in 1985, Mr. Schotten taught at the University of Washington in Seattle and the Shepherd School of Music at Rice University.
Anthony Elliott, cellist, has combined admirable careers in performance and teach?ing for more than two decades. A protege of Janos Starker and Frank Miller, he won the Feuermann International Cello Solo Competition, which was followed by a highly successful New York recital. He is a frequent guest soloist with major orchestras, includ?ing those of Detroit, Minnesota, Vancouver, CBC Toronto and the New York Philharmonic. Mr. Elliott, who holds the performer's certificate and a bachelor of music degree with honors from Indiana University, joined the faculty in 1994.
Deborah Chodacki, clarinetist, joined the faculty in the fall of 1993. Ms. Chodacki has performed in chamber music festivals, as an orchestra performer and as soloist with orchestras in the United States and Western Europe. Prior to her appointment at Michigan she taught for four years at the Interlochen Arts Academy, where she was also a member of the Interlochen Chamber Players and, from 1979 to 1989, was on the faculty of the East Carolina University School of Music.
Anton Nel appears regularly as recitalist, chamber musician and concerto soloist with distinguished orchestras in both the United States and abroad. Most noteworthy is his giving the American premiere of the recent?ly discovered Piano Concerto No. 3 by Felix Mendelssohn in November 1997. Also a gift?ed and dedicated teacher, he served on the faculties of the University of Texas at Austin and the Eastman School of Music before coming to Michigan in 1992. The South African-born Mr. Nel is a graduate of the University of the Witwatersrand in Johannesburg and the University of Cincinnati.
Los Munequitos de Matanzas
Ivan Alfonso, Tumbadora, Quinto,
Ricardo Cane, Singer Agustin Diaz, Salidor (Conga) Israel Berriel Gonzalez, Singer Israel Berriel Jimenez, Singer Jesus Alfonso, Tumbadora, Quinto Rafael Navarro, Singer
Facundo Pelladito, Dancer,
Ana P?rez, Singer, Dancer Luis Deyvis Ramos, Dancer Barbara Ramos, Dancer,
Percussionist Vivian Ramos, Dancer Diosdado Ramos, Dancer Alberto Romero, Singer, Clave
Wednesday Evening, March 18,1998 at 8:00 Power Center, Ann Arbor, Michigan
Cuadro Yoruba: Danza Ritual de Elegua Arara, Tambores, Cantos y Danza Ganga, Palo Kongo Ritmo lyesa con Orishas Abakua, Danza Naniga
Ciclo de las Rumbas
Los Bandos, Coros y Claves
Yambu, Rumbas Antiguas Urbanas
Guaguanco, Rumbas Contemporaneas Urbanas
Columbia, Rumba Antigua Rural
Conga Popular Matancera, Fin de Fiesta
Fifty-second Concert of the 119th Season
World Culture Series
Support for this performance is provided by media partner WEMU, 89.1 FM from Eastern Michigan University.
A very special thank you to Alberto Nacif for his involvement in this residency.
Los Munequitos de Matanzas express heartfelt appreciation to Fat Congas for its donation of cajons and to LP Latin Percussion for its loan of intruments for the Spring 1998 US Tour.
Large print programs are available upon request.
Cuadro Yoruba: Danza Ritual de Elegua
Major Orisha, messenger of Olofi (Supreme God), is the Orisha that opens and closes pathways and roads. He is described as a child with an old man's face, a playful revel?er, friend of making mischievous deeds and lover of children. He dresses in red and black. He is one of the three warrior broth?ers of the Yoruba Pantheon and uses as his attributes a sickle or a prong to remove the herbs of the mountain. He is the son of Obbatala and Yemu and he is the first Orisha (Okana). He is represented in the dried coconut (Obi) placed behind front doors. He is syncretized with the Holy Child of Atocha, Saint Anthony of Padua and the Anima Sola (Lonely Soul).
Arara, Tambores, Cantos y Danza
The Arara slaves were the most recent of all African slaves to arrive in Cuba, some hav?ing arrived as late as 1887. They came from what was then known as Dahomey and today is Benin and Togo. They share a simi?lar pantheon of deities as the Yoruba but have different names and characteristics. In this program, Los Munequitos will dance to Babalii Aye, known as Asoano.
These dances and rhythms are some of the most difficult to master and are regard?ed as more closely related to African coun?terparts and less Creolized then other Afro-Cuban forms. Of particular interest is the rhythmic placement of the songs in rela?tionship to the rhythms of the drums. Extremely sophisticated in structure they are truly a testament to the creative prowess of these people. In Cuba we find three variants of Arara culture, Magino, Sabalu and
syncretization refers to the process by which the African gods were fused with the images of the Catholic saints.
Dahomey. As with the Iyesa culture the only sacred houses or cabildos of Arara are found in Matanzas Province.
Ganga, Palo Kongo
Palo Kongo represents the oldest form of African religious music and ritual that exists in Cuba today. The Kongo or Bantu people came to Cuba as slaves from the areas now known as Zaire, Angola and Gabon. They began arriving in the early 1500's and were dispersed throughout the whole island. Within the Bantu cultural traditions they have maintained dances and rhythms known as Makuta, Yuka, Garabato and Palo.
The Palo dance and music performed here are from the Mayombe sect and are considered the most sacred of all Bantu forms. The Cauldron or Nganga, which appears on the stage, represents a physical manifestation of magicreligious force of the Palo deities. Through ceremonies and ritu?als a spiritual force is brought to life within the Nganga and its powers are used to ward off illness, misfortune or to defeat one's ene?mies.
The dances and rhythms are some of the most aggressive of all Afro-Cuban forms and were often used to psychologically pre?pare the Africans for battle when a slave uprising was planned. Sometimes just the sight and sounds of these dances and rhythms were enough to cause slave owners to flee for their lives. Palo music and dance is also used to celebrate the anniversary of the Nganga or during funeral rites of deceased Paleros.
Ritmo Iyesa con Orishas
The Iyesa people are often considered a sub?group of the Yoruba, coming from an area of Nigeria known as Illesha in Northern Nigeria. They share many of the same Orishas as the Yoruba, although the two
most prominent are Ochun and Oggun. The traditional drums are two headed and the shells are painted green with a distinc?tive yellow stripe, to represent Ochun and Oggun.
Typically the 68 rhythms are played for Oggun and the 44 versions for Ochun, which are considered some of the most sen?sual of all of Ochun's dances. In this pro?gram, Los Munequitos will perform the 44 rhythms in dances to Ochun, Yemaya and Change With these rhythms and songs, the group invokes the Orishas, the ancestors, and requests the blessing of Oloddumare (Supreme God) to bring peace and good health to all people.
Although these dances and rhythms are not as complex as the Arara or Bata, they are some of the most funky and animated of all Afro-Cuban forms. The Iyesa slaves are said to have regrouped in 1868 in Matanzas, Cuba through a reunion of twenty-one Babalawos all originating from the Illesha region of Nigeria. There they formed the only sacred house or cabildo of Iyesa to be found in Cuba today.
Abakua, Danza Naniga
The Abakua is a men's secret organization, originally from Calabar, Nigeria. It is an association of financial mutual help, even though it has a lot of religion. Its Supreme Being is Abasi. The men speak in a jargon made up of seven African dialects. The req?uisites to enroll in this association are to be a man, a good son and a good father, and to pledge loyalty to the institution and to keep its secrets. The Abakua was founded in 1836 in the harbor town of Regla in the Havana Province, with the name Efik Buton. In Cuba, Abakua's lands can be found in Havana's province; in Regla, Guanabacoa and Mariano; in Matanzas' province; in the Capital City and in Cardenas. In their par?ties and ceremonies, there is always a room
called Famba where they guard the secrets of the group, limiting the access to this room to only a few. The outdoors, where they celebrate their festivities, is open to everyone.
The main chiefs open the show making a Wembla ceremony to ask permission to the god Abasi to allow the celebration. The Npego (master of ceremonies) makes an Enkame to give thanks and initiate the fes?tivities. The music being played with the sacred drums begins and at its height the Morua brings in the iretnes, or little devils, to perform their dance in the styles of Efi or Efo (rapid and slow, respectively) according to the African land of their heritage. The major Morua, who receives them on stage takes them and the musicians away.
Ciclo de las Rumbas
Los Bandos, Coros y Claves
This is one of the oldest manifestations of popular Cuban music. It is native to the city of Matanzas where there were two fac?tions distinguished from each other by their respective colors, red and blue, and located in the barrios of Simpson and La Marina.
These factions were always in competi?tion and each time they visited one another they would sing songs full of innuendo and cutting remarks, emulating or competing in rhythms, songs and costumes. But every December 31" they join as brothers and cel?ebrate birthdays of friends as well as the arrival of the new year, ending in a friendly party with the Sarando. Their characteristic dress was white with a kerchief in the color of the "Bando" or faction.
Yambu, Rumbas Antiguas Urbanas
This is the most ancient rumba of the Afro Cuban Creoles. It is performed with wood?en boxes and tumbas. In the past they used
candle crates and codfish crates, the sides of a wardrobe dresser and spoons on the small drawers of a night table. In this dance the woman shines more than the man. It is a slow and lilting music, called "de viejos" (of the old ones), originally from Matanzas in the mid-ninteenth century.
Guaguanco, Rumbas Contemporaneas Urbanas
This is a contemporary urban rumba origi?nally from Havana and Matanzas. It is faster than Yambii and is played with tum-badoras (conga drums). The musicians introduce other Latin American rhythms through a variety of musical arrangements. The dance is characterized by the vacunao, an erotic sexual movement by the man who pursues the woman in order to possess her, moving his hands, his feet and his hat along with his pelvis. She tries to avoid him by covering her genitals or turning her back to her partner. In this sexual dance contest, the best dancer is the man if he can touch her, or the woman if she can avoid him.
In the Guaguanco, as in other varieties of rumba, the dance breaks loose after the narration of the story that serves as the basis of the musical development in the first part. The alternation between the improvising singer and the chorus intensifies the spirit of the dance, and the rhythmic action supports the steps of the dancers.
Columbia, Rumba Antigua Rural
Old rumba originally from rural Matanzas, very fast in its delivery and danced only by men, who develop a competition among themselves using movements from sports, dangerous movements with knives and machetes, gymnastic modern dance and the dangerous bottle dance. Its name comes from the Columbia bus stop close to Matanzas. While the beginning is a song of
lament with African phrases, the end becomes a danceable montuno.
Conga Popular Matancera,
Fin de Fiesta
As a colophon to the show, a summary is made, which ends the show with the popu?lar street conga from the Matanzas province and invites the audience to dance on the stage or wherever they would like, while the house lights are on.
In the first days of October 1952 a group of young rumberos found them?selves enjoying their evening's rest in the bar "El Gallo" in the city of Matanzas. They heard the chords of a son by Arsenio Rodriguez on the bar's Victrola. Inspired by the rhythm and the contagious melody, they began to play percussion on the counter, on the glasses and on the bottles, accompanying Arsenio and his group. The other customers as well as passers-by stopped to listen and to the astonishment of the young men they received their first applause applause that forty-six years later they continue to receive. In the rush of enthusiasm they decided to form a musical group to entertain on Sundays and holidays at fiestas and barrio dances. They named their group Guaguanco Matancero and agreed that each member would find a way to get instruments made according to their respective means. They would interpret the "Guaguanc6," the con?temporary rumba of urban origin that came from Matanzas and Havana. Once the group was together with the necessary instruments they began performing in bar?rios throughout Matanzas province and then in the city of Havana. They included in their repertoire the "Yambu," an older urban style of rumba and later the
"Columbia," a rural, field rumba danced only by men.
