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UMS Concert Program, Friday Oct. 20 To 28: University Musical Society: Fall 2000 - Friday Oct. 20 To 28 --

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University Musical Society
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Season: Fall 2000
University Of Michigan, Ann Arbor

university musical society
University of Michigan, Ann Arbor
university musical society
University of Michigan Ann Arbor
UMS leadership 3 Letter from the President
4 Letter from the Chair
5 Corporate LeadersFoundations
14 UMS Board of Directors
14 UMS Senate
14 Advisory Committee
15 UMS Staff
15 UMS Teacher Advisory Committee
UMSservices 17 General Information
19 Tickets
19 Group Tickets
19 Gift Certificates
21 The UMS Card
UMSannals 23 UMS History
24 UMS Choral Union
25 AuditoriaBurton Memorial Tower
UMSexperience 29 The 20002001 UMS Season
35 Education & Audience Development
37 Dining Experiences
39 Restaurant & Lodging Packages
39 UMS Preferred Restaurant Program
43 UMS Delicious Experiences
UMSsupport 45 Advisory Committee
45 Sponsorship & Advertising
47 InternshipsCollege Work-Study
47 Ushers
48 Membership
56 UMS Advertisers
Front Cover: Ute Lemper, Wayne Shorter and Herbie Hancock (Michael O'Neill), Havana. Cuba (cDaniel B. Johnson)
Back cover: Samuel Beckett (eHulton-Oeutsch CollectionCORBIS), American Repertory Theater The King Stag (Richard Feldman), Rag of Brazil
I'm delighted to welcome you to this performance presented by the University Musical Society (UMS) of the University of Michigan. Thank you for supporting the performing arts in our community by your attendance at this event. Please consider coming to some of our other performances this season. You'll find a complete listing beginning on page 29. UMS, now in our 122nd year, was recently recognized by Musical America as one of the five most influential performing arts present?ing organizations in the US. The others were Lincoln Center, Kennedy Center, Brooklyn Academy of Music, and Cal Performances at Berkeley. We were cited for our commitment to quality, diversity, education, community engagement, and commissioning new work from composers and choreographers. We are excited about this recognition and pleased that our 20002001 season continues our commitment to these important goals.
This season UMS will present ninety per?formances for a total audience expected to exceed 125,000 people. If current trends con?tinue, over 30 of the audience will be first-.time UMS ticket purchasers, reflecting UMS' efforts to embrace all of the people in our community and to welcome them to the nine performance venues that we rent throughout southeastern Michigan. We expect to host more than 200 educational events, serving
more than 60,000 people.
More than half of our presentations this season feature artists and ensembles from outside the US, representing more than twenty nations. We will close our regular season with a UMS co-commission and world premiere featuring the Ping Chong Company and Ensemble Sequentia, bringing the number of new music and dance pieces UMS has commissioned over the past decade to twenty-five, most of them in partnership with other presenters from throughout the world.
We are able to maintain our distinctiveness thanks to you who make up our audience and to the corporations, foundations, govern?ment agencies, and thousands of individuals and families who support us through their contributions. During this extraordinary season, when, for example, UMS and the University of Michigan partner with the Royal Shakespeare Company to bring four
of Shakespeare's extraordinary history plays to Ann Arbor in an exclusive US presentation, we must raise more than half of our $8-million budget from donations. I invite you to help us in this effort by becoming a UMS member this season. For more information about membership, turn to page 45. And if you haven't done so already, consider purchasing a copy of BRAVO!, our award-winning 224-page table-top book containing recipes, legends, and lore from 120 years of UMS history. It makes a great gift, and all proceeds benefit UMS.
Overseeing our fundraising efforts with great skill is Christina Thoburn, our newly-appointed Director of Development whom I hope you'll be able to get to know. Christina came to us in April 2000 from The Cleveland Orchestra where she led foundation and gov?ernment relations. Her career also includes being managing director of the Cleveland Chamber Symphony where she developed a passion for diverse programming and community engagement. An avid knitter and baseball fan, Christina is married and the mother of three grown children. She succeeds Catherine Arcure, who left UMS to work with violinist Itzhak Perlman in New York City as Executive Director of the Perlman Music Program.
I'd like to know your thoughts about this performance. I'd also like to learn from you about anything we can do at UMS to make your concert-going experience the best possi?ble. Look for me in the lobby. If we don't connect there, feel free to call my office at 734.647.1174, drop me a note, or send me an e-mail message at
Kenneth C. Fischer, President
On behalf of the UMS Board of Directors, I am delighted to wel?come you to the 20002001 season. With world-renowned perform?ers bringing their artistry to our stages, new community partnerships enhanc?ing our programs, and our ever-expanding
educational activities serv?ing thousands of students and teachers throughout southeastern Michigan, it is the most exciting and comprehensive season in our 122-year history. As we enjoy tonight's
performance, we want to recognize and thank the many individuals, companies, organiza?tions and foundations whose support makes this extraordinary season possible. In con?tributing to UMS, these donors, including the corporate leaders listed on the following pages, have publicly recognized the impor?tance of the arts in our community. They have demonstrated their commitment to the quality of life in our area, and helped create new educational opportunities for students and audiences of all ages and backgrounds.
So, as we applaud tonight's performers, please join all of us at UMS in applauding our many generous contributors. They are playing an important role in the artistic life of our community, and we are truly grateful for their support.
Beverley Geltner
Chair, UMS Board of Directors
Don MacMillan President Alcan Global Automotive Products 'For 121 years, the University Musical Society has engaged and enriched our community with the very best in performing arts and educational programs. Alcan salutes your quality and creativity, and your devotion to our youth."
Douglass R. Fox President Ann Arbor Acura, Hyundai, Mitsubishi
"We at Ann Arbor Acura are pleased to support the artistic variety and program excellence given to us by the University Musical Society."
Larry Weis President AutoCom Associates "AutoCom Associates is a strong supporter of the University Musical Society one of North America's leading presenters of
the performing arts. Along with our corpo?rate public-relations
clients, we're proud to partner with UMS in bringing the arts to appreciative audiences in southeastern Michigan."
William Broucek
President and CEO Bank of Ann Arbor "As Ann Arbor's community bank, we are glad and honored to be a supporter of the cultural enrichment that the University Musical Society brings to our community."
Jorge A. Solis Senior Vice President
Bank One, Michigan "Bank One, Michigan is honored to share in the University Musical Society's proud tradi?tion of musical excellence and artistic diversity."
Habte Dadi Manager Blue Nile Restaurant "At the Blue Nile, we believe in giving back to the community that sustains our business. We are proud to support an organi?zation that provides such an ( important service to Ann Arbor."
Carl A. Brauer, Jr. Owner Brauer Investment Company "Music is a gift from God to enrich our lives. Therefore, I enthusiastically support the University Musical Society in bringing great music to our community."
David G. Loesel President T.M.L Ventures, Inc. "Cafe Marie's support of the University Musical Society Youth Program is an honor and a priv?ilege. Together we will enrich and empower our community's youth to carry forward into future generations this fine tradition of artistic talents."
Clayton Wilhite Managing Partner
CFI Group, Inc.
"Can you imagine a more power?ful demonstration of Ann Arbor's quality of life than the University Musical Society We at CFI can't, and that's why we're so delighted to be a concert sponsor. We salute UMS for its accomplishments and for what it has contributed to the pride in our community."
Charles Hall
C. N. Hall Consulting "Music is one way the heart sings. The University Musical Society helps our hearts enjoy and par?ticipate in song. Thank you."
C. N. Hall Consulting
Eugene Miller Chairman and CEO, Comerica Incorporated "Bravo to the University Musical Society! Their contributions are vital to the arts community. Comerica applauds their tradition of excellence, and their commit?ment to the presentation of arts and promotion of arts education."
S. Martin Taylor Sr. Vice President, Corporate & Public Affairs and President, Detroit Edison Foundation 'The Detroit Edison Foundation is proud to sponsor the University Musical Society because we share a mission of enhancing south?eastern Michigan's reputation as a great place to live and work. To this end, UMS brings the joy of the performing arts into the lives of community residents, provides an important part of Ann Arbor's uplifting cultural identity and offers our young people tremen?dous educational opportunities."
Detroit Edison Foundation
Larry Denton Global Vice President Dow Automotive "At Dow Automotive, we believe it is through the universal lan?guage of art and music that we are able to transcend cultural and national barriers to reach a deeper understanding of one another. We applaud the University Musical Society for its long?standing support of the arts that enrich all our lives."
Dow Automotive
Edward Surovell President Edward Surovell Realtors "It is an honor for Edward Surovell Realtors to be able to support an institution as distinguished as the University Musical Society. For over a century it has been a national leader in arts presenta?tion, and we encourage others to contribute to UMS' future."
Leo Legatski President Elastizell Corporation of America "A significant characteristic of the University Musical Society is its ability to adapt its menu to changing artistic requirements. UMS involves the community with new concepts of education, workshops, and performances."