In 1953 they were invited to perform in fiestas in the barrios of Old Havana and Central Havana. They performed on radio and television and recorded for the Puchito label their first 78 rpm record, with "Los Beodos" on one side and "Los Munequitos" on the other. The lyrics of the latter num?ber told of the vicissitudes of characters in the comic strips that appeared in the week?end newspapers. "Los Munequitos" was such a hit that the public of Havana and Matanzas re-named the group Los Munequitos de Matanzas, the name by which they are now known throughout the world. The group became a dance group with the entry of dancer Diosdado Ramos (today the group's director). In addition there are now two female dancers, Ana Perez and Vivian Ramos and two male dancers, Barbara Ramos and Facundo Pelladito. The newest member of the group is the electrify?ing dancer, Luis Deyvis Ramos, the ten-year-old son of Vivian Ramos, nephew of Barbara Ramos and grandson of Diosdado Ramos.
Los Munequitos de Matanzas first per?formed in the US in 1992 when Dance Theater Workshop's Suitcase Fund orga?nized a ten-week tour to fourteen cities. The overwhelming enthusiasm that greeted them in cities from DC to Detroit, from New York to San Francisco and the continu?ing impact of their music and dance prompted Colorado Dance Festival in Boulder, Dance Theater Workshop and MultiArts Projects & Productions in New York City to invite Los Munequitos to return in the summer of 1994 for a six week tour to thirteen cities. In 1995, the group made its historic first visit to Puerto Rico where thousands turned out for their per?formances. Spring 1998 marks the group's fourth US tour with engagements at univer?sities, art centers and festivals throughout
the country over the course of eight weeks. The ensemble has released six CDs on Qbadisk and has toured extensively in Canada, Brazil and Great Britain.
The musicians and dancers of Los Munequitos are recognized by Cubans and throughout the world as members of one of the most vital ensembles to sustain and popularize the African roots of Cuban cul?ture. The rumba of the Munequitos is a contemporary art; the religious traditions in their repertoire tie the past to the present and the future. This is no show. In Matanzas, the streets seem to breathe African religion and culture. Those who have not been there can get a glimpse of that spirit with this presentation.
From the Official Biography of Los Munequitos de Matanzas (with special thanks to Yvonne Daniel, Ph.D., Associate Professor of Dance and Anthropology at Smith College and to Ned Sublette, Executive Producer, Qba Disk)
This performance marks Los Munequitos de Matanzas' debut under UMS auspices.
Caridad Di6z, General Producer, Los Munequitos
de Matanzas
Estrella Quiroga, US Tour Manager Scott Wardinsky, US Tour Technical Director Tour organization provided by Pentacle
Intersections, Cathy Zimmerman, Director
The Spring 1998 U.S. Tour of Los Munequitos de
Matanzas is produced by: MultiArts Projects & Productions (MAPP) Ann Rosenthal, Executive Director Jenny Tool, Project Associate
March 21, 1998
Welcome to what promises to be an inspiring performance by one of Israel's national treasures, the Batsheva Dance Company. With their artistry and grace, these talented dancers remind us of the centrality of the arts to the University's rich cultural life.
This performance also underscores the vital international alliances of the University and the University Musical Society. This perfor?mance has its roots in a visit to Israel by a group of faculty and administrators in 1995, under the auspices of Partnership 2000, a joint venture of the University and the Jewish Federation of Southeast Michigan, when Paul Boylan, vice provost for the arts, had the opportunity to see Batsheva perform.
This is only one of hundreds of connections being created between individuals and institutions in Israel and in the State of Michigan, City of Ann Arbor, and the University of Michigan through Partnership 2000.1 hope you enjoy the performance.
ee C. Bollinger President, University of Michigan
Batsheva Dance Company
Ohad Naharin, Artistic Director
Dancers: Yosi Berg, Claire-Laure Berthier, Isabelle Chaffaud, Sonia D'Orleans Juste, Michael Getman, Yoshifumi Inao, Craig Jacobs, Keren Malkit, Jerome Meyer, Yaniv Nagar, Einat Niv, Ari Rosenzweig, Adi Salant, Yael Schnell, Shai Tamir, Liat Waysbort, Yossi Yungman
The University of Michigan
Ohad Naharin
Saturday Evening, March 21, 1998 at 8:00 Power Center, Ann Arbor, Michigan
Queens Black Milk
KYR (excerpts)
Fifty-third Concert of the 119th Season
Moving Truths Series
This performance is sponsored by the University of Michigan. Additional support is provided by Herb and Carol Amster.
We are grateful to the many members of the regional Jewish community who have provided support for this series. They include Honorary Chairs, Herb and Carol Amster, Prudence and Amnon Rosenthal, Carol and Irving Smokier, and Ronald and Eileen Weiser.
Special thanks to Ohad Naharin, Peter SparlingDance Gallery and Alexander Alexandrov for their involvement int his residency.
Large print programs are available upon request.
By Ohad Naharin
Original Music Ivry Lider, Ohad Nharin
Costume Design Rakefet Levy
Lighting Design Bambi
Stage Design Arik Levy
Sound Design Frankie Lievaart
Dancers Isabelle Chaffaud
Sonia D'Orleans Juste
Michael Getman
Yoshifumi Inao
Craig Jacobs
Yaniv Nagar Shai Tamir
Einat Niv
Ari Rosenzweig
Adi Salant
Yael Schnell Keren Malkit,
Yossi Yungman
Originally commissioned by the Nederlands Dans Theatre, 1995 Kaamos is a part of Zna, a full length work created for the Batsheva Dance Company, 1995.
Queens Black Milk
Queens of Golub (excerpts)
By Ohad Naharin
Music Arvo Part
Costume Design Rakefet Levy
Lighting Design Bambi
Dancers Claire-Laure Berthier
Sonia D'Orleans Juste Keren Malkit Einat Niv Yael Schnell Adi Salant Isabelle Chaffaud
Queens ofGolub was originally commissioned by the Nederlands Dans Theater, 1989.
Black Milk
By Ohad Naharin
Music Paul Smadbeck
Costume Design Rakefet Levy
Lighting Design Bambi
Dancers Craig Jacobs Yosi Berg
Jerome Meyer
Yaniv Nagar Michael Getman Ari Rosenzweig Yoshifumi Inao Yossi Yungman Shai Tamir
The first version of Black Milk, for women, was originally commissioned by the Kibbutz Dance Company, 1985.
KYR (excerpts)
By Ohad Naharin
Original Music The Tractor's Revenge and Ohad Naharin
Lighting Design Bambi
Sound Design Frankie Lievaart
Dancers Yosi Berg Jerome Meyer
Clair-Laure Berthier Yaniv Nagar
Isabelle Chaffaud Einat Niv
Sonia D'Orleans Juste Ari Rosenzweig
Michael Getman Adi Salant
Yoshifumi Inao Yael Schnell
Craig Jacobs Shai Tamir
Keren Malkit Yossi Yungman
KYR was originally commissioned by the Israel Festival, Jerusalem, 1990.
Batsheva Dance Company
Ohad Naharin, Artistic Director
The University
of Michigan
Ohad Naharin
Sunday Afternoon, March 22,1998 at 2:00 Power Center, Ann Arbor, Michigan
KYR (excerpts)
Queens Black Milk
Fifty-fourth Concert of the 119th Season
Moving Truths Series
This performance is sponsored by the University of Michigan. Additional support is provided by Herb and Carol Amster.
We are grateful to the many members of the regional Jewish community who have provided support for this series. They include Honorary Chairs, Herb and Carol Amster, Prudence and Amnon Rosenthal, Carol and Irving Smokier, and Ronald and Eileen Weiser.
Special thanks to Ohad Naharin, Peter SparlingDance Gallery and Alexander Alexandrov for their involvement int his residency.
Large print programs are available upon request.
KYR (excerpts)
By Ohad Naharin
Original Music The Tractor's Revenge and Ohad Naharin
Lighting Design Bambi
Sound Design Frankie Lievaart
Dancers Yosi Berg Jerome Meyer
Clair-Laure Berthier Yaniv Nagar
Isabelle Chaffaud Einat Niv
Sonia D'Orleans Juste Ari Rosenzweig
Michael Getman Adi Salant
Yoshifumi Inao Yael Schnell
Craig Jacobs Shai Tamir
Keren Malkit Yossi Yungman
KYR was originally commissioned by the Israel Festival, Jerusalem, 1990.
Queens Black Milk
Queens of Golub (excerpts)
By Ohad Naharin
Music Arvo Part
Costume Design Rakefet Levy
Lighting Design Bambi
Dancers Claire-Laure Berthier
Sonia D'Orleans Juste Keren Malkit Einat Niv Yael Schnell Adi Salant Isabelle Chaffaud
Queens of Golub was originally commissioned by the Nederlands Dans Theater, 1989.
Black Milk
By Ohad Naharin
Music Paul Smadbeck
Costume Design Rakefet Levy
Lighting Design Bambi
Dancers Craig Jacobs Yosi Berg
Jerome Meyer
Yaniv Nagar Michael Getman Ari Rosenzweig Yoshifumi Inao Yossi Yungman Shai Tamir
The first version of Black Milk, for women was originally commissioned by the Kibbutz Dance Company, 1985.
By Ohad Naharin
Music Arvo Part
Costume Design Rakefet Levy
Lighting Design Bambi
Dancers Sonia D'Orleans Juste Isabelle Chaffaud
Craig Jacobs Jerome Meyer Adi Salant Yaniv Nagar Einat Niv Ari Rosenzweig Shai Tamir Yael Schnell Michael Getman Yossi Yungman.
Arbos was originally commissioned by Sydney Dance Company, 1989.
In 1990 Ohad Naharin was appointed as Artistic Director of the Batsheva Dance Company. Born in a kibbutz in Israel, Naharin was raised in an artistic environment -his mother teaches dance and composition and his father, a doctor of psychology, is a psychodrama specialist.
Naharin began his training as a dancer with Batsheva and continued his studies at Juilliard. He danced for one season in the Martha Graham Company and with Maurice Bejart. Between 1980 and 1990, Naharin was dancing and creating in New York. Jif i Kylian of the Nederlands Dans Theater saw his work and their encounter was the basis of a long comradeship, both with Kylian and NDT, and the beginning of a series of commissions from the leading dance companies in the world, among them: The Cullberg Ballet, Lyon Opera Ballet, Frankfurt Ballet and many more.
Naharin, who trained musically before he started to dance, has often collaborated in the musical compositions for his works -with The Tractor's Revenge (Kyr), rock musicians Avi Belleli, Dan Makov [Anaphase), Ivry Lider (Kaamos, Zna), and Peter Zegveld and Thijs van de Poll for Sabotage Baby. His works are renowned for their musicality in pieces which resound with imaginative and diverse sources, from Arvo Part and John Zorn to Johan Strauss. Many of Naharin's works include live music performed on stage.
Naharin has artistic associations with prominent Israeli designers: lighting design?er Bambi, costume designer Rakefet Levi, and constantly encourages his dancers to explore their own creative resources.
Seeing movement as healing and strengthening, Naharin's main source of inspiration is the human body and its indi?vidual abilities.
"If you could hold one of Ohad Naharin's dances in your hand, it would feel smooth. Think of a polished stone, it looks
like a piece of secret sculpture but hurl it and it becomes a weapon." -Deborah Jowitt, The Village Voice
Batsheva Dance Company 1998
The appointment of Ohad Naharin in 1990 as Artistic Director launched Batsheva Dance Company into a new era. Naharin assembled an intense and stimulating group of dancers and staff, leading his com?pany to international stature. Kyr, commissioned by the Israel Festival, Jerusalem, and created in 1990 with the Israeli rock group The Tractor's Revenge was the first landmark in the succession of pieces which give birth to the "new" Batsheva -bold, sweeping, physically sensual.
Batsheva is treasured by an enthusiastic and devoted audience. Its season is eagerly expected, and it has revolutionized the posi?tion of dance in Israel. The Company cap?tured young audiences with works that became "cult" events, and, at the same time, reached beyond the traditional dance public. Abroad, Batsheva tours extensively to Europe, Japan, Australia and the Americas, enjoying repeated visits to the world's leading festivals and theaters.
Batsheva Ensemble, the junior company, formed in 1990, is by now a company with its own professional identity. The Ensemble's target is to train the next generation of dance performers, and to cultivate original talents -from choreographers to other cre?ative partners in design and music.
Both companies are international in nature, made up of individually unique dancers from Israel and abroad. Dancers of both companies are encouraged to affirm their distinct creative gifts, either as per?formers in the Company's work, or as cre?ators on their own.
Batsheva treads two parallel paths: its
repertoire focuses on works by Ohad Naharin, while it continues to host guest choreographers, ranging from the estab?lished leading names, such as Jifi Kylian and William Forsythe to young emerging talents at the beginning of their artistic careers.
Batsheva Dance Company today serves as a meeting point for artists of all disciplines -music, film, graphic art, photography, stage, costume and light design -partaking together in the exciting process of creating, and the thrilling encounter between perform?ing arts audiences and creators.
Batsheva Dance Company was founded in 1964 by Baroness Batsheva de Rothchild and Martha Graham.
These performances mark the Batsheva Dance Company's second and third appearances under UMS auspices. They first appeared in Ann Arbor in November 1972.
Batsheva Dance Company
Artistic Director: Ohad Naharin General Manager: Ben-Ami Einav Associate Artistic Director: Naomi Bloch Fortis Rehearsal Director: Sandra Brown
(Assistant: Adi Salant) Company Teacher: Alexander Alexandrov
Tour Manager: Tami Lotan, Irit Sturm, Hani Alon
Production Stage Manager: Iris Bovshover
Chief Electrician: Gadi Glik
Technical Director: Yanka Suissa
Technician: Itzik Assulin
Sound: Frankie Lievaart
Wardrobe: Nirit Tavor
Physiotherapist: Hani Alon
Photographer: Gadi Dagon
Batsheva Dance company was founded in 1964 by Baroness Batsheva de Rothchild and Martha Graham.
The Batsheva Dance Company is supported by the Ministry of Education and Culture and the Tel-Aviv Jaffa Municipality.
Batsheva Dance Company is the resident Company at the Suzanne Dellal Center for Dance and Theatre, Tel-Aviv.
David Eden Productions, Ltd Tour Manager: Angel Gardner Assistant to the Producer: Betsy Heer Producer: David Eden
International Tour Management: Multi Media Ltd. Batsheva Dance Company Tour Coordinator: Gal Canetti
Support for the 1998 United States tour of the Batsheva Dance Company has been provided in part by the Israel Ministry of Foreign Affairs, Cultural and Scientific Affairs as part of Israel's 50"1 Anniversary celebration. Special thanks to Yuri Bar Ner and The John F. Kennedy Center for the Performing Arts.
The University Musical Society World Culture Series
Contemporary Jewish Cultural Expression in Israel
is made possible through the generous support of our:
Honorary Co-Chairs
Prudence and Amnon Rosenthal Carol and Irving Smokier Eileen and Ronald Weiser
Honorary Committee
Carol and Herb Amster
Bette and Allen Cotzin
Linda and Richard Greene
Dr. and Mrs. Sanford Herman
Benard L. Maas Foundation
Sharon and Chuck Newman
Art and Mary Schuman The University of Michigan
Committee Members
Evie and Allen Lichter
Myrna and Newell Miller
Marylen and Harold Oberman
Jamie and Jim Abelson
The Honorable and Mrs. Avern L. Cohn
Susan and Arnold Coran
Lynn and David Engelbert
liana and Ari Gafni Joyce and Fred Ginsberg
Lila and Bob Green
Gloria and Joseph Gurt
Dr. and Mrs. Sanford Herman
Maxine and David Katz
Robert Krasny
Wendy and Ted Lawrence
Steven Leber and Dina Shtull-Leber
Myron and Bobbie Levine Joan Lowenstein and Jonathan Trobe
Mildred Ostrowsky
Dr. Owen Z. and Barbara Perlman
Harriet and Marvin Selin
Aliza and Howard Shevrin
Elise and Jerry Weisbach
Like To Help Out
UMS Volunteers are an integral part of the success of our organization. There are many areas in which volunteers can lend their expertise and enthusiasm. We would like to welcome you to the UMS family and involve you in our exciting programming and activi?ties. We rely on volunteers for a vast array of activities, including staffing the education res?idency activities, helping at the UMS hospital?ity table before concerts and at intermissions, assisting in artists services and mailings, escorting students for our popular youth per?formances and a host of other projects. Call 734.936.6837 for more information.
Internships with the University Musical Society provide experience in performing arts admin?istration, marketing, publicity, promotion, production and arts education. Semester-and year-long internships are available in many of the University Musical Society's departments. For more information, please call 734.763.0611 (Marketing Internships), 734.647.1173 (Production Internships) or 734.764.6179 (Education Internships).
College work-study
Students working for the University Musical Society as part of the College Work-Study
program gain valuable experience in all facets of arts management including concert promo?tion and marketing, fundraising, event planning and production. If you are a college student who receives work-study financial aid and who is interested in working for the University Musical Society, please call 734.764.2538.
UMS Ushers
Without the dedicated service of UMS' Usher Corps, our concerts would be absolute chaos. Ushers serve the essential functions of assist?ing patrons with seating and distributing pro?gram books. With their help, concerts begin peacefully and pleasantly.
The UMS Usher Corps comprises 275 individuals who volunteer their time to make your concertgoing experience more pleasant and efficient. 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.
Our 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. If you would like information about joining the UMS usher corps, leave a message for head usher Kathi Reister at 734.913.9696.
Camerata Dinners
presented by General Motors
Following last year's great success, the UMS Board of Directors and Advisory Committee are hosting another series of Camerata Dinners before many of the season's great performances. After taking your pick of prime parking spaces, join friends and fellow UMS patrons in the beautiful setting of the Alumni Center, a site within a short walking distance of Hill Auditorium. Our buffet will be open from 6:00 to 7:30 p.m. and costs $25 per person. Make your reser?vations by calling 734.764.8489. UMS members receive reservation priority.
Saturday, January 10
Israel Philharmonic OrchestraZubin Mehta, conductor
Friday, February 6
St. Paul Chamber OrchestraEmanuel Ax, piano
Wednesday, February 11
Royal ConcertgebouwRiccardo Chailly, conductor
Tuesday, March 24
Russian National OrchestraGil Shaham, violin
Monday, April 13
Evgeny Kissin, piano
Friday, May 1 fep
MET OjilJjfiVr Georg Solti, conductor
Dining Experiences to Savor: the Fourth Annual Delicious Experiences
Wonderful friends and supporters of the UMS 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 directly to UMS to continue the fabulous music, dance and educational programs.
Treat yourself, give a gift of tickets, purchase an entire event, or come alone and meet new people. Join in the fun while supporting UMS!
Call 734.936.6837 for more information and to receive a brochure.
Restaurant & Lodging Packages
Celebrate in style with dinner and a show, or stay overnight and relax in comfort! A delicious meal followed by priority, reserved seating at a performance by world-class artists makes an elegant evening. Add luxury accommodations to the package and make it a complete get away. The University Musical Society is pleased to announce their cooperative ventures with the following local establishments:
Paesano's Restaurant
3411 Washtenaw Road, Ann Arbor. Reservations: 734.971.0484 i. Feb. 22 Mendelssohn's Elijah
Tuc. Mar. 24 Russian National OrchestraGil Shaham, violin Man. Apr. 13 Evgeny Kissin, piano
'ackage price $52 per person (with tax & tip incorporated) ncludes: Guaranteed dinner reservations (select any item from he special package menu) and reserved "A" seats on the main loor at the performance for each guest.
The Artful Lodger Bed & Breakfast
j 1547 Washtenaw Avenue, Ann Arbor. Reservations: 734.769.0653 Doin Ann Arbor's most theatrical host & hostess, Fred & Edith J civis Bookstein, for a weekend in their massive stone house built in the mid-1800s for U-M President Henry Simmons Frieze. This historic house, located just minutes from the performance halls, lias been comfortably restored and furnished with contemporary art and performance memorabilia. The Bed & Breakfast for Music fcnd Theater Lovers!
ffackage price ranges from $200 to $225 per couple depending upon performance (subject to availability) and includes: two nights' itay, breakfast, high tea and two priority reserved tickets to the lerformance.
The Bell Tower Hotel & Escoffier Restaurant
I 300 S. Thayer, Ann Arbor. Reservations: 734.769.3010 Fine dining and elegant accommodations, along with priority Icating to see some of the world's most distinguished performing lrtists, add up to a perfect overnight holiday. Reserve space now jor a European-style deluxe guest room within walking distance of me performance halls and downtown shopping, a special performance dinner menu at the Escoffier restaurant located within the Bell Tower rlotcl, and great seats to the show. Beat the winter blues in style!
Wri. Jan. 9 David Daniels, countertenor
mat. Jan. 10 Israel Philharmonic Orchestra
Wri. Jan. 30 Beethoven the Contemporary: American String Quartet
Wri. Feb. 13 Juan-Jose" Mosalini and His Grand Tango Orchestra
fat. Feb. 14 Chen Zimbalista, percussion ri. Feb. 20 Chick Corea, piano and Gary Burton, vibes ri. Mar. 13 New York City Opera National Company
Donizetti's Daughter of the Regiment at. Mar. 21 Batsheva Dance Company of Israel at. Mar. 28 Paco de Lucia and His Flamenco Orchestra 'ackage price $199 (+ tax & gratuity) per couple ($225 for the srael Philharmonic Orchestra) includes: valet parking at the otel, overnight accommodations in a deluxe guest room with a ontinental breakfast, pre-show dinner reservations at the Iscoffier restaurant in the Bell Tower Hotel, and two performance ickets with preferred seating reservations.
pratzi Restaurant
I 326 S. Main Street, Ann Arbor. Reservations: 734.663.5555 un. Ian. 18 Boys Choir of Harlem hu. Feb. 19 Petersen Quartet Iw. Mar. 12 New York City Opera National Company
Donizetti's Daughter of the Regiment ri. Apr. 3 STREB
ackage price $45 per person includes: guaranteed reservations )r a pre-show dinner (select any item from the menu plus a non-coholic beverage) and reserved "A" seats on the main floor at the erformance.