John M. Rintamaki Group Vice President, Chief of Staff Ford Motor Company "We believe, at Ford Motor Company, that the arts speak a universal language that can edu?cate, inspire, and bring people, cultures and ideas together. We invest in the long-term develop?ment of our arts and educational initiatives. We continue to sup?port the University Musical Society and the enriching pro?grams that enhance the lives of today's youth."
Scott Ferguson Regional Director Hudson's
"Hudson's is committed to sup?porting arts and cultural organi?zations because we can't imagine a world without the arts. We are delighted to be involved with the University Musical Society as they present programs to enrich, educate and energize our diverse community."
William S. Hann President KeyBank
"Music is Key to keeping our society vibrant, and Key is proud to support the cultural institution rated number one by Key Private Bank clients."
Richard A. Manoogian
Chairman and CEO Masco Corporation 'We at Masco applaud the University Musical Society's contributions to diversity in arts programming and its efforts to enhance the quality of life in our community."
Ronald Weiser Chairman and CEO
McKinley Associates, Inc. "The arts make our community a vibrant place to live and work. No one contributes more to that than UMS, with its innovative
cultural offerings and edu?cation for all ages.
McKinley is proud to play a 'supporting role' in these time-honored efforts."
i mckjnley associates, inc.
Erik H. Sen Principal Miller, Canfield, Paddock and Stone, P.L.C.
"Miller, Canfield, Paddock and Stone is particularly pleased to support the University Musical Society and the wonderful cultural events it brings to our community."
Phillip R. Duryea Community President
National City Bank 'National City Bank is pleased to continue our historical support of the University Musical Society, which plays such an important role in the richness of our community."
National City
Joe 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."
I--P o'neal
construction inc
Michael Staebler Partner Pepper Hamilton LLP "Pepper Hamilton congratulates the University Musical Society for providing quality perform?ances in music, dance and the?ater to the diverse community that makes up southeastern Michigan. It is our pleasure to be among your supporters."
Pepper Hamilton lip
Peter B. Corr, Ph.D. Senior Vice President, Pfizer, Inc.; Executive Vice President, Pfizer Global Research & Development; President, Worldwide Development "The University Musical Society is a cornerstone upon which the Ann Arbor community is based: excellence, diversity and quality. Pfizer is proud to support the University Musical Society for our community and our Pfizer colleagues."
Kathleen G. Charla Consultant
Russian Matters
'Russian Matters is pleased and
honored to support UMS and
its great cultural offerings to the
Russian Matters
Joseph Sesi President Sesi Lincoln Mercury "The University Musical Society is an important cultural asset for our community. The Sesi Lincoln Mercury team is delighted to sponsor such a fine organization."
Thomas B. McMullen President Thomas B. McMullen Co., Inc. "I used to feel that a U of M Ohio State football ticket was the best ticket in Ann Arbor. Not any?more. UMS provides the best in educational entertainment."
Dr. James R. Irwin Chairman and CEO
Wolverine Technical Staffing, Inc. 'For more than sixteen years our support of the University Musical Society has been in grateful appreciation of these UMS concepts: world-class programs, extremely dedicated volunteer involvement, and thoroughly committed profes?sional staff. Congratulations to UMS as it continues to enrich our wonderful Ann Arbor community."
x0Wolverine Temporaries Inc.
FOUNDATION AND GOVERNMENT SUPPORT UMS gratefully acknowledges the support of the following foundations and government agencies.
Ann Arbor Area Community
Foundation Arts Midwest Chamber Music America Community Foundation for
Southeastern Michigan Detroit Edison Foundation JazzNetDoris Duke
Foundation Erb Foundation The J.F. Ervin Foundation The Ford Foundation Harold and Jean Grossman
Family Foundation The Heartland Arts Fund Hudson's Community Giving KMD Foundation Knight Foundation
The Lebensfeld Foundation Benard L. Maas Foundation Michigan Council for Arts
and Cultural Affairs Mid-America Arts Alliance Montague Foundation The Mosaic Foundation
(of R. & P. Heydon) National Endowment
for the Arts New England Foundation
for the Arts The Power Foundation The Shiftman Foundation State of Michigan--Arts,
Cultural and Quality of
Life Grant Program Wallace-Reader's Digest Funds
UNIVERSITY MUSICAL SOCIETY of the University of Michigan
Beverley B. Geltner,
Chair Lester P. Monts,
Vice-Chair Len Niehoff,
Secretary David Featherman,
Lee C. Bollinger Janice Stevens Botsford Barbara Everitt Bryant Kathleen G. Charla Jill A. Corr Peter B. Corr Robert F. DiRomualdo Alice Davis Irani Gloria James Kerry
Leo A. Legatski Helen B. Love Alberto Nacif Jan Barney Newman Gilbert S. Omenn Joe E. O'Neal Randall Pittman Rossi Ray-Taylor Prudence L. Rosenthal
Maya Savarino Herbert Sloan Timothy P. Slottow Peter Sparling James L. Telfer Marina v.N. Whitman Karen Wolff Elizabeth Yhouse
(former members of the UMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Gail Davis Barnes Richard S. Berger Maurice S. Binkow Paul C. Boylan Carl A. Brauer Allen P. Britton Letitia J. Byrd Leon S. Cohan Jon Cosovich Douglas Crary Ronald M. Cresswell John D'Arms
James J. Duderstadt Robben W. Fleming David J. Flowers Randy J. Harris Walter L. Harrison Norman G. Herbert Peter N. Heydon Howard Holmes Kay Hunt Stuart A. Isaac Thomas E. Kauper David B. Kennedy Richard L. Kennedy
Thomas C. Kinnear F. Bruce Kulp Earl Lewis Patrick B. Long Judythe H. Maugh Paul W. McCracken Rebecca McGowan Alan G. Merten John D. Paul Wilbur K. Pierpont John Psarouthakis Gail W. Rector John W. Reed Richard H. Rogel
Ann Schriber Daniel H. Schurz Harold T. Shapiro George I. Shirley John O. Simpson Carol Shalita Smokier Lois U. Stegeman Edward D. Surovell Susan B. Ullrich Jerry A. Weisbach Eileen Lappin Weiser Gilbert Whitaker Iva M. Wilson
Dody Viola, Chair Robert Morris, Vice-Chair Sara Frank,
SecretaryTreasurer Martha Ause Barbara Bach Lois Baru Kathleen Benton Victoria Buckler Barbara Busch Phil Cole Patrick Conlin Elly Rose Cooper Nita Cox
Mary Ann Daane Norma Davis Sally Stegeman DiCarlo Lori Director Betty Edman Michael Endres Nancy Ferrario Penny Fischer Anne Glendon Maryanna Graves Linda Greene Karen Gundersen ladon Hartsuff Nina E. Hauser
Debbie Herbert Mercy Kasle Steve Kasle Anne Maxine Larrouy Beth LaVoie Stephanie Lord Esther Martin Ingrid Merikoski Ernest Merlanti Jeanne Merlanti Candice Mitchell Nancy Niehoff Mary Pittman
leva Rasmussen' Penny Schreiber Sue Schroeder Meg Kennedy Shaw Morrine Silverman Maria Simonte Loretta Skewes Cynny Spencer Louise Townley Bryan Ungard Suzette Ungard Wendy Woods
Finance Kenneth C. Fischer,
President Deborah S. Herbert,
RSC Residency
Coordinator Elizabeth E. Jahn,
Assistant to
the President John B. Kennard, Jr.,
Director of
Administration Chandrika Patel, Senior
Accountant John Peckham,
Information Systems
Box Office
Michael L. Gowing,
Sally A. Cushing, Staff Ronald J. Reid, Assistant
Manager and Group
Choral Union
Thomas Sheets,
Conductor Andrew Kuster,
Associate Conductor
Jean Schneider-Claytor,
Accompanist Kathleen Operhall,
Manager Donald Bryant,
Conductor Emeritus
Christina Thoburn,
Director Mary Dwyer, Manager
of Corporate Support Lisa Michiko Murray,
Manager of
Foundation and
Government Grants Alison Pereida,
Development Assistant J. Thad Schork, Direct
Mail, Gift Processor Anne Griffin Sloan,
Assistant Director -
Individual Giving L. Gwen Tessier,
EducationAudience Development
Ben Johnson, Director Kristin Fontichiaro,
Youth Education
Dichondra Johnson,
Coordinator Anthony Smith,
Audience Development
Specialist Warren Williams,
MarketingPublic Relations
Sara Billmann, Director Aubrey Alter,
Coordinator Ryonn Clute,
Coordinator Gulshirin Dubash,
Public Relations
Gus Malmgren, Director Emily Avers, Production
and Artist Services
Manager Jerica L. Humphrey,
Coordinator Production Supervisors
Mary Cannon
Steven Jarvi Usher Supervisors
Paul Jomantas
Bruce Oshaben
Head Ushers Ken Holmes Joyce Holmes Brian Roddy Sanjay Pavipati Nancy Paul Edward Szabo
Michael J. Kondziolka,
Director Mark Jacobson, Manager
Erika Banks Megan Besley Patricia Cheng Patrick Elkins Mariela Flambury David Her Benjamin Huisman Laura Kiesler Dawn Low Kathleen Meyer
Helene Blatter Stephen Dimos Sara Garvey
President Emeritus Gail W. Rector
Fran Ampey
Kitty Angus
Alana Barter
Kathleen Baxter
Elaine Bennett
Lynda Berg
Yvette Blackburn
Barbara Boyce
I.etitia Byrd
Doug and Nancy Cooper
Naomi Corera
Gail Davis Barnes
Gail Dybdahl Keisha Ferguson Doreen Fryling Brenda Gluth Louise Gruppen Vickey Holley Foster Taylor Jacobsen Gallic Jefferson Deborah Katz Deb Kirkland Rosalie Koenig David Leach
Rebecca Logie Dan Long Laura Machida Ed Manning Glen Matis Kim Mobley Ken Monash Eunice Moore Amy Pohl Rossi Ray Taylor Gayle Richardson Katy Ryan
Karen Schulte Helen Siedel Joan Singer Sue Sinta Grace Sweeney Sandy Trosien Melinda Trout Sally Vandeven Barbara Wallgren leanne Weinch
Barrier-Free Entrances
For persons with disabilities, all auditoria have barrier-free entrances. Wheelchair loca?tions are available on the main floor. Ushers are available for assistance.