Gift Certificates
Looking for that perfect meaningful gift that speaks volumes about your taste Tired of giving flowers, ties or jewelry Give a UMS Gift Certificate! Available in any amount and redeemable for any of more than 70 events throughout our season, wrapped and delivered with your personal message, the UMS Gift Certificate is ideal for birthdays, Christmas, Hanukkah, Mother's and Father's Days, or even as a housewarming present when new friends move to town.
Make your gift stand out from the rest: call the UMS Box Office at 734.764.2538, or stop by Burton Tower.
A Sound Investment
Advertising and Sponsorship at UMS
Advertising in the UMS program book or sponsoring UMS performances will enable you to reach 125,000 of southeastern Michigan's most loyal concertgoers.
When you advertise in the UMS program book you gain season-long visibility, while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descriptions that are so important to per?formance experiences. Call 734.647.4020 to learn how your business can benefit from advertising in the UMS program book.
As a UMS corporate sponsor, your organization comes to the attention of an affluent, educated, and growing segment of not only Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treasures. And there are numerous benefits that accrue from your investment. For example, UMS offers you a range of programs that, depending on level, provide a unique venue for:
Enhancing corporate image Launching new products Cultivating clients
Developing business-to-business relationships Targeting messages to specific demographic
groups Making highly visible links with arts and
education programs Recognizing employees Showing appreciation for loyal customers
For more information, call 734.647.1176
Advisory Committee
The Advisory Committee is a 53-member organi?zation which 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 preand post-concert events, and the Ford Honors Program Gala Dinner Dance. The Advisory Committee has pledged to donate $140,000 this current season. In addition to fundraising, this hard-working group generously donates valuable and innumerable hours in assisting with the educational programs of UMS and the behind-the-scenes tasks associated with every event UMS presents. If you would like to become involved with this dynamic group, please give us a call at 734.936.6837 for information.
Group Tickets
ganize the perfect outing for your group of friends, co-workers, religious congregation, class?mates or conference participants. The UMS Group Sales Office will provide 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.
When you purchase at least 10 tickets through the UMS Group Sales Office your group can save 10-25 off the regular ticket price for most events as well as receive 1-3 complimentary tickets for the group organizer (depending on the size of the group). Certain events have a limited number of discount tickets available, so call early to guarantee your reservation. Call 734.763.3100.
n an effort to help reduce distracting noises, the Warner-Lambert Company provides complimentary Halls Mentho-Lyptus Cough Suppressant Tablets in specially marked dispensers located in the lobbies. Thanks to Ford Motor Company for the use of a Lincoln Town Car to provide transportation for visiting artists.
Ford Honors Program
The Ford Honors program is made possible by a generous grant from the Ford Motor Company and benefits the UMS Education Program. Each year, UMS honors a world-renowned artist or ensemble with whom we have maintained a long-standing and significant relationship. In one evening, UMS presents the artist in concert, pays tribute to and presents the artist with the UMS Distinguished Artist Award, and hosts a dinner and party in the artist's honor. Van Cliburn was the first artist so honored and in 1997 UMS honored Jessye Norman.
This year's Ford Honors Program will be held Saturday, May 9. The recipient of the 1998 UMS Distinguished Artist Award will be announced in early February.
Thank You!
Great performances--the best in music, theater and dance--are pre?sented by the University Musical Society because of the much-needed and appreciated gifts of UMS supporters, who constitute the members of the Society. The list below represents names of current donors as of November 1, 1997. If there has been an error or omission, we apologize and would appreciate a call at 734.647.1178 so that we can correct this right away. The University Musical Society would also like to thank those generous donors who wish to remain anonymous.
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 to continue the great traditions of the Society in the future.
Mr. Neil P. Anderson
Catherine S. Arcure
Mr. and Mrs. Pal E. Barondy
Mr. Hilbert Beyer
Elizabeth Bishop
Mr. and Mrs. John Alden Clark
Dr. and Mrs. Michael S. Frank
Mr. Edwin Goldring
Mr. Seymour Greenstone
Marilyn Jeffs
Thomas C. and
Constance M. Kinnear Dr. Eva Mueller Charlotte McGeoch Len and Nancy Niehoff Mr. and Mrs. Dennis Powers Mr. and Mrs. Michael Radock Herbert Sloan Helen Ziegler Mr. and Mrs. Ronald G. Zollars
Randall and Mary Pittman
Herbert Sloan
Paul and Elizabeth Yhouse
Ford Motor Company Fund Forest Health Services Corporation Parke-Davis Pharmaceutical Research
Carl and Isabelle Brauer
Sally and Ian Bund
Kathleen G. Charla
Dr. and Mrs. lames Irwin
Carol and Irving Smokier
Mrs. M. Titiev
Ronald and Eileen Weiser
Consumers Energy
Detroit Edison Foundation
Ford Motor Credit Company
JPEincThe Paideia Foundation
McKinley Associates
NSK Corporation
The Edward Surovell Co.Realtors
TriMas Corporation
University of Michigan -
University Relations Wolverine Temporaries, Inc.
Arts Midwest
Grayling Fund
KMD Foundation
Lila Wallace-Reader's Digest
Audiences for the Performing
Arts Network
Lila Wallace-Reader's Digest Arts
Partners Program Benard L. Maas Foundation Michigan Council for Arts
and Cultural Affairs National Endowment for the Arts New England Foundation for the Arts
Individuals Robert and Ann Meredith Prudence and Amnon Rosenthal Edward Surovell and Natalie Lacy
Businesses General Motors Great Lakes Bancorp
Herb and Carol Amster
Douglas Crary
Ronnie and Sheila Cresswell
Robert and Janice DiRomualdo
Michael E. Gellert
Sun-Chien and Betty Hsiao
F. Bruce Kulp and Ronna Romney
Pat and Mike Levine
Mr. David G. LoeselCafe Marie
Charlotte McGeoch
Joe and Karen Koykka O'Neal
Mrs. John F. Ullrich
Marina and Robert Whitman
Roy Ziegler
Beacon Investment Company Curtin & Alf Violinmakers First of America Bank Ford Electronics Thomas B. McMullen Company Michigan Radio Miller, Canfield, Paddock and Stone, P.L.C.
The Monroe Street Journal O'Neal Construction Project Management
Associates WDET WEMU
Foundations Chamber Music America Herrick Foundation
ndividuals Robert and Martha Ause Maurice and Linda Binkow iarbara Everitt Bryant )r. and Mrs. James P. Byrne idwin F. Carlson .Ir. Ralph Conger Catharine and Jon Cosovich Ir. and Mrs.
Thomas C. Evans (en, Penny and Matt Fischer ohn and Esther Floyd ue and Carl Gingles .lercy and Stephen Kasle ohn and Dorothy Reed 'rudence and
Amnon Rosenthal )on and
ludy Dow Rumelhart 4aya Savarino 'rofessor Thomas J. and
Ann Sneed Schriber Raymond Tanter Richard E. and
Laura A. Van House Mrs. Francis V. Viola III vlarion T. Wirick and
James N. Morgan
AA of Michigan rbor Temporaries
Personnel Systems, Inc. iutzel Long Attorneys invironmental Research
Institute of Michigan KeyBank
MaudesMain Street Ventures t. loseph Mercy Hospital Target Waldenbooks
foundations The Mosaic Foundation (of Rita and Peter Heydon)
Dr. and Mrs. Gerald Abrams
Professor and Mrs.
Gardner Ackley Dr. and Mrs. Robert G. Aldrich Janet and Arnold Aronoff Mr. and Mrs. Max K. Aupperle Dr. Emily W. Bandera Bradford and Lydia Bates Raymond and Janet Bernreuter Joan A. Binkow Howard and Margaret Bond Jim Botsford and
Janice Stevens Botsford Jeannine and Robert Buchanan Lawrence and Valerie Bullen Mr. and Mrs. Richard J. Burstein Letitia J. Byrd Betty Byrne
Jean and Kenneth Casey Pat and George Chatas Mr. and Mrs. John AJden Clark David and Pat Clyde Leon and Heidi Cohan Maurice Cohen Susan and Arnold Coran Alan and Bette Cotzin Dennis Dahlman Peter and Susan Darrow Jack and Alice Dobson Jim and Patsy Donahey Jan and Gil Dorer Cheri and Dr. Stewart Epstein David and Jo-Anna Featherman Adrienne and Robert Feldstein Ray and Patricia Fitzgerald Richard and Marie Flanagan Robben and Sally Fleming Ilene H. Forsyth Michael and Sara Frank Margaret Fisher and
Arthur French Mr. Edward P. Frohlich Lourdes and Otto Gago
Marilyn G. Gallatin Beverley and Gerson Geltner William and Ruth Gilkey Drs. Sid Gilman and
Carol Barbour Enid M. Gosling Norm Gottlieb and
Vivian Sosna Gottlieb Ruth B. and
Edward M. Gramlich Linda and Richard Greene Frances Greer Susan R. Harris Walter and Dianne Harrison Anne and Harold Haugh Debbie and Norman Herbert Dr. and Mrs. Sanford Herman Bertram Herzog Julian and Diane Hoff Mr. and Mrs.
William B. Holmes Robert M. and Joan R Howe John and Patricia Huntington Keki and Mice Irani Stuart and Maureen Isaac Herbert Katz
Thomas and Shirley Kauper Emily and Ted Kennedy Bethany and
A. William Klinke II Michael and Phyllis Korybalski Helen and Arnold Kuethe Mr. and Mrs. Leo Kulka Barbara and Michael Kusisto Bob and Laurie LaZebnik Elaine and David Lebenbom Carolyn and Paul Lichter Peter and Sunny Lo Robert and Pearson Macek Alan and Carla Mandel Judythe and Roger Maugh Paul and Ruth McCracken Joseph McCune and
Georgiana Sanders Rebecca McGowan and
Michael B. Staebler Dr. and Mrs. Donald A. Meier Jeanne and Ernie Merlanti
Dr. H. Dean and
Dolores Millard Myrna and Newell Miller Andrew and Candice Mitchell Dr. and Mrs. )oe D. Morris George and Barbara Mrkonic Sharon and Chuck Newman William A. and
Deanna C. Newman Bill and Marguerite Oliver
(Pastabilities) Mark and Susan Orringer Constance L. and
David W. Osier Mr. and Mrs. William B. Palmer Dory and John D. Paul John M. Paulson Frances M. Pendleton Maxine and Wilbur K. Pierpont Donald H. Regan and
Elizabeth Axelson Professor and Mrs.
Raymond Reilly Glenda Renwick Molly Resnik and John Martin Jack and Margaret Ricketts Dr. Nathaniel H. Rowe Dick and Norma Sams Rosalie and David Schottenfeld Janet and Mike Shatusky Dr. Hildreth H. Spencer Steve and Cynny Spencer Lloyd and Ted St. Antoine Victor and Marlene Stoeffler Dr. Isaac Thomas III &
Dr. Toni Hoover Jerrold G. Utsler Charlotte Van Curler Mary Vanden Belt John Wagner Elise and Jerry Weisbach Angela and Lyndon Welch Roy and JoAn Wetzel Douglas and Barbara White Elizabeth B. and
Walter P. Work, Jr.
4 2 Principals, continued
3M Health Care
Ann Arbor Public Schools
The Barfield CompanyBartech
Comerica Inc.
General Automotive
Corporation Hudson's
Jacobson Stores Inc. Kantner and Associates Michigan Car Service and Airport Sedan, LTD Mechanical Dynamics Pepper, Hamilton & Scheetz Riverview Lumber &
Building Supply Co., Inc. Shar Products Company Target
Harold and (ean Grossman
Family Foundation The Lebensfeld Foundation The Power Foundation
Jim and Barbara Adams
Bernard and Raquel Agranoff
M. Bernard Aidinoff
Dr. and Mrs. Peter Aliferis
Dr. and Mrs. Rudi Ansbacher
Catherine S. Arcure
lames R. Baker, )r., M.D. and
Lisa Baker
Robert and Wanda Bartlett Karen and Karl Bartscht Ralph P. Beebe Mr. and Mrs. Philip C. Berry Suzanne A. and
Frederick J. Beutler John Blankley and
Maureen Foley Ron and Mimi Bogdasarian Charles and Linda Borgsdorf David and Tina Bowen Laurence Boxer, M.D.;
Grace J. Boxer, M.D. David and Sharon Brooks Kathleen and Dennis Cantwell Bruce and Jean Carlson Tsun and Siu Ying Chang
Mrs. Raymond S. Chase Sigrid Christiansen and
Richard Levey Roland J. Cole and
Elsa Kircher Cole lames and Constance Cook H. Richard Crane Alice B. Crawford William H. and
Linda J. Damon III Benning and Elizabeth Dexter Judy and Steve Dobson Molly and Bill Dobson Elizabeth A. Doman Mr. and Mrs. Cameron B. Duncan Dr. and Mrs. John H. Edlund Mr. and Mrs. Charles Eisendrath Claudine Farrand and
Daniel Moerman Sidney and lean Fine Clare M. Fingerle Mrs. Beth B. Fischer Daniel R. Foley Phyllis W. Foster Paula L. Bockenstedt and
David A. Fox
Dr. William and Beatrice Fox David J. Fugenschuh and
Karey Leach
Wood and Rosemary Geist Charles and Rita Gelman Henry and Beverly Gershowitz Margaret G. Gilbert Joyce and Fred M. Ginsberg Grace M. Girvan Paul and Anne Glendon Dr. Alexander Gotz Dr. and Mrs. William A. Gracie Elizabeth Needham Graham Jerry M. and Mary K. Gray Lila and Bob Green John R. and Helen K. Griffith Leslie and Mary Ellen Guinn Bita Esmaeli, M.D. and
Howard Gutstein, M.D. Mr. and Mrs. Elmer F. Hamel Mr. and Mrs. Ramon Hernandez Mrs. W.A. Hiltner Matthew C. Hoffmann and
Kerry McNulty
Janet Woods Hooblcr Mary Jean and Graham Hovcy David and Dolores Humes Ronald R. and
Gaye H. Humphrey Gretchen and John Jackson Jim and Dale Jerome Ed and Juliette Jonna Robert L. and Beatrice H. Kahn Richard and Sylvia Kaufman Robert and Gloria Kerry Howard King and
Elizabeth Sayre-King Dick and Pat King Tom and Connie Kinnear Jim and Carolyn Knake Samuel and Marilyn Krimm Bert and Catherine La Du Lee E. Landes
David and Maxine Larrouy John K. Lawrence Leo A. Legatski Myron and Bobbie Levine Evie and Allen Lichter Dean and Gwen Louis Mr. and Mrs. Carl J. Lutkehaus Brigitte and Paul Maassen John and Cheryl MacKrell Ken Marblestone and
Janisse Nagel Hattie and Ted McOmber Ted and Barbara Meadows Walter and Ruth Metzger Mr. and Mrs. Francis L Michaels John and Michelle Morris Martin Neuliep and
Patricia Pancioli M. Haskell and
Jan Barney Newman Len and Nancy Niehoff Marylen and Harold Oberman Dr. and Mrs. Frederick C. O'Dell Mary R Parker William C. Parkinson Lorraine B. Phillips Mr. and Mrs. William J. Pierce Barry and Jane Pitt Eleanor and Peter Pollack Richard L. Prager, M.D. Jerry and Lorna Prescott
Richard H. and Mary B. Price Tom and Mary Princing Mrs. Gardner C. Quarton William and Diane Rado Mrs. Joseph S. Radom im and leva Rasmussen Stephen and Agnes Reading Jim and Bonnie Reece La Vonne and Gary Reed Dr. and Mrs.
Rudolph E. Reichert Maria and Rusty Restuccia [Catherine and William Ribbens Barbara A. Anderson and
John H. Romani Mary R. Romig-deYoung Gustave and Jacqueline Rosseels Mrs. Doris E. Rowan Sheldon Sandweiss Meeyung and Charles Schmitter Mrs. Richard C. Schneider Joseph and Patricia Settimi Helen and George Siedel Mrs. Charles A. Sink Cynthia J. Sorensen Mr. and Mrs. Neil J. Sosin Mrs. Ralph L. Steffek Mr. and Mrs. John C. Stegeman Frank D. Stella Professor Louis and
Glennis Stout
Dr. and Mrs. Jeoffrey K. Stross Nancy Bielby Sudia Mr. and Mrs. Robert M. Teeter James L. and Ann S. Telfer Dr. and Mrs. E Thurston Thieme Joan Lowenstein and
Jonathan Trobe Herbert and Anne Upton Joyce A. Urba and
David J. Kinsella Don and Carol Van Curler Gregory and Annette Walker Dr. and Mrs. Andrew S. Watson Willes and Kathleen Weber Karl and Karen Weick Raoul Weisman and
Ann Friedman Robert O. and
Darragh H. Weisman Dr. Steven W. Werns Marcy and Scott Westerman Mrs. Elizabeth Wilson Len and Maggie Wolin Frank E. Wolk Dr. and Mrs. Clyde Wu Nancy and Martin Zimmerman
The Ann Arbor News
The Ann Arbor District Library
BpBecause Company's Coming
Coffee Express Co.
General Systems Consulting
Group Jewish Federation of
Metropolitan Chicago Arbor TemporariesPersonnel
Systems, Inc.
St. Joseph Mercy Hospital United Jewish Foundation of
Metropolitan Detroit Van Boven Shoes, Inc.
Foundations Shiffman Foundation Trust
Anastasios Alexiou Christine Webb Alvey Dr. and Mrs. David G. Anderson Hugh and Margaret Anderson David and Katie Andrea Harlene and Henry Appelman Mr. and Mrs. Arthur J. Ashe Essel and Menakka Bailey Julie and Bob Bailey Gary and Cheryl Balint Lesli and Christopher Ballard John and Betty Barfield Norman E. Barnett Dr. and Mrs. Mason Barr, Jr. Leslie and Anita Bassett Astrid B. Beck and
David Noel Freedman Kathleen Beck Neal Bedford and
Gerlinda Melchiori Harry and Betty Benford RE. Bennett
Ruth Ann and Stuart J. Bergstein Jerry and Lois Beznos John and Marge Biancke Mary Steffek Blaske and
Thomas Blaske Cathie and Tom Bloem Ruth E. and Robert S. Bolton Roger and Polly Bookwalter C. Paul and Anna Y. Bradley Richard Brandt and
Karina Niemeyer Betsy and Ernest Brater Mr. Joel Bregman and
Ms. Elaine Pomeranz Mr. and Mrs. Gerald Bright Mary Jo Brough June and Donald R. Brown Morton B. and Raya Brown Arthur and Alice Burks Edward and Mary Cady Joanne Cage Jean W. Campbell im and Priscilla Carlson Marchall F. and Janice L. Carr Jeannette and Robert Carr Janet and Bill Cassebaum Andrew and Shelly Caughey James S. Chen Dr. Kyung and Young Cho Nancy Cilley Janice A. Clark Cynthia and Jeffrey Colton Edward J. and Anne M. Comeau Lolagene C. Coombs Mary K. Cordes
Merle and Mary Ann Crawford Ed and Ellie Davidson I.aning R. Davidson, M.D. John and Jean Debbink Elena and Nicholas Delbanco Louis M. DeShantz Delia DiPietro and
Jack Wagoner, M.D. Dr. and Mrs. Edward F. Domino Thomas and Esther Donahue Cecilia and Allan Dreyfuss Martin and Rosalie Edwards Dr. Alan S. Eiser Joan and 1 ?mil Engel Don Faber and Jeanette Luton Dr. and Mrs. Stefan Fajans Dr. and Mrs. John A. Faulkner Dede and Oscar Feldman Dr. James F. Filgas Herschel and Annette Fink Joseph J. Fitzsimmons Stephen and Suzanne Fleming Jennifer and Guillermo Flores Ernest and Margot Fontheim James and Anne Ford Deborah and Ronald Freedman Harriet and Daniel Fusfeld Bernard and Enid Galler Gwyn and Jay Gardner Professor and Mrs.
David M. Gates
Thomas and Barbara Gelehrter Elmer G. Gilbert and
LoisM.Verbrugge James and Janet Gilsdorf Maureen and David Ginsburg Albert and Almeda Girod DASH
Mary L. Golden Dr. Luis Gonzalez and
Ms. Vilma E. Perez Mrs. William Grabb Dr. and Mrs. Lazar J. Greenfield Carleton and Mary Lou Griffin Mark and Susan Griffin Ken and Margaret Guire Philip Guire Don P. Haefner and
Cynthia J. Stewart George N. Hall Margo Halsted
Michael C. and Deanne A. Hardy M. C. Harms Clifford and Alice Hart Kenneth and Jeanne Heininger John L. Henkel and
Jacqueline Stearns Bruce and Joyce Herbert Fred and Joyce Hershenson Herb and Dee Hildebrandt Louise Hodgson Dr. and Mrs. Ronald W. Holz John and Lillian H. Home Linda Samuelson and Joel Howell Che C. and Teresa Huang Ralph and Del Hulett Mrs. Hazel Hunsche George and Kay Hunt Thomas and Kathryn Huntzicker Robert B. Ingling Professor and Mrs.