Listening Systems
For hearing impaired persons, the Power Center, Mendelssohn Theatre, and Rackham Auditorium are equipped with infrared listen?ing systems. Headphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Hill Auditorium, Rackham Auditorium, Power Center, and Mendelssohn Theatre please call University Productions at 734.763.5213. For items lost at St. Francis of Assisi Catholic Church and the Michigan Theater, please call the UMS Production Office at 734.764.8348.
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, Fletcher Street, and Fourth Avenue structures for a minimal fee. Limited street parking is also available. Please allow enough time to park
before the performance begins. Parking is complimentary for UMS members at the Principal level and above. Reserved parking is available for UMS members at the Leader level and above.
UMS offers valet parking service for all performances in the Choral Union series. Cars may be dropped off in front of Hill Auditorium beginning one hour before each performance. There is a $10 fee for this service. UMS members at the Leader level and above are invited to use this service at no charge.
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.
Smoking Areas
University of Michigan policy forbids smok?ing in any public area, including the lobbies and restrooms.
For phone orders and information, please contact:
UMS Box Office Burton Memorial Tower 881 North University Avenue Ann Arbor, MI 48109-1011
on the University of Michigan campus
Outside the 734 area code, call toll-free 800.221.1229
Order online at the UMS website:
Visit our Power Center Box Office
in person
Due to the renovation of Burton Tower,
our Box Office has been relocated to the
Power Center.
Mon-Fri: 10 a.m. to 6p.m.
Sat: 10 a.m. to 1 p.m.
Performance hall box offices open
90 minutes before each performance.
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the UMS Box Office. Refunds are not available; however, you will be given a receipt for an income tax deduc?tion. Please note that ticket returns do not count toward UMS membership.
Many thanks to all of the groups who have joined UMS for an event in past seasons, and welcome to all of our new friends who will be with us in the coming years. The group sales program has grown incredibly in recent years, and our success is a direct result of the wonderful leaders who organize their friends, families, congregations, students, and co-workers and bring them to one of our events.
Last season over 10,000 people came to UMS events as part of a group, and they saved over $51,000 on some of the most popular events around! Many groups who booked their tickets early found themselves in the enviable position of having the only available tickets to sold out events including the Buena Vista Social Club, Yo-Yo Ma, the Berlin Philharmonic, the Chieftains, and many other exciting performances.
This season UMS is offering a wide variety of events to please even the most discriminat?ing tastes, many at a fraction of the regular price. Imagine yourself surrounded by ten or more of your closest friends as they thank you for getting great seats to the hottest shows in town. It's as easy as picking up the phone and calling the UMS Group Sales hotline at 734.763.3100.
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 eighty
events throughout our season, wrapped and delivered with your personal mes?sage, the UMS Gift Certificate is ideal for weddings, 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 the Power Center.
UMS and the following businesses thank you for your generous support by pro?viding you with discounted products and services through the UMS Card, a privilege for subscribers and donors of at least $100. Patronize these businesses often and enjoy the quality products and services they provide.
Amadeus Cafe Ann Arbor Acura Ann Arbor Art Center The Back Alley
Gourmet Bivouac Outdoor
Clothing and
Equipment The Blue Nile
Restaurant Bodywise Therapeutic
Massage Cafe Marie Chelsea Flower Shop Dough Boys Bakery Fine Flowers Gandy Dancer Great Harvest John Leidy Shop
John's Pack and Ship Kerrytown Bistro King's Keyboard House Le Dog Michigan Car Services,
Inc. and Airport
Sedan, LTD Nicola's Books, Little
Professor Book Co. Paesano's Restaurant Randy Parrish Fine
Framing Regrets Only Ritz Camera One Hour
Photo Shaman Drum
Bookshop SKR Downtown SKR Uptown
Join the more than 20,000 savvy people who log onto each month!
Why should you log onto
Tickets Forget about waiting in long ticket lines--order your tickets to UMS performances online! And now you'll know your specific seat location before you buy online, thanks to our new relationship with!
Cyber$avers Special weekly discounts appearing every Tuesday only available by ordering over the Web.
Information Wondering about UMS' history, event logistics, or volunteer opportunities Find all this and more.
? Program Notes and Artist Bios Your online source for performance programs and in-depth artist information. Learn about the artists and repertoire before you enter the hall!
Sound Clips Listen to recordings from UMS performers online before the concert.
BRAVO! Cookbook Order your UMS hardcover coffee-table cookbook featur?ing more than 250 recipes from UMS artists, alumni and friends, as well as historic photos from the UMS archives.
Education Events Up-to-date infor?mation detailing educational oppor-
tunities surrounding each UMS performance. Choral Union Audition information and performance sched?ules for the UMS Choral Union.
The goal of the University Musical Society (UMS) is clear: to engage, educate, and serve Michigan audi?ences 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 121 years, strong leader?ship coupled with a devoted community has placed UMS in a league of internationally-recognized performing arts presenters. Indeed, Musical America selected UMS as one of the five most influential arts presenters in the United States in 1999. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich and varied history, balanced by a commitment to dynamic and creative visions of where the performing arts will take us in the new millennium. Every day UMS seeks to cultivate, nurture and stimulate public interest and participation in every facet of the live arts. UMS grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Their first performance of Handel's Messiah was in December of 1879, and this glorious oratorio has since been per?formed by the UMS Choral Union annually.
As a great number of Choral Union members also belonged to the University, the University
Musical Society was established in December 1880. UMS 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 perform?ing arts--internationally renowned recitalists and orchestras, dance and chamber ensem?bles, jazz and world music performers, and opera and theatre. Through educational endeavors, commissioning of new works,
Musical America selected UMS as one of the five most influential arts presenters in the United States in 1999.
youth programs, artist residencies and other collaborative projects, UMS has maintained its reputation for quality, artistic distinction and innovation. UMS now hosts over eighty performances and more than 150 educational events each season. UMS has flourished with the support of a generous community that gathers in Hill and Rackham Auditoria, Power Center for the Performing Arts, Lydia Mendelssohn Theatre, Michigan Theater, St. Francis of Assisi Catholic Church, the Detroit Opera House, Music Hall and the Residential College Auditorium.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor cam?pus, and a regular collaborator with many University units, UMS is a separate not-for-profit organization that supports itself from ticket sales, corporate and individual contri?butions, foundation and government grants, and endowment income.
Throughout its 121-year history, the University Musical Society Choral Union has performed with many of the world's distinguished orchestras and conductors.
Based in Ann Arbor under the aegis of the University Musical Society, the 150-voice Choral Union is known for its definitive per?formances of large-scale works for chorus and orchestra. Seven years ago, the Choral Union further enriched that tradition when began appearing regularly with the Detroit Symphony Orchestra. Among other works, the chorus has joined the DSO in Orchestra Hall and at Meadow Brook for subscription performances of Beethoven's Symphony No. 9, Orff's Carmina Burana, Ravel's Daphnis et Chloe and Brahms' Ein deutsches Requiem, and has recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd. In 1995, the Choral Union began accepting invitations to appear with other major regional orchestras, and soon added Britten's War Requiem, Elgar's The Dream of Gerontius, the Berlioz Requiem and other masterworks to its repertoire. During the 1996-97 season, the Choral Union again expanded its scope to include performances with the Grand Rapids Symphony, joining with them in a rare presentation of Mahler's Symphony No. 8 (Symphony of a Thousand).
The Choral Union is a talent pool capable of performing choral music of every genre. In addition to choral masterworks, the Choral
Union has recently given acclaimed concert presentations of Gershwin's Porgy and Bess with the Birmingham-Bloomfield Symphony Orchestra and musical-theatre favorites with Erich Kunzel and the DSO at Meadow Brook. A 72-voice chorus drawn from the larger choir has performed Durufle's Requiem, the Langlais Messe Solenelle, the Mozart Requiem and other works. The Choral Union's 36-voice Chamber Chorale presented "Creativity in Later Life," a program of late works by nine composers of all historical periods, at the University of Michigan Museum of Art.
During the 1999-2000 season, the Choral Union performed in three major subscription series at Orchestra Hall with the Detroit Symphony Orchestra, including performances of Shostakovich's Symphony No. 13 (Babi Yar), and Igor Stravinsky's Symphony of Psalms, all conducted by Neeme Jarvi, as well as John Adams' Harmonium, conducted by the composer. Other programs included Mahler's Symphony No. 3 with the Ann Arbor Symphony Orchestra and Scriabin's Symphony No. 5 with the Russian National Orchestra.
During the current season, the UMS Choral Union will again appear in two series with the Detroit Symphony Orchestra, both conducted by Neeme Jarvi. The chorus will join in the DSO's opening night performance of Mahler's Symphony No. 2 (Resurrection), followed later in the season by Carl Orff's Carmina Burana. The Choral Union's 122nd-annual performances of Messiah follow, as the choir is joined by world-class soloists and the Ann Arbor Symphony Orchestra. The chorus will make its debut with the Kalamazoo Symphony in March 2001, performing Mendelssohn's rarely-heard Symphony No. 2. The Choral Union's season will close on April 22, 2001, in a performance of Hector Berlioz' Requiem with the Greater Lansing Symphony Orchestra and members of the U-M School of Music Symphony Band in Hill Auditorium, conducted by Thomas Sheets.
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. For more information about the UMS Choral Union, e-mail or call 734.763.8997.
Hill Auditorium
Standing tall and proud in the heart of the University of Michigan campus, Hill Auditorium is associated with the best perform?ing artists the world has to offer. Inaugurated at the Twentieth Annual Ann Arbor May Festival in 1913, the 4,163-seat Hill Auditorium has served as a showplace for a variety of important debuts and long relationships throughout the past eighty-seven years. With acoustics that highlight everything from the softest notes of vocal recitalists to the grandeur of the finest orchestras, 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 additional $150,000, and the concert hall opened in 1913 with the Chicago Symphony Orchestra performing
Hill Auditorium
Beethoven's Symphony No. 5. The auditori?um seated 4,597 when it first opened; subse?quent 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.
Rackham Auditorium
Sixty years ago, chamber music concerts in Ann Arbor were a relative rarity, present?ed in an assortment of venues including University Hall (the precursor to Hill Auditorium), Hill Auditorium, and Newberry Hall, 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 studies. Even more remarkable than the size of the gift, which is still considered one of the most ambitious ever given to higher-level educa?tion, 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 grew out of 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 inter?ested, realizing that state and federal govern?ment were unlikely to provide financial sup?port 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 seventy-two feet from the stage. The lobby of the Power Center features two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes by Pablo Picasso.
Due to renovations to Burton Memorial Tower, the Power Center will be home to the UMS Box Office for the duration of the cur?rent season.
Power Center
Michigan Theater
The historic Michigan Theater opened January 5, 1928 at the peak of the vaude?villemovie palace era. Designed by Maurice Finkel, the 1,710-seat theater cost around $600,000 when it was first built. 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. At its opening the theater was acclaimed as the best
of its kind in the country. Since 1979, the theater has been operated by the not-for-profit Michigan Theater Foundation. With broad community support, the Foundation has raised over $8 million to restore and improve the Michigan Theater. The beautiful interior of the theater was restored in 1986. In the fall of 1999, the Michigan Theater opened a new 200-seat screening room addi?tion, which also included expanded restroom facilities for the historic theater. The gracious facade and entry vestibule was restored in 2000 and the balcony and backstage will be restored during 2001.
St. Francis of Assisi Catholic Church
In 1950, Father Leon Kennedy was appoint?ed pastor of a new parish in Ann Arbor. Seventeen years later ground was broken to build a permanent church building, and on March 19, 1969 John Cardinal Dearden dedi?cated the new St. Francis of Assisi Church. Father James McDougal was appointed pastor in 1997.
St. Francis of Assisi Catholic Church has grown from 248 families when it first started in 1950 to more than 2,800 today. The present church seats 900 people and has ample free parking. In 1994 St. Francis purchased a splen?did three manual "mechanical action" organ with thirty-four stops and forty-five ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through ded?ication, a commitment to superb liturgical music and a vision to the future, the parish improved the acoustics of the church build?ing, and the reverberant sanctuary has made the church a gathering place for the enjoy?ment and contemplation of sacred a cappella choral music and early music ensembles.
Lydia Mendelssohn Theatre
Notwithstanding an isolated effort to estab?lish a chamber music series by faculty and students in 1938, UMS 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 UMS' programmatic initiative to present song in recital, the superlative Mendelssohn Theatre has become a recent venue addition to UMS' roster and the home of the Song Recital series as well as the venue of choice for the world premiere of Curse of the Gold: Myths from the Icelandic Edda, part of UMS' new International Theater Festival.
Detroit Opera House
The Detroit Opera House opened in April of 1996 following an extensive renovation by Michigan Opera Theatre. Boasting a 75,000 square foot stage house (the largest stage between New York and Chicago), an orchestra pit large enough to accommodate 100 musicians and an acoustical virtue to rival the world's great opera houses, the 2,800-seat facility has
rapidly become one of the most viable and coveted theatres in the nation. In only two seasons, the Detroit Opera House became the foundation of a landmark programming col?laboration with the Nederlander organization and Olympia Entertainment, formed a part?nership with the Detroit Symphony Orchestra and played host to more than 500 performers and special events. As the home of Michigan Opera Theatre's grand opera season and dance series, and through quality program?ming, partnerships and educational initiatives, the Detroit Opera House plays a vital role in enriching the lives of the community.
Music Hall
Originally called the Wilson Theatre, Music Hall was completed in 1928 with funds provided by Matilda Wilson (Mrs. Alfred G.). William E. Kapp of Smith, Hinchman & Grylls, an architectural firm whose works dominated
Detroit's skyline of the 1920s, designed the Art Deco-style edifice. Terra-cotta Greek masks adorn the exterior, and elaborate molded plaster and stenciling complement the interior. The theatre's purpose of offering legitimate
productions was initially fulfilled, but during the Depression its lights dimmed except on sporadic occasions. From 1946 through 1949, the Detroit Symphony Orchestra occupied the structure which was renamed Music Hall. During the 1950s and 1960s, area residents came to the theatre to enjoy cinema. Now the home of the Music Hall Center, Music Hall is restored to its original use and appearance.
The Residential College Auditorium
The Residential College (RC) is an academic unit within the College of Literature, Science and the Arts (LSA), with roughly sixty faculty and 900 students, offering a four-year liberal arts education and a unique living-learning expe?rience in the East Quadrangle -one of the University's student residence complexes. A few years after the opening of the RC in 1967, the RC Auditorium was construct?ed in an alcove between exterior brick walls of the northern and southern parts of East Quad (these walls are still visible). In line with the founding philosophy of the RC Drama Program, the
Auditorium incorporates a thrust stage; more than 200 people can be seated around the stage on the main floor and in an overhanging bal?cony.
The Auditorium has been used as a class?room, lecture hall, movie theater and concert hall, as well as the site for hundreds of pro-
ductions by the RC Drama Program, the RC's "Brecht Company" (staging more than a dozen of Brecht's works), the RC's "Deutsches Theater" (performing plays in German), and the student-run "RC Players." Dramatic pro-
ductions at the Auditorium have ranged from Euripides to Sam Shepard and have included numerous student-written plays--some of them awarded Hopwood Prizes. Other events include Professor Peter Arnott's marionette realizations of Greek tragedies, Asian theater demon?strations, Native American danc?ing, a complete production of Mozart's Cost fan tutti, and a monodrama by lesbian activist Holly Hughes. The RC Auditorium has also been the site of readings by many promi?nent writers, including poets Allen Ginsberg, Jerome Rothenberg and John Sinclair as well as authors Christopher Curtis and John Hawkes.
Burton Memorial Tower
Seen from miles away, Burton Memorial Tower is one of the most well-known University of Michigan and Ann Arbor landmarks. Completed in 1935 and designed by Albert Kahn, the 10-story tower is built of Indiana limestone with a height of 212 feet.
The familiar home of UMS Administrative offices undergoes
significant renovations this season, moving the UMS Box Office to a new, temporary location in the Power Center.