John H. Jackson
K. John Jarrett and
Patrick T. Sliwinski Wallie and Janet Jeffries Mr. and Mrs. Donald L. Johnson Billie and Henry Johnson Kent and Mary Johnson Tim and Jo Wiese Johnson Steven R. Kalt and
Robert D. Heeren Dr. and Mrs. Mark S. Kaminski Allyn and Sherri Kantor Anna M. Kauper David and Sally Kennedy Richard L. Kennedy Donald F. and Mary A. Kiel Rhea and Leslie Kish Paul Kissner M.D. and
Dana Kissner M.D. James and Jane Kister Dr. George Kleiber Philip and Kathryn Klintworth Joseph and Marilynn Kokoszka Charles and Linda Koopmann Dimitri and Suzanne Kosacheff Barbara and Charles Krause Doris and Donald Kraushaar Konrad Rudolph and
Marie Kruger Thomas and Joy Kruger Henry and Alice Landau Marjorie Lansing Mr. and Mrs. Henry M. Lapeza Ted and Wendy Lawrence John and Theresa Lee Richard LeSueur Jody and Leo Lighthammer Leslie and Susan Loomans Dr. and Mrs. Charles P. Lucas Edward and Barbara Lynn Donald and Doni Lystra Jeffrey and Jane Mackie-Mason Frederick C. and
Pamela J. MacKintosh Sally C. Maggio Steve and Ginger Maggio Virginia Mahle Marcovitz Family Edwin and Catherine Marcus Geraldine and Sheldon Markel Rhoda and William Martel Sally and Bill Martin Dr. and Mrs. Josip Matovinovic Mary and Chandler Matthews Mary Mazure and Andy Tampos Margaret E. McCarthy Kevin McDonagh and
Leslie Crofford Griff and Pat McDonald James and Kathleen McGauley Leo and Sally Miedler Jeanctte and Jack Miller Dr. M. Patricia Mortell Sally and Charles Moss Dr. Eva L. Mueller Dr. and Mrs. Gunder A. Myran Marianne and Mutsumi Nakao Edward and Betty Ann Navoy Frederick C. Neidhardt and
Germaine Chipault Barry Nemon and
Barbara Stark-Nemon
44 Associates, continued
Mr. and Mrs. lames O'Neill Mark Ouimet and
Donna Hrozencik Donna D. Park Shirley and Ara Paul Dr. Owen Z. and Barbara Perlman Margaret D. and John Petersen Frank and Nelly Petrock William and Barbara Pierce Frank and Sharon Pignanelli Richard and Meryl Place Donald and Evonne Plantinga Lana and Henry Pollack Stephen and Tina Pollock Bill and Diana Pratt Larry and Ann Preuss Charleen Price Wallace Prince
Mr. and Mrs. H. Pryor J. Thomas and Kathleen Pustell Leland and
Elizabeth Quackenbush Michael and Helen Radock Homayoon Rahbari, M.D. Anthony L. Reffells and
Elaine A. Bennett Constance Rinehart Ken and Nina Robinson Gay and George Rosenwald Jerome M. and Lee Ann Salle Gary and Arlene Saxonhouse Dr. Albert J. and Jane L. Sayed
David and Marcia Schmidt
Marvin and Harriet Selin
Howard and Aliza Shevrin
George and Gladys Shirley
Alida and Gene Silverman
Scott and Joan Singer
)ohn and Anne Griffin Sloan
Alene M. Smith
Carl and Jari Smith
Mrs. Robert W. Smith
Virginia B. Smith
Jorge and Nancy Solis
Dr. Elaine R. Soller
Lois and William Solomon
Katharine B. Soper
Dr. Yoram and Eliana Sorokin
Juanita and Joseph Spallina
L. Grasselli Sprankle
Barbara and Michael Steer
Dr. and Mrs. Stanley Strasius
Charlotte Sundelson
Brian and Lee Talbot
Ronna and Kent Talcott
Mary D. Teal
Lois A. Thcis
Edwin J. Thomas
Mr. and Mrs. W. Paul Tippett
Dr. Sheryl S. Ulin and
Dr. Lynn T. Schachinger Paul and Fredda Unangst Kathleen Treciak Van Dam Hugo and Karia Vandersypen
lack and Marilyn van der Vcldc
Michael L. Van Tassel
William C. Vassell
John and Maureen Voorhees
Sally Wacker
Ellen C. Wagner
Mr. and Mrs. Norman C. Wait
Charles R. and
Barbara H. Wallgren Robert D. and Liina M. Wallin Dr. and Mrs. )on M. Wardner Mrs. Joan D. Weber Deborah Webster and
George Miller Harry C. White and
Esther R. Redmount Janet F. White Shirley M. Williams Thomas and Iva Wilson Farris and Ann Womack Mr. and Mrs. A. C. Wooll Phyllis B. Wright Don and Charlotte Wyche Mr. and Mrs. Edwin H. Young Gail and David Zuk
Atlas Tool, Inc.
Edwards Brothers, Inc.
Hagopian World of Rugs
John Leidy Shop, Inc.
Lewis Jewelers
Mariano Pallares, International
Translating Bureau, Inc. Scientific Brake and
Equipment Company University Microfilms
Ann Arbor Area Community
Foundation Shlomo and Rhonda Mandell
Philanthropic Fund
Jim and Jamie Abelson
John R. Adams
Tim and Leah Adams
Michihiko and Hiroko Akiyama
Mr. and Mrs. Gordon E. AJIardycc
Michael Allemang
James and Catherine Allen
Richard and Bettye Allen
Augustine and Kathleen Amaru
Helen and David AminorT
Dr. and Mrs. Charles T. Anderson
Howard Ando and lane Wilkinson
Drs. James and
Cathleen Culotta-Andonian Catherine M. Andrea T. L. Andrcsen
Dr. and Mrs. Dennis L. Angellis Elaine and Ralph Anthony Patricia and Bruce Arden Bert and Pat Armstrong Gaard and Ellen Arneson
Mr. and Mrs. Lawrence E. Arnelt
If M .11HI Deborah Ash
Mr. and Mrs. Dan E. Atkins HI
lim and Patsy Auiler
Eric M. and Nancy Aupperle
Erik W. and Linda Lee Austin
Eugene and Charlene Axelrod
Shirley and Don Axon
Jonathan and Marlene Ayers
Virginia and Icrald Bachman
Prof, and Mrs. J. Albert Bailey
Richard W. Bailey and
Julia Huttar Bailey Doris I. Bailo Robert L. Baird Bill and Joann Baker Laurence R. Baker and
Barbara K. Baker Drs. Helena and Richard Balon Dr. and Mrs. Peter Banks Barbara Barclay John R. Bareham David and Monika Barera Cy and Anne Barnes Robert and Sherri Barnes Laurie and Jeffrey Barnett Donald C. Barnette, Jr. Mark and Karla Bartholomy Dorothy W. Bauer R. T. Bauer
Mr. and Mrs. Steven R. Beckert Marquita Bedway Walter and Antje Benenson Merete and Eriing Blondal Bengtsson Bruce Benner Linda and Ronald Benson Joan and Rodney Bentz Mr. and Mrs. Ib Bentzen-Bilkvist Helen V. Berg Mr. and Mrs. S.E. Bcrki L. S. Berlin
Abraham and Thelma Berman Gene and Kay Berrodin Andrew H. Berry, D.O. Robert Hunt Berry Mark Bertz Bharat C. Bhushan William and Ilcnc Birgc Elizabeth S. Bishop Art and Betty Blair Marshall and Laurie Blondy Henry Blosser Dr. George and Joyce Blum Beverly J. Bole
Mr. and Mrs. Mark D. Bomia Dr. and Mrs. Frank Bongiorno Rebecca and Harold Bonnell Ed and Luciana Borbely Lola J. Borchardt Gil and Mona Borlaza Dr. and Mrs. David Bostian Bob and Jan Bower Melvin W. and Ethel E Brandt Robert and Jacqueline Bree Professor and Mrs. Dale E. Briggs Allen and Veronica Britton Olin L. Browder Linda Brown and Joel Goldberg Molly and John Brucger Mrs. Webster Brumbaugh Dr. Donald and Lela Bryant Phil Bucksbaum and Roberta Morris Trudy and Jonathan Bulklcy Dr. Frances E. Bull Sherry A. Byrnes Louis and Janet Callaway Susan and Oliver Cameron Jenny Campbell (Mrs. D.A.) Mr. and Mrs. Robert Campbell
Charles and Martha Cannell Dr. and Mrs. James E. Carpenter ]an and Steve Carpman Dennis B. and Margaret W. Carroll Carolyn M.Carty and Thomas H. Haug lohn and Patricia Carver Kathran M. Chan William and Susan Chandler . Wehrley and Patricia Chapman Dr. Carey A. Charles Joan and Mark Chesler George and Sue Chism Catherine Christen Mr. and Mrs. C. Bruce Christenson Edward and Rebecca ChudacotT Robert). Cierzniewski Pat Clapper John and Nancy Clark Brian and Cheryl Clarkson Charles and Lynne Clippert Roger and Mary Coe Dorothy Burke CofTey Hubert and Ellen Cohen Hilary and Michael Cohen Lois and Avern Cohn Gerald S. Cole and Vivian Smargon Howard and Vivian Cole The Michael Collier Family Ed and Cathy Colone Wayne and Melinda Colquitt Gordon and Marjorie Comfort Kevin and Judy Compton Patrick and Anneward Conlin Sandra S. ConneUan lanet Cooke
Dr. and Mrs. William W. Coon Gage R. Cooper Mr. and Mrs. Herbert Couf Paul N. Courant and Marta A. Manildi ClitTord and Laura Craig Marjorie A. Cramer Mr. Michael I. and Dr. Joan Crawford Mr. and Mrs. Richard Crawford Lawrence Crochicr Constance Crump and Jay Simrod Mr. and Mrs. James 1. Crump, Jr. John and Carolyn Rundell Culotta Richard J. Cunningham Mary R. and John G. Curtis Jeffrey S. Cutter
Roderick and Mary Ann Daane Marylee Dalton Lee and Millie Danielson lane and Gawaine Dart Dr. and Mrs. Charles Davenport Mr. and Mrs. Arthur W. Davidge Mr. and Mrs. Roy C. Davis David and Kay Dawson Joe and Nan Decker Lloyd and Genie Dethloff Elizabeth and Edmond DcVine A. Nelson Dingle Dr. and Mrs. Stephen W. Director Dr. and Mrs. Edward R. Doezcma Fr. Timothy J. Dombrowski Hitde and Ray DonaJdson Steven and Paula Donn Thomas Doran Dick and Jane Dorr Prof William Gould Dow Paul Drake and Joyce Penner Roland and Diane Drayson Harry M. and Norrene M. Dreffs John Drydcn and Diana Raimi lean and Russell Dunnaback Edmund and Mary Durfee lohn W. Durstine Gloria Dykhouse George C. and Roberta R. Earl
Jacquelynne S. Eccles
Elaine Economou and Patrick Conlin
Mr. and Mrs. Richard Edgar
Mr. and Mrs. John R. Edman
Sara and Morgan Edwards
Rebecca Eiscnberg and ludah Garber
David A. Eklund
Judge and Mrs. S. J. Elden
Sol and Judith 11km
Ethel and Sheldon Ellis
fames Ellis and Jean Lawton
Mrs. Genevieve Ely
Mackenzie and Marcia Endo
Imi and Sandy Eng
David and Lynn Engelbert
Carolyne and Jerry Epstein
Stephen H. Epstein
Mr. and Mrs. Frederick A, Erb
Dorothy and Donald F. Eschman
James and Mary Helen Eschman
Eric and Caroline Ethington
Barbara Evans
Adele Ewell
Mr. and Mrs. Robert B. Fair, Jr.
Barbara and Garry C. Faja
Elly and Harvey Falit
Richard and Shelley Farkas
Mr. and Mrs. H. W. Farrington, Jr.
Inka and David Felbeck
Reno and Nancy Feldkamp
Phil and Phyllis Fellin
Ruth Fiegel
Carol Finerman
Clay Finkbeiner
C. Peter and Bev A. Fischer
Mr. and Mrs. Gerald B. Fischer
Lydia H. Fischer
Patricia A. Fischer
Eileen and Andrew Fisher
Dr. and Mrs. Richard L Fisher
Susan R. Fisher and John W. Waidley
Winifred Fisher
Barbara and lames Fitzgerald
Linda and Thomas Fitzgerald
Morris and Debra Flaum
David and Ann Flucke
Scott and Janet Fogler
Mr. and Mrs. George W. Ford
Susan Goldsmith and Spencer Ford
Bob and Terry Foster
Ronald Fracker
Tom Franks, Jr.