UMS Administrative offices have also been relocated--to 109 E. Madison--but please continue to use our Burton Memorial Tower mailing address.
Auditorium 4,163
Power Center 1,390
St. Francis 950
Residential College
Music Hall 1,700
Detroit Opera House
University Musical Society
of the University of Michigan 20002001 Fall Season
Event Program Book Friday, October 20 through Saturday, October 28, 2000
General Information
Children of all ages are welcome at 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 perfor?mance. Children unable to do so, along with the adult accompanying 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
prohibited 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 digital watches, beeping pagers, ringing cellular phones and clicking portable comput?ers should be turned off during perfor?mances. In case of emergency, advise your paging service of auditorium and seat location and ask them to call University Security at 734.763.1131.
In the interests of saving both dollars and the environment, please retain this program book and return with it when you attend other UMS performances included in this edition. Thank you for your help.
Jose van Dam 3
Friday, October 20, 8:00pm Lydia Mendelssohn Theatre
American Repertory Theater 11
The King Stag
Saturday, October 21, 2:00pm (Family Performance) Saturday, October 21, 8:00pm Sunday, October 22, 2:00pm Sunday, October 22, 7:00pm Power Center
Bryn Terfel 23
Wednesday, October 25, 8:00pm Hill Auditorium
Misia 31
Thursday, October 26, 8:00pm Power Center
Bale Folclorico da Bahia 35
Friday, October 27, 8:00pm
Saturday, October 28, 2:00pm (Family Performance)
Saturday, October 28, 8:00pm
Power Center
Van Dam Bass-Baritone
Dichterliebe, Op. 48
Robert Schumann {Heinrich Heine)
Im wunderschonen Monat Mai
Im wunderschonen Monat Mai, Als alle knospen sprangen, Da ist in Meinem Herzen Die Liebe aufgegangen.
Im wunderschonen Monat Mai, als alle Vogel sangen, Da hab' ich ihr gestanden Mein Sehnen und Verlangen.
Aus meinen Tranen spriessen
Aus meinen Tranen spriessen Viel bluhende Blumen hervor, Und meine Seufzer werden Ein Nachtigallenchor.
Und wenn du mich lieb hast, Kindchen schenk' ich dir die Blumen all, Und vor deinem Fenster soil klingen Das Lied der Nachtigall.
Die Rose, die Lilie, die Taube, die Sonne
Die Rose, die Lilie, die Taube, die Sonne,
Die liebt' ich einst alle in Liebeswonne,
Ich lieb' sie nicht mehr, ich liebe alleine
Die Kleine, die Feine, die Reine, die Eine;
Sie selber, aller Liebe Wonne,
Ist Rose und Lilie und Taube und Sonne.
Ich liebe alliene
Die Kleine, die Feine, die Reine, die Eine.
A Poet's Love
In the Wondrous Month of May
In the wondrous month of May, When all the buds were bursting open, Then it was that my heart Filled with love.
In the wondrous month of May, When all the birds were singing, Then it was I confessed to her My longing and desire.
From My Tears Burst
From my tears burst Many blooming flowers, And my sighs become A nightingale chorus.
And if you love me, child, I'll give you all the flowers, And at your window shall sound The song of the nightingale.
Rose, Lily, Dove, Sun
Rose, lily, dove, sun,
All once I blissfully loved.
I love them no more, alone I love
the small, the fine, the pure, the one;
She, most blissful of all loves,
Is rose and lily and dove and sun.
Alone I love
the small, the fine, the pure, the one.
Wenn ich in deine Augen seh'
Wenn ich in deine Augen seh', So schwindet all' mein Leid und Weh'; Doch wenn ich kiisse deinen Mund, So werd' ich ganz und gar gesund.
Wenn ich mich lehn' an deine Brust, Kommt's uber mich wie Himmelslust; Doch wenn du sprichst: ich liebe dich! So muss ich weinen bitterlich.
Ich will meine Seele tauchen
Ich will meine Seele tauchen In den Kelch der Lilie hinein; Die Lilie soil klingend hauchen Ein Lied von der Liebsten mein.
Das Lied soil schauern und beben Wie der Kuss von ihrem Mund, Den sie mir einst gegeben In wunderbar siisser Stund'.
Im Rhein, im schonen Strome
Im Rhein, im heiligen Strome, Da spiegelt sich in den Well'n Mit seinem grofien Dome, Das groSe, heilige Koln.
Im Dom da steht ein Bildnis, Auf goldenem Leder gemalt; In meines Lebens Wildnis Hat's freundlich hineingestrahlt.
Es schweben Blumen und Eng'lein Um unsre liebe Frau; die Augen, die Lippen, die Wanglein, Die gleichen der Liebsten genau.
When Into Your Eyes I Look
When into your eyes I look All my sorrow flies; But when I kiss your lips, Then I am wholly healed.
When I recline upon your breast, Over me steals heavenly bliss; But when you say: it's you I love! Then bitter tears must I shed.
My Soul Will I Bathe
My soul will I bathe In the lily's chalice; The lily shall breathe A song of my beloved.
The song shall tremble and quiver Like the kiss her lips Bestowed on me once, In a sweet and lovely hour.
In the Rhine, the Holy River
In the Rhine, the holy river, There mirrored in the waves, With its great cathedral Is great and holy Cologne.
In the cathedral stands a picture, Painted on gilded leather; Into my life's wilderness Friendly rays it has cast.
Flowers and angels float About Our Lady dear; Eyes, lips, cheeks, Are the image of my love's.
Ich grolle nicht, und wenn das Herz auch bricht
Ich grolle nicht, und wenn das Herz
auch bricht,
Ewig verlor'nes Lieb! Ich grolle nicht. Wie du auch strahlst in
Diamanten-pracht, Es fallt kein Strahl in deines Herzens
Nacht. Das weifi ich langst.
Ich grolle nicht, und wenn das Herz
auch bricht.
Ich sah dich ja im Traume, Und sah die Nacht in deines Herzens
Raume, Und sah die Schlang', die dir am
Herzen frifit,
Ich sah, mein Lieb, wie sehr du elend bist. Ich grolle nicht.
Und wiiGten's die Blumen, die kleinen
Und wiifiten's die Blumen, die kleinen, Wie tief verwundet mein Herz, Sie wiirden mit mir weinen, Zu heilen meinen Schmerz.
Und wufiten's die Nachtigallen, Wie ich so traurig und krank, sie liefien frohlich erschallen Erquickenden Gesang.
Und wiiSten sie mein Wehe, Die goldenen Sternelein, Sie kamen aus ihrer Hohe, Und sprachen Trost mir ein.
Sie alle konnen's nicht wissen, Nur Eine kennt meinen Schmerz; Sie hat ja selbst zerrissen, Zerrissen mir das Herz.
I Bear No Grudge, Though My Heart Breaks
I bear no grudge, though my heart
Loved one forever lost! I bear no grudge. However you may gleam in
diamond splendor, No ray falls into the night of
your heart. I've known that long.
I bear no grudge, though my heart
For I saw you in my dream, Saw the night within
your heart, And saw the serpent gnawing at
your heart,
Saw, my love, how pitiful you are. I bear no grudge.
If the Little Flowers Knew
If the little flowers knew How deep my heart is hurt, With me they would weep To heal my pain.
If the nightingales knew How sad I am and sick, Joyously they'd let sound Refreshing song.
And if they knew my grief, The little golden stars, From the sky they'd come And console me.
But none of them can know, One only knows my pain; For she it was who broke My heart, broke my heart in two.
Das ist ein Floten und Geigen
Das ist ein Floten und Geigen, Trompeten schmettern darein; Da tanzt wohl den Hochzeitsreigen Die Herzallerliebste mein. Das ist ein Klingen und Drohnen, Ein Pauken und ein Schalmeitn; Dazwischen schluchzen und stohnen Die liebchen Engelein.
Hor' ich das Liedchen klingen
Hor' ich das Liedchen klingen, Das einst die Liebste sang, So will mir die Brust zerspringen Von wildem Schmerzendrang.
Es treibt mich ein dunkles Sehnen Hinauf zur Waldeshoh', Dort lost sich auf in Tranen Mein iibergrosses Weh'.
Ein J tingling liebt ein Madchen,
Ein Jiingling liebt ein Madchen, Die hat einen andern erwahlt; Der andre liebt eine andre, Und hat sich mit dieser vermahlt.
Das Madchen nimmt aus Arger Den ersten besten Mann, Der ihr in den Weg gelaufen; Der Jungling ist iibel dran.
Es ist eine alte Geschichte, Doch bleibt sie immer neu; Und wem sie just passieret, Dem bricht das Herz entzwei.
What a Fluting and Fiddling
What a fluting and fiddling And a blaring of trumpets! There, dancing her wedding dance Will be my dearest love. What a clashing and clanging, Drumming and piping; And sobbing and groaning Of delightful angels.
When I Hear the Song
When I hear the song My love once sang, My heart almost breaks From the wild rush of pain.
Vague longing drives me Up to the high forest, Where my immense grief Dissolves in tears.
A Boy Loves a Girl
A boy loves a girl She chose another; The other loves another And her he weds.
The girl, out of spite, Takes the first man To come her way; The boy's badly hurt.
It is an old, old story, Remains though ever new, And he to whom it's happened, His heart is broken in half.
Am leuchtenden Sommermorgen
Am leuchtenden Sommermorgen Geh' ich im Garten herum. Es fliistern und sprechen die Blumen, Ich aber wandle stumm.
Es fliistern und sprechen die Blumen, Und schaun mitleidig mich an: Sei unsrer Schwester nicht bose, Du trauriger blasser Mann.
Ich hab' im Traum geweinet
Ich hab' im Traum geweinet, Mir traumt', du lagest im Grab. Ich wachte auf, und die Trane Floss noch von der Wange herab.
Ich hab' im Traum geweinet, Mir traumt', du verliessest mich. Ich wachte auf, und ich weinte Noch Iange bitterlich.
Ich hab' im Traum geweinet, Mir traumte, du war'st mir noch gut. Ich wachte auf, und noch immer Stromt mein Tranenflut.
Allnachtlich im Traume seh' ich dich
Allnachtlich im Traume seh'ich dich, Und sehe dich freundlich griissen, Und laut aufweinend stiirz ich mich Zu deinen siissen Fiissen.
Du sichest mich an wehmiitiglich Und schiittelst das blonde Kopfchen; Aus deinen Augen schleichen sich Die Perlentranentropfchen.
Du sagst mir heimlich ein leises Wort Und gibst mir den Strauss von Cypressen. Ich wache auf, und der Strauss ist fort, Und's Wort hab' ich vergessen.
One Bright Summer Morning
One bright summer morning I walk in the garden. Flowers whisper and speak, But I walk silently.
Flowers whisper and speak, And gaze at me in pity: "Be not angry with our sister, Sad, pale man!"
I Wept In My Dream
I wept in my dream,
I dreamt you lay in your grave.
I woke, and tears
Still flowed upon my cheek.
I wept in my dream,
I dreamt you were leaving me.
I woke, and wept on
Long and bitterly.
I wept in my dream,
I dreamt you loved me still.
I woke, and still
My tears stream.
Nightly in My Dreams I See You
Nightly in my dreams I see you, See your friendly greeting, And weeping loudly, hurl myself At your sweet feet.
You look at me wistfully, Shaking your little fair head; From your eyes steal Teardrops of pearl.
A soft word you whisper me in secret And give me a bouquet of cypress. I wake, the cypress is gone, And the word forgotten.
Aus alten Marchen winkt es
Aus alten Marchen winkt es Hervor mit weisser Hand, Da singt es und da klingt es Von einem Zauberland;
Wo bunte Blumen bliihen Im gold'nen Abendlicht, Und lieblich duftend gliihen, Mit brautlichem Gesicht;
(Und griine Baume singen Uralte Melodei'n, Die Liifte heimlich klingen, Und Vogel schmettern drein; Und Nebelbilder steigen Wohl aus der Erd'hervor, Und tanzen luft'gen Reigen Im wunderlichen Chor;
Und blaue Funken brennen An jedem Blatt und Reis, Und rote Lichter rennen Im irren, wirren Kreis;
Und laute Quellen brechen Aus wildem Marmorstein. Und seltsam in den Bochen Strahlt fort der Widerschein.)
Ach, konnt' ich dorthin kommen, Und dort mein Herz erfreu', Und aller Qual entnommen, Und frei und selig sein! Ach! jenes Land der Wonne, Das seh' ich oft im Traum, Doch kommt die Morgensonne, Zerfliesst's wie eitel Schaum.
A White Hand Beckons
A white hand beckons From fairy tales of old, Song there is, and sounds Of a magic land;
Where gay flowers bloom In golden evening light, And, sweet scented, glow With bride-like faces;
(And green trees sing Old, old melodies, Stealthy breezes murmur, And birds warble; And misty shapes rear From the earth, And dance airy dances In strange throng;
And blue sparks blaze On every leaf and twig, And red fires race In mad wild circles;
And loud springs burst From wild marble, and Strangely in the brooks The reflection shines.)
Oh, could I but go there, There gladden my heart, From all pain removed, Be blissful and free. Oh, that land of joy, In dreams I see it often, But, come morning sun, It's gone like foam.
Die alten, bosen Lieder
Die alten, bosen Lieder, Die Traume bos' und arg, Die lasst uns jetzt begraben, Holt einen grossen Sarg.
Hinein leg'ich gar manches, Doch sag'ich noch nicht, was; Der Sarg muss sein noch grosser Wie's Heidelberger Fass.
Und holt eine Totenbahre Und Bretter fest und dick; Auch muss sie sein noch langer, Als wie zu Mainz die Briickl
Und holt mir auch zwolf Riesen, Die mussen noch starker sein Als wie der starke Christoph Im Dom zu Koln am Rhein.
Die sollen den Sarg forttragen, Und senken ins Meer hinab; Denn solchem grossen Sarge Gebiihrt ein grosses Grab.
Wisst ihr, warum der Sarg wohl So gross und schwer mag sein Ich senkt auch meine Liebe Und meinen Schmerz hinein.
The Bad, Old Songs
The bad, old songs, The dreams wicked and bad, Let us now bury them-Fetch a big coffin.
Much will I lay in it, Though what, I won't yet say; a bigger coffin must it be Than the Vat of Heidelberg.
And fetch a bier And planks firm and thick, The bier must be longer Than the bridge at Mainz.
And twelve giants fetch me, Who shall be even stronger Than St. Christopher the Strong In Cologne Cathedral on the Rhine.
They shall bear off the coffin, And sink it in the sea; For such a big coffin Belongs in a big grave.
Do you know why the coffin Should be so heavy and big I would put my love in And my sorrow too.
Six Chansons
Gabriel Faure
Les berceaux, Op. 23, No. 1
(Rene-Frangois Sully-Prudhomme)
Le long du quai les grands vaisseaux, Que la houle incline en silence, Ne prennent pas garde aux berceaux Que la main des femmes balance.
Mais viendra le jour des adieux, Car il faut que les femmes pleurent, Et que les hommes curieux Tentent les horizons qui leurrent.
Et ce jour-la les grands vaisseaux, Fuyant le port qui diminue, Sentent leur masse retenue Par Tame des lointains berceaux.
Clair de lune, Op. 46, No. 2
(Paul Verlaine)
Votre ame est un paysage choisi Que vont charmant masques
et bergamasques
Jouant du luth et dansant et quasi Tristes sous leurs deguisements fantasques.
Tout en chantant sur le mode mineur L'amour vainqueur et la vie opportune, II n'ont pas l'air de croire a leur
bonheur Et leur chanson se mele au clair de lune,
Au calme clair de lune triste et beau, Qui fait rever les oiseaux dans les arbres Et sangloter d'extase les jets d'eau, Les grands jets d'eau sveltes parmi les marbres.
Six Songs
Along the Quay
Along the quay the great ships, Bending silently with the surge, Take no thought of the cradles, Rocked by the hands of the women.
But the day of parting will come, For it is ordained that women shall weep, And that inquisitive men Shall try the shining horizons.
And on that day the great ships, Leaving the receding harbor, Feel their hulks restrained By the soul of the distant cradles.
Your soul is a rare landscape With charming maskers
and mummers
Playing the lute and dancing, almost Sad beneath their fantastic disguises.
While singing in minor mode
Of victorious love and life in its season,
They do not seem to believe in their
happiness, And their song mingles with the moonlight,
With the calm moonlight, sad and lovely, That sets the birds in the trees to dreaming, And the fountains to sobbing in ecstasy, The great fountains, svelte among the marbles.
En priere
{Stephan Bordtse)
Si la voix d'un enfant peut monter
jusqu'a Vous, O mon Pere,
Ecoutez de Jesus devant Vous a genoux La priere. Si vous m'avez choisi pour enseigner
Vos lois Sur la terre, Je saurai Vous servir, auguste Roi
des Rois,
O Lumiere! j
Sur mes levres, Seigneur, mettez la verity Salutaire, Pour que celui qui doute,
avec humilite, Vous revere! Ne m'abandonnez pas, donnez-moi
la douceur Necessaire,
Pour apaiser les maux, soulager la douleur, La misere! Revelez Vous a moi, Seigneur,
en Qui je crois, Et j'espere, Pour Vous je veux souffrir et mourir
sur la croix, Au Calvaire!
In Prayer
If the voice of a child can reach you,
0 my Father,
Listen to the prayer of Jesus on His knees
Before You.