Richard and Joann Frecthy
Andrew and Deirdre Freiberg
Otto W. and Helga B. Freitag
Gail Fromes
Philip And Renee Frost
Lela J. Fuester
Joseph E. Fugerc and
Marianne C. Mussett Ari and liana Gafni Jane Galantowicz Thomas H. Galantowicz Arthur Gallagher Mrs. Shirley H. Garland Del and Louise Garrison Janet and Charles Garvin Jutta Gerber Ina Hanel-Gcrdenich Michael Gerstenberger W. Scott Gerstenberger and
Elizabeth A. Sweet Beth Genne and Allan Gibbard James and Cathie Gibson Paul and Suzanne Gikas Gittlcn
Peter and Roberta Gluck Sara Goburdhun Mr. and Mrs. Robert Gockel
Mr. and Mrs. Edward W. Godsalve
Albert L Goldberg
Dr. and Mrs. Edward Goldberg
Ed and Mona Goldman
Irwin ). Goldstein and Marty Mayo
Mrs. Eszter Gombosi
Mitch and Barb Goodkin
Selma and Albert Gorlin
William and Jean Gosling
Charles Goss
Naomi Gottlieb and
Theodore Harrison DDS Siri Gottlieb Michael L Gowing Christopher and Elaine Graham Mr. and Mrs. Robert C. Graham Dr. William H. and Maryanna Graves Alan Green and Mary Spence Jeff Green
Bill and Louise Gregory Daphne and Raymond Grew Mr. and Mrs. James J. Gribble Werner H. Grille Richard and Marion Gross Robert M. Grover Robert and Linda Grunawalt Dr. Robert and Julie Grunawalt Arthur W. Gulidc, M.D. Sondra Gunn Joseph and Gloria Gurt Margaret Gutowski and
Michael Marietta Caroline and Roger Hackett Helen C. Hall
Harry L. and Mary L. Hallock Sarah I. Hamcke
Mrs. Frederick G. Hammitt
Dora E. Ham pel
1 mink's S. Bastos Hansen
Charlotte Hanson
Herb and Claudia Harjes
Dr. Rcna Harold
Nile and ludith Harper
Stephen G. and Mary Anna Harper
Mr. and Mrs. Randy J. Harris
Robert and Susan Harris
Robert and lean Harris
Phyllis Harrison-Ross
M. Jean Harter
Jerome P. Hartweg
Elizabeth C. Hassinen
Harlan and Anne Vance Hatcher
Jeannine and Gary Hayden
Dr. Lucy K. Hayden
Mr. and Mrs. Edward J. Hayes
Charles S. Heard
Bob and Lucia Hcinold
Mrs. Miriam Heins
Sivana Heller
Margaret and Walter Heimreich
Karl Henkel and Phyllis Mann
Margaret Martin Hermel
C.C. Herrington, M.D-
Carl and Charlene Herstein
Peter G. Hinman and
Elizabeth A. Young Ms. Teresa Hirth Jacques Hochglaube, M.D., P.C. Jane and Dick Hoerner Anne HofT and George Villec Bob and Fran Hoffman Carol and Dieter Hohnke
4 6 Advocates, continued
John and Donna Hollowell Arthur G. Horncr, Jr. Dave and Susan Horvath George M. Houchens and
Caroline Richardson Dr. Nancy Houk Dr. and Mrs. Joseph A. Houle Fred and Betty House Jim and Wendy Fisher House Dr. and Mrs. Jeffrey Housner Hclga Hover
Drs. Richard and Diane Howlin Charles T. Hudson Mr. and Mrs. William Hufford Joanne Winkleman Hulce Ann D. Hungerman Diane Hunter and Bill Ziegler Jewel and John C. Hunter Mr. and Mrs. David Hunting Russell and Norma Hurst Mr. & Mrs. Jacob Hurwitz Eileen and Saul Hymans Edward Ingraham Margaret and Eugene Ingram Ann K. Irish Perry Irish Carol and John Isles Morito Ito Judith G. Jackson Dr. and Mrs. Manuel Jacobs Harold and Jean Jacobson Marilyn G. Jeffs
Professor and Mrs. lerome Jelinek Keith Jensen JoAnn J. Jeromin
Paul and Olga Johnson Dr. Marilyn S. Jones Stephen G. Josephson and
Sally C. Fink Tom and Marie Justcr Mary Kalmes and Larry Friedman Paul Kantor and
Virginia Weckstrom Kantor Mr. and Mrs. Irving Kao Mr. and Mrs. Wilfred Kaplan Mr. and Mrs. Richard L. Kaplin Thomas and Rosalie Karunas Dob and Atsuko Kashino Alex F. and Phyllis A. Kato Maxine and David Katz Nick and Meral Kazan Janice Keller
James A. Kelly and Mariam C Noland John B. Kennard Frank and Patricia Kennedy Linda Atkins and Thomas Kenney Paul and Leah Kileny Andrew Kim
William and Betsy Kincaid Dr. David E. and
Heidi Castleman Klein Shira and Steve Klein Drs. Peter and Judith Kleinman Sharon L KnightTitle Research Ruth and Thomas Knoll Rosalie and Ron Koenig Melvyn and Linda Korobkin Edward and Marguerite Kowaleski Richard and Brenda Krachenberg Jean and Dick Kraft
David and Martha Krehbiel
William I. Bucci and Janet Kreiling
William G. Kring
Alan and lean Krisch
Bert and Geraldine Kruse
Danielle and George Kuper
Ko and Sumiko Kurachi
Dr. and Mrs. Richard A. Kutcipal
Dr. and Mrs. James Labes
Jane I .rial
Mr. and Mrs. Seymour Lampert
Janet Landsberg
Patricia M. Lang
Lome L. Langlois
Carl and Ann La Rue
Ms. Jill Latta and Mr. David S. Bach
Beth and George Lavoic
Robert and Leslie Lazzerin
Chuck and Linda Leahy
Fred and Ethel Lee
Moshin and Christina Lee
Diane and Jeffrey Lehman
Mr. and Mrs. Fernando S. Leon
Ron and Leona Leonard
Sue Leong
Margaret E. Leslie
David E. Levine
Mr. and Mrs. Harry Levine, III
Deborah Lewis
Donald and Carolyn Dana Lewis
Jacqueline H. Lewis
Norman Lewis
Thomas and Judy Lewis
Lawrence B. Lindemer
Mark Lindley
Mr. Ronald A. Lindroth
Rod and Robin Little
Vi-Cheng and Hsi-Yen Liu
Naomi E. Lohr
Jane Lombard
Dan and Kay Long
Ronald Longhofer
Armando Lopez R.
Mr. and Mrs. Richard S. Lord
Joann Fawn Love
Ross E. Lucke
Pamela and Robert Ludolph
Fran Lyman
Susan E. Macias
Marcia MacMahan
Suzanne and Jay Mahler
Deborah Malamud and Noil Plotkin
Claire and Richard Malvin
Melvin and Jean Manis
Alice and Bob Marks
Ann W. Martin
Rebecca Martin
Mr. and Mrs. Stephen D. Marvin
Debra Mattison
Margaret Maurer
Jeffrey and Sandra Maxwell
Mr. and Mrs. Donald C. May, Jr.
Mr. and Mrs. Brian McCall
Thomas and Jackie McClain
Margaret and Harris McClamroch
Dores M. McCree
Jeffrey T. McDole
Eileen Mclntosh and
Charles Schaldenbrand Mary and Norman Mclver Bill and Ginny McKeachie Fred McKenzie
Daniel and Madelyn McMurtrie Nancy and Robert Meader Anthony and Barbara Medciros Samuel and Alice Meiscls Robert and Doris Melling Mr. and Mrs. Warren A. Merchant Debbie and Bob Merion Hely Merle
Bernice and Herman Merte
Russ and Brigette Merz
Henry D. Messer Carl A. House
Ms. Anna MeyendorfT
Professor and Mrs. Donald Meyer
Valerie Meyer
Shirley and Bill Meyers
Dr. William P. Mies
William and loan Mikkelsen
Carmen and Jack Miller
Robert Rush Miller
Kathleen and fames Mitchiner
Mr. and Mrs. William G. Moller, Jr.
Inn and Jeanne Montic
Lester and Jeanne Monts
Rosalie E. Moore
Mr. Erivan R. Morales and
Dr. Seigo Nakao Arnold and Gail Morawa Robert and Sophie Mordis Dr. and Mrs. George W. Morley Paul and Terry Morris Robert C. Morrow Brian and Jacqueline Morton Cyril and Rona Moscow James and Sally Mueller M.iu i Mulligan and
Katie Mulligan (youth) Gavin Eadie and Barbara Murphy Laura and Charles Musil Linda M. Nadcau Rosemarie Nagel Isabelle Nash
Randy and Margaret Ncsse Susan and Jim Newton John and Ann Nicklas Mrs. Marvin Niehuss Shinobu Niga Susan and Richard Nisbetl Laura Nitzberg and Thomas Carli Dr. Nicole Obregon John and Lexa O'Brien Patricia O'Connor Richard and Joyce Odell Mr. J. L. Ondey
Karen Koykka O'Neal and Joe O'Neal Kathleen 1. Opcrhall Dr. Jon Oscherwitz Lillian G. Ostrand Julie and Dave Owens Penny and Steve Papadopoulos Michael P. Parin Evans and Charlenc Parrott Mr. and Mrs. Brian P. Patchen Mr. and Mrs. Ronald J. Patterson Robert and Arlene Paup Hon. Steven and Janet Pepe Susan A. Perry Ann Marie Petach Joyce and Daniel Phillips Joseph W. Phillips Mr. and Mrs. Frederick R. Pickard Robert and Mary Ann Pierce Roy and WinnJfred Pierce Dr. and Mrs. James Pikulski Martin Podolsky
Russell and Elizabeth Pollard Hines Robert and Mary Pratt Jacob M. Price Ernst Pulgram
Mr. and Mrs. Mitchell Radcliff Patricia Randlc and fames Eng Alfred and Jackie Raphaelson Dr. and Mrs. Robert Rapp Mr. and Mrs. Douglas J. Rasmussen Mr. and Mrs. Robert H. Rasmussen Sandra Reagan Kathcrine R. Recbel Stanislav and Dorothy R. Rchak John and Nancy Reynolds
Alice Rhodes
Ms. Donna Rhodes
Paul Rice
lames and Helen Richards
Mrs. F.E. Richart (Betty)
ii'lm and Marilyn Rintamaki
Sylvia Ristic
Mary Ann Ritter
Kathleen Roelofs Roberts
Peter and Shirley Roberts
Dave and loan Robinson
Janet K. Robinson, Ph.D.