If You have chosen me to teach
Your laws On the earth,
1 will know how to serve you, holy King
of Kings,
0 Light!
Place on my lips, o Lord,
The salutary truth,
So that whoever doubts, should,
with humility, Revere You! Do not abandon me, give me
the gentleness So necessary,
To relieve the suffering, to alleviate pains, The misery! Reveal Yourself to me, Lord,
in whom I have faith And hope,
1 want to suffer for You and to die
on the Cross, At Calvary!
Apres un r?ve, Op. 7, No. 1
(Romain Bussine)
Dans un sommeil que charmait ton image Je revais le bonheur
ardent mirage, Tes yeux etaient plus doux, ta voix
pure et sonore, Tu rayonnais comme un ciel eclair
par l'aurore;
Tu m'appelais, et je quittais la terre Pour m'enfuir avec toi vers la lumiere, Les cieux pour nous entr'ouvraient
leurs nues, Splendeurs inconnues,
lueurs divines entrevues, He'las! Hdas! triste reveil des songes Je t'appelle, 6 nuit, rends-moi
tes mensonges, Reviens, reviens radieuse, Reviens, 6 nuit mysterieuse!
Prison, Op. 83, No. 1
Le ciel est, par-dessus le toit, Si bleu, si calme! Un arbre, par-dessus le toit, Berce sa palme.
La cloche dans le ciel qu'on voit Doucement tinte. Un oiseau sur l'arbre qu'on voit Chante sa plainte.
Mon Dieu, mon dieu, la vie est la, Simple et tranquille. Cette paisible rumeur-la Vient de la ville.
"Qu'as-tu fait, 6 toi que voila Pleurant sans cesse, Dis, qu'as tu fait, toi que voila, De ta jeunesse"
After a Dream
In sleep charmed by your image, I dreamed the glowing
mirage of happiness; Your eyes were more sweet, your voice
pure and rich; You shone like a sky lighted by the
You called to me, and I left the earth, To fly with you toward the light. The skies half-opened their clouds
for us, Unknown splendours,
divine lights only glimpsed. Alas! Alas! Sad awakening from dreams; I call to you, o night, give me
back your illusions! Return, return in radiance, Return, o mysterious night!
The sky, above the roof, Is so blue, so calm! A tree over the roof Waves its branches.
The bell in the sky I can see Is softly ringing. A bird on the tree I can see Sings his sad song.
My God! My God! Life is there, Simple and tranquil. That peaceful sound Comes from the town.
"What have you done, you there, Ceaselessly weeping, Say, what have you done, you there, With your youth"
Mandoline, Op. 58, No. 1
Les donneurs de serenades Et les belles ecouteuses Echangent des propos fades Sous les ramures chanteuses.
C'est Tircis et c'est Aminte, Et c'est l'e'ternel Clitandre, Et c'est Damis qui pour mainte Cruelle fait maint vers tendre.
Leurs courtes vestes de soie, Leurs longues robes & queues, Leur elegance, leur joie Et leurs molles ombres bleues
Tourbillonnent dans l'extase D'une lune rose et grise, Et la mandoline jase Parmi les frissons de brise.
Trois Chansons
Henri Duparc
Chanson triste
{Henri Cazalis)
Dans ton coeur dort un clair de lune, Un doux clair de lune d'e'te.
Et pour fuir la vie importune Je me noierai dans ta clarte.
J'oublierai les douleurs passe'es, Mon amour, quand tu berceras
Mon triste coeur et mes pensees Dans le calme aimant de tes bras.
Tu prendras ma tete malade
Oh! quelquefois sur tes genoux,
Et lui diras une ballade
Qui semblera parler de nous,
Et dans tes yeux pleins de tristesses Dans tes yeux alors je boirai
Tant de baisers et de tendresses Que peut-etre je guerirai
Mandolin Serenade
The men serenading And the lovely ladies listening Exchange affected pleasantries Under the singing branches.
Tircis is there and Aminte, And the inevitable Clitandre; And there is Damis, who for many Cruelly makes tender verses.
Their short silk jackets, Their long gowns with trains, Their elegance, their joy And their soft blue shadows
Whirl in the ecstasy Of a rose and gray moon, And the mandolin babbles on In the quiverings of the breeze.
Three Songs Sad Song
In your heart there sleeps a moonlight, A sweet summer moonlight.
And to escape wearisome life
I shall drown myself in your limpidity.
I shall forget my past woes,
My love, when you lull My sad heart and my thoughts
In the loving calm of your arms.
You will take my aching head
Oh, sometimes upon your knees,
And recite to it a ballad
Which will seem to speak of us.
And in your eyes, full of sadness, In your eyes, then, I shall drink
So many kisses and caresses
That perhaps I shall be healed
L'invitation au voyage
(Charles Baudelaire)
Mon enfant, ma soeur,
Songe a la douceur
D'aller la-bas vivre ensemble!
Aimer a loisir,
Aimer et mourir
Au pays qui te ressemble!
Les soleils mouilles
Des ces dels brouilles
Pour mon esprit ont les charmes
Si mysterieux
De tes traitres yeux,
Brillant a travers leurs larmes.
La, tout n'est qu'ordre et beaute, Luxe, calme et volupt?.
Vois sur ces canaux
Dormir ces vaisseaux
Dont l'humeur est vagabonde;
C'est pour assouvir
Ton moindre desir
Qu'ils viennent du bout du
Les soleils couchants Revetent les champs, Les canaux, la ville entifcre, D'hyacinthe et d'or; Le monde s'endort; Dans une chaude lumiere
La, tout n'est qu'ordre et beaute, Luxe, calme et volupte.
Invitation to the Voyage
My child, my sister,
Dream of the delight
Of going away and living together!
Of loving at leisure
Of loving and dying
In the land that is like you!
The watery suns
Of these murky skies
Hold for my spirit the charms
So mysterious
Of your traitorous eyes,
Shining through their tears.
There all is order and beauty, Splendor, calm and delight.
See on the canals
The ships are asleep
Whose spirit is vagrant;
It is to satisfy
Your slightest desire
That they come from the ends of
the earth. The sinking suns Color the fields, The canals, the entire town With hyacinth and gold; The world is asleep In a warm light.
There all is order and beauty, Splendor, calm and delight.
Le Galop
{Rene-Francois Sully-Prudhomme)
Agite, bon cheval, ta criniere fuyante, Que l'air autour de nous se remplisse
de voix, Que j'entende craquer sous ta
corne bruyante Le gravier des ruisseaux et les debris
des bois.
Aux vapeurs de tes flancs mele ta
chaude haleine, Aux eclairs de tes pieds ton ecume
et ton sang. Cours, comme on voit un aigle,
en effleurant la plaine, Fouetter l'herbe d'un vol sonore
et fremissant.
Allons! Les jeunes gens, a la nage,
a la nage, Crie a ses cavaliers le vieux
chef de tribu, Et les fils du desert respirent
le pillage, Et les chevaux sont fous du grand air
qu'ils ont bu.
Nage ainsi dans l'espace, 6 mon
cheval rapide, Abreuve-moi d'air pur, baigne-moi
dans le vent. L'etrier bat ton ventre, et j'ai
lache la bride. Mon corps te touche a peine, il vole
en te suivant.
Brise tout, le buisson, la barriere
ou la branche. Torrents, fosses, talus, Franchis tout
d'un seul bond. Cours, cours, je reve et sur toi,
les yeux clos, je me penche, Emporte, emporte-moi dans
l'inconnu profond!
The Gallop
Toss your flying mane, good horse, Let the air around us be filled
with voices, Let me hear crackling under your
clattering hoof, The gravel of the streams and the
debris of the woods.
The steam from your flanks mingles
with your hot breath, With the sparks from your feet, your foam
and your blood. Run, as one sees an eagle,
skimming over the plain, Whipping the grass with a sonorous
and trembling flight.
Let's go! Young men, into the
water, into the water The old chief of the tribe cries to
the horsemen, And the sons of the desert smell
the plunder, And the horses are mad with the
great air they have drunk.
Swim thus in space, oh my
swift horse, Let me drink of the pure air, bathe
me in the wind. The stirrup beats your belly, and I
have loosened the bridle. My body scarcely touches you, it
flies while following you.
Break everything, the brush, the
barrier, the branch. Torrents, ditches, embankments,
crossed with a single leap. Run, run, I dream and over you,
eyes closed, I lean, Carry me, carry me into the
profound unknown.
Chansons gaillardes
Francis Poulenc {Anonymous)
La maitresse volage
Ma maitresse est volage, Mon rival est heureux; S'il a son pucelage, C'est qu'elle en avait deux.
Et vogue la galere,
Tant qu'elle pourra voguer.
Chanson a boire
Les rois d'Egypte et de Syrie, Voulaient qu'on embaumat leurs corps, Pour durer plus longtemps morts. Quelle folie!
Buvons done selon notre envie, II faut boire et reboire encore. Buvons done toute notre vie, Embaumons-nous avant la mort.
Que ce baume est doux.
Vous etes belle comme un ange, Douce comme un petit mouton; II n'est point de coeur, Jeanneton, Qui sous votre loi ne se range. Mais une fille sans tetons Est une perdrix sans orange.
Invocation aux parques
Je jure, tant que je vivrai,
De vous aimer, Sylvie.
Parques, qui dans vos mains tenez
Le fil de notre vie,
Allongez, tant que vous pourrez,
Le mien, je vous en prie.
Ribald Songs
The Fickle Mistress
My mistress is fickle, My rival is fortunate; If he has her virginity, She must have had two.
Let's chance our luck As long as it will last.
Drinking Song
The kings of Egypt and Syria, Wished to have their bodies embalmed, To last for a longer time dead. What folly!
Let us drink then as we will, We must drink and drink again. Let us drink our whole life long, Embalm ourselves before death.
Embalm ourselves;
Since this balm is sweet.
You are as beautiful as an angel,
Sweet as a little lamb;
There is not a heart, Jeanneton,
That has not fallen beneath your spell.
But a girl without bosom
Is a partridge without orange.
Invocation to the Fates
I swear, as long as I shall live, To love you, Sylvie. Fates, who hold in your hands The thread of our life, Extend, as long as you can, Mine, I beg you.
Couplets bachiques
Je suis tant que dure le jour Et grave et badin tour a tour. Quand je vois un flacon sans vin, Je suis grave, je suis grave, Est-il tout plein, je suis badin.
Je suis tant que dure le jour Et grave et badin tour a tour.
Quand ma femme me tient au lit, Je suis sage, je suis sage, Quand ma femme me tient au lit, Je suis sage toute la nuit.
Si catin au lit me tient
Alors je suis badin
Ah! belle hotesse, versez-moi du vin
Je suis badin, badin, badin.
Au dieu d'Amour une pucelle Offrit un jour une chandelle, Pour en obtenir un amant. Le dieu sourit de sa demande Et lui dit: Belle en attendant Servez-vous toujours de l'offrande.
Avec une si belle main, Que servent tant de charmes, Que vous devez du dieu malin, Bien manier les armes, Et quand cet Enfant est chagrin Bien essuyer ses larmes.
Bacchic Couplets
As long as day lasts I am Serious and merry by turns. When I see a wine bottle empty I am serious, I am serious, When it is full, I am merry.
As long as day lasts
I am serious and merry by turns.
When I am in bed with my wife, I am serious, I am serious, When I am in bed with my wife, I behave well all night long.
If I am in bed with a wench Then I am merry
Ah! fair hostess, pour me some wine I am merry, merry, merry.
The Offering
To the god of Love a virgin
Offered one day a candle,
Thus to gain a lover.
The god smiled at her request
And said to her: Fair one, while you wait
The offering always has its uses.
With so fair a hand, Possessed of so many charms, That you must indeed Handle Cupid's darts. And when this child is troubled Wipe away his tears.
La belle jeunesse
II faut s'aimer toujours Et ne s'epouser guere. II faut faire l'amour Sans cure ni notaire.
Cessez, messieurs, d'etre Epouseurs, Ne visez qu'aux tirelires, Ne visez qu'aux tourelours, Cessez, messieurs, d'etre epouseurs, Ne visez qu'aux cceurs. Cessez, messieurs, d'etre Epouseurs, Hola, messieurs, ne visez plus qu'aux coeurs.
Pourquoi se marier, Quand les femmes des autres Ne se font pas prier Pour devenir les notres.
Quand leurs ardeurs, Quand leurs faveurs, Cherchent nos tirelires, Cherchent nos tourelours, Cherchent nos cceurs.
The Beauty of Youth
You should love always And seldom marry. You should make love Without priest or notary.
Cease, good Sirs, to be marrying men, Only aim at the tirelires, Only aim at the tourelours, Cease, good Sirs, to be marrying men, Only aim at the hearts. Cease, good Sirs, to be marrying men, Enough, good Sirs, only aim at the hearts.
Why marry,
When the wives of others Need no persuasion To become ours.
When their ardours, When their favours, Seek our tirelires, Seek our tourelours, Seek our hearts.
UMS , JOSe Van Dam Bass-Bantone
Friday Evening, October 20, 2000 at 8:00
Lydia Mendelssohn Theatre, Ann Arbor, Michigan
Robert Schumann
Dichterliebe, Op. 48
Im wunderschonen Monat Mai
Aus meinen Tranen spriessen
Die Rose, die Lilie, die Taube, die Sonne
Wenn ich in deine Augen seh'
Ich will meine Seele tauchen
Im Rhein, im schonen Strome
Ich grolle nicht, und wenn das Herz auch bricht
Und wiiGten's die Blumen, die kleinen
Das ist ein Floten und Geigen
Hor' ich das Liedchen klingen
Ein Jiingling liebt ein Madchen
Am leuchtenden Sommermorgen
Ich hab' im Traum geweinet
Allnachtlich im Traume seh' ich dich
Aus alten Marchen winkt es
Die alten, bosen Lieder
Gabriel Faure
Six Songs
Les berceaux, Op. 23, No. 1 Clair de lune, Op. 46, No. 2 En priere
Apres un reve, Op. 7, No. 1 Prison, Op. 83, No. 1 Mandoline, Op. 58, No. 1
Henri Duparc
Francis Poulenc
Three Songs
Chanson triste L'invitation au voyage Le Galop
Chansons gaillardes
La maitresse volage
Chanson a boire
Invocation aux parques
Couplets bachiques
La belle jeunesse
The audience is politely asked to withhold applause until the end of each group of songs. Please do not applaud after the individual songs within each group.
Eleventh Performance of the 122nd Season
Sixth Annual Song Recital Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Support for this performance is provided by media sponsor, WGTE.
Special thanks to Richard LeSueur for serving as tonight's Pre-Performance Educational Presentation speaker.
The Steinway piano used in this evening's performance is made possible by Hammell Music, Inc., Livonia, Michigan.
Tonight's floral art is provided by Cherie Rehkopf and John Ozga of Fine Flowers, Ann Arbor.
Jos? van Dam appears by arrangement with Colbert Artists Management, Inc.
Jose van Dam may be heard on AngelEMI, CBS Masterworks, Forlane and Deutsche Grammophon recordings.
Large print programs are available upon request.
The four composers featured on tonight's program share an impor?tant distinction: whether they wrote in many diverse genres, as Schumann did, or, at the other end of the spectrum, restricted them?selves--like Duparc--to song writing exclu?sively, it is through their vocal music that these four individuals present themselves most clearly. If you want to learn how to play a Faure violin sonata or conduct a Poulenc opera, study their songs!
In addition to providing us with melodies of inestimable beauty and intense, diverse expressions, the three hundred songs of Robert Schumann are historically indispens?able. Let us construct the context in which we can best appreciate this fact: approxi?mately thirty years earlier, Franz Schubert had virtually re-invented the song itself. By raising the piano accompaniment to a descriptive level which remains unsurpassed even today, and with lyrical outpourings for the voice that immediately capture the essence of whichever poem he chose, Schubert created the lied as we know it. Thirty years after Schumann, Hugo Wolf began to craft songs the way Wagner crafted operas, with voice and accompaniment so fused, so braided together that the division of responsibility became undetectable. The mid-point of this sixty-year bridge, indeed the fulcrum that allowed its progress to con?tinue unabated, was Robert Schumann and his lieder. Schubert always chooses melody; Wolf always honors text. Schumann helps himself to both philosophies, now one, now the other, achieving amazing comfort in both.
If the sixteen songs of Dichterliebe, Op. 48, were all we had from Schumann, this would be enough to demonstrate the
important bridge he represents for this genre. In half the songs (nos. 1, 5, 6,9, 10, 12, 14, and 16), the voice seems to accompa?ny the piano. The keyboard part tells us nearly all we need to know about the poem. In the others, melody may be wholly absent from the piano part, and only with the addition of the voice, using highly com?plex and specific rhythms for individual words, can the poem's message truly be expressed.
Schumann was particularly fond of the song-cycle, and the notion of working out a plot, dealing with the exigencies of nine?teenth-century romance, and coming to some sense of resolution psychologically, allowed him to do his finest work. Perhaps his own struggles, first to win Clara, later to deal with his own illness and approaching madness, allowed him to understand the troubled feelings of his favorite poets Eichendorff, Riickert, and of course, Heine, whose texts we hear this evening. The year 1840 saw the creation of the five most important cycles of Schumann, and this explosion of lieder--after a decade of piano pieces but nothing for the voice--has left us indisputably richer and grateful for this "Year of Song," as it is often called.
A unique trademark of the Schumann song, and nowhere more evident than in Dichterliebe, is the piano's postlude or epilogue. Whereas other composers may use these final measures to sum up what has been said, or perhaps to remind us of how the song began, Schumann often tells us things that go unverbalized during the song itself. The piano may sift through memories, or experience new emotions, even negate what the singer has just said, or