Richard C. Rockwell
Mary Ann and Willard Rodgers
Marilyn L. Rodzik
Mr. and Mrs. Stephen J. Rogers
Mary F. Loeffler and
Richard K. Rohrer Elizabeth A. Rose Bernard and Barbara Rosen Drs. Stephen Rosenblum and
Rosalyn Sarver
Richard Z. and Edie W. Rosenfcld Marilynn M. Rosenthal Michael and Margie Rudd Roger and O.J. Rudd Dr. and Mrs. Raymond W. Ruddon Samuel and Irene Rupert Robert and Beth Ruskin Mitchell and Carole Rycus Ellen and Jim Saalberg Theodore and Joan Sachs Arnold SamerofT and
Susan McDonough Miriam S. Joffe Samson Ina and Terry Sandalow lohn and Reda Santinga Sarah Savarino Hclga and loehen Schacht Lawrence and Marilyn Schlack Courtland and Inga Schmidt Charlene and Carl Schmult, Jr. Thomas Schramm Carol Schrcck
Gerald and Sharon Schreiber Sue Schroeder Albert and Susan Schultz Ailecn M. Schulze Drs. R. R. Lavelle and M. S. Schuster Alan S. and Sandra Schwartz ll and Sheila Schwartz lonathan Bromberg and
Barbara Scott David and Darlene Scovell Michael and Laura Seagram E. I. Sedlander Sylvia and Leonard Segel Suzanne Selig Gerda Seligson
Stan and Judalyn Greer Seting Louis and Sherry L. Senunas George H. and Mary M. Sexton Dr. and Mrs. J. N. Shanberge Matthew Shapiro and
Susan Garetz, M.D. David and Elvera Shappirio Rev. William J. Sherzer Cynthia Shevel Drs. Jean and Thomas Shope Hollis and Martha Showalter Pam and Ted Shultz Ned Shure and Jan Onder lohn and Arlcne Shy Milton and Gloria Siegel 111 v and Enrique Signori Drs. Dorit Adler and Terry Silver Costella Simmons-Winbush Sandy and Dick Simon Frances U. and Scott K. Simonds Michael and Maria Simonte
Robert and Elaine Sims
Donald and Susan Sinta
Mrs. Lorctta M. Skewes
Irma J. Sklenar
Beverly N. Slater
Dr. and Mrs. Michael W. Smith
Susan M. Smith
Richard Soble and Barbara Kessler
Richard and Julie Sohnly
James A. Somers
Mina Diver Sonda
Mrs. Herbert W. Spendlove (Anne)
Jeff Spindler
Edmund Sprunger
Francyne Stacey
Samuel T. and Randy Dean Stahl
David and Ann Staiger
Betty and Harold Stark
Dr. and Mrs. William C. Stebbins
Bert and Vickie Steck
Ron and Kay Slefanski
Virginia and Eric Stein
William and Georginc Steude
Barbara and Bruce Stevenson
Harold and Nancy Stevenson
Steve and Gayle Stewart
John and Beryl Stimson
Mr. James L Stoddard
Robert and Shelly Stoler
W R Stolper
Anjanette M. Stoltz, M.D.
Ellen M. Strand and Dennis C Regan
Mrs. William HStubbins
Valerie Y. Suslow
Peg Talburtt and Jim Peggs
Larry and Roberta Tankanow
Jerry and Susan Tarplcy
Frank and Carolyn Tarzia
Leslie and Thomas Tentler
George and Mary Tewksbury
Gauri Thergaonkar and (iiri Iyengar
Paul Thielking
Bette M. Thompson
Mrs. Peggy Ticman
Mr. Andrew Tomasch
Dr. and Mrs. Merlin C. Townley
James W. Toy
Angie and Bob Trinka
Sarah Trinkaus
Kenneth and Sandra Trosien
Luke and Merling Tsai
Marilyn Tsao and Steve Gao
Jeff and Lisa Tulin-Silver
Jan and Nub Turner
Carol Turner
Dolores . Turner
Dr. Hazel M. Turner
William H. and Gerilyn K. Turner
Taro Ueki
Alvan and Katharine Uhle
Mary L. Unterburger
Dr. and Mrs. Samuel C. Ursu
Emmanuel-George Vakalo
Madeleine Vallier
Carl and Sue Van Appledorn
Tanja and Rob Van der Voo
Rebecca Van Dyke
Robert P. Van Ess
Bram and Lia van Leer
Fred and Carole S. Van Recsema
Kate and Chris Vaughan
Phyllis Vegter
Sy and Florence Veniar
Alice and Joseph Vining
Jane and Mark Vogel
Carolyn and Jerry Voight
Wendy L. Wahl, M.D. and
William Lee, M.D. Jerry Walden and Julia Tiplady Richard and Mary Walker
Bruce and Raven Wallace Mr. and Mrs. Chip Warrick Lorraine Nadelman and
Sidney Warschausky Ruth and Chuck Watts Robin and Harvey Wax Barry and Sybil Wayburn Edward C. Weber Joan M. Weber
Leone Buyse and Michael Webster Jack and Jerry Weidenbach Donna G. Weisman Barbara Weiss Carol Campbell Welsch and
John Welsch
Rosemary and David Wesenberg Mr. and Mrs. Peter Westen Tim and Mim Westerdale Ken and Cherry Westerman Susan and Peler Westerman Marjorie Westphal Paul L Duffy and Marilyn L Wheaton Ruth and Gilbert Whitaker B. Joseph and Mary White Iris and Fred Whitehouse Mr. and Mrs. Nathaniel Whitesidc Mr. and Mrs. Carl A. Widmann William and Cristina Wilcox Brymer and Ruth Williams Reverend Francis E. Williams Beverly and Hadley Wine Jan and Sarajanc Winkelman Beth and I. W. Winsten Dr. and Mrs. Lawrence D. Wise Charles Witke and Aileen Gattcn Jeffrey and Linda Witzburg Charlotte Wolfe
Patricia and Rodger Wolff
Dr. and Mrs. Ira S. Wollncr
Muriel and Dick Wong
Nancy and Victor Wong
I. D. Woods
Charles R. and Jean L Wright
Ben and Fran Wylie
Mr. and Mrs. R.A.Yagie
Teruhiko Yamazaki
Toshihiko Yarita
Sandra and Jonathan Yobbagy
Frank O. Youkstetter
James P. Young
Mr. John G. Young
Ann and Ralph Youngren
Dr. and Mrs. Joe H. Yun
Mr. and Mrs. F.L. Zeisler
Peter and Teresa Ziolkowski
David S. and Susan H. Zurvalec
Ann Arbor Bivouac, Inc. Garris, Garris, Garris 8c
Garris Law Office Loomis, Sayles and Co. L.P. Organizational Designs Alice Simsar Fine Art, Inc. University Bank
Alan and Marianne Schwartz-The Shapiro Foundation
John H. Bryant Margaret Crary Mary Crawford George R. Hunsche Alexander Krezel, Sr. Kathcrine Mabarak Frederick C. Matthaei, Sr. Steffi Reiss Ralph L Stcffek Clarence Sloddard WUHam Swank Charles R. [ John E Ullrich Ronald VandenBdt Francis Viola III Carl H. Wilmot Peter Holdcrness Woods Helen Ziegler
Bernard and Ricky Agranoff Ann Arbor Symphony Orchestra Anneke's Downtown Hair
and Company Applause Salon Catherine Arcure The Ark
Bj Because Company's Coming Dr. Emily Bandera Paulctt and Peter Banks Gail Davis Barnes Ede Bookstein Janice Stevens Botsford The Boychoir of Ann Arbor Brewbakers Barbara Evcritt Bryant Butzel Long
David G. LoeselCafe Marie Tomas Chavez Chelsea Flower Shop Chianti Tuscan Grill Elizabeth Colburo Conlin Travel Curtin & Alf Violinmakers Mary Ann and Roderick Daane Sam Davis
Katy and Tony Derezinski Dough Boys Bakery Rosanne Duncan Einstein's Bagel Pat Eriksen
Espresso Royale CafTcs Damian and Kathcrine Farrcll JudyFikeof J'Cakes Beth and )oe Fitzsimmons Guillermo and Jennifer Florcs Ford Electronics Gallery Von Glahn The Gandy Dancer Beverly and Gerson Geltncr Generations for Children Lee GillesGreat Frame Up Renee GrammatkoVoila Linda and Richard Greene Daphne Grew Jim Harbaugh Foundation Marilyn HarbcrGeorgetown Gifts Esther Heitler 1. Downs Herold Matthew and Kerry Hoffmann Kim Hornbcrgcr Kay and Tom Huntzicker Stuart and Maureen Isaac John Isles
Jeffrey Michael Powers Beauty Spa
Urban Jupena and Sieve Lcvicki
Geromc Kamrowski
Stephen and Mercy Kaslc
Kathcrine's Catering
Martha Rock Keller
Ed Klum
Craig I.. Krum.m
Diane KurbatofiT
Henry and Alice Landau
lohn Shop
Don and Gcrri Lewis
Stephanie Lord
Market Strategies, Inc.
Marty's Menswear
Michigan Theater
Ron Miller
Moe Sport Shops
Monahan's Seafood Market
Motif Hair by Design
The Moveabte Feast
Koscm.tric Nagel
Susan and Richard Nisbelt
John and Cynthia Nixon
Baker O'BrienThe Labino Studio
Christine Oldenburg
Karen Koykka O'Neal
Mary and Bill Palmer
Pen in Hand
Maggie LongPerfectly Seasoned
Chris W. Petersen
Mary and Randall Pittman
Sharon and Hugo Quiroz
Radrick Farms Golf Course
leva Rasmussen
Regrets Only
Nina Hauscr Robinson
Richard and Susan Rogel
Susan I ait of Fitness Success
Maya Savarino and Raymond Tamer
Sarah Savarino
Ann and Tom Schriber
Boris Sellers
Richard Shackson
fanet and Mike Shatusky
Ali.i and Howard Shevrin
George Shirley
lohn Shultz
Dr. Herbert Sloan
David Smith
Steven Spencer
John Sprentall
Deb Odom Stern
Nat Lacy and Ed Surovell
Sweet Lorraine's
Tom Thompson
TIRA's Kitchen
Donna Tope
Tom TrocchioAtys
University of Michigan
Charlotte Van Curler
Kathleen and Edward VanDam
Karla Vandersypen
Warner Electric Atlantic
Emil Weddige
Ron and Eileen Wciscr
Marina and Robert Whitman
Whole Foods
Sabrina Wolfe
Young People's Theater
Ann and Ralph Youngren
Zingcrm art's
Advertiser Index
42 Afterwords
27 Ann Arbor Acura
50 Ann Arbor Commerce Bank
12 Ann Arbor Reproductive
32 Ann Arbor Symphony
39 Austin Diamond
8 Bank of Ann Arbor
11 Beacon Investments
26 Blue Nile Restaurant
31 Bodman, Longley, and
14 Butzel Long
50 Cafe Marie
26 Charles Reinhart Company
44 Chelsea Community
34 Chris Triola Gallery
38 The Dental Advisor
50 Dobb's Opticians
13 Dobson-McOmber
47 Dough Boys Bakery
:i Edward Surovell CoiRealtors
31 Emerson School
?17 ER1M
15 Fraleighs Landscape Nursery
33 Ford Motor Company
46 Garris, Garris, Garris,
& Garris
37 General Motors Corporation
27 Glacier Hills
42 Gubbins & McGlynn Law
13 umces Harmony House
38 Harris Homes
35 Hill Auditorium Campaign

28 Howard Cooper Imports 34 Individualized Home Care
Nursing 13 Interior Development
50 John Leidy Shop, Inc.
44 Kerrytown Bistro
18 KeyBank
30 King's Keyboard House 3 Lewis Jewelers 39 Market Strategies
19 Maude's
41 Michigan Media
12 Miller, Canfield, Paddock,
& Stone
52 Mir's Oriental Rugs 32 Mundus and Mundus NBD Bank Nina Howard Studio Performance Network Red HawkZanzibar Regrets Only Schwartz Investment
Council, Inc. Seva Restaurant SKR Classical Sweet Lorraine's Sweetwaters Cafe Ufer and Company U-M Matthaei Botanical
45 U-M Vocal Health Center 17 University Productions
13 Van Boven Shoes 48 WDET
51 Whole Foods Market

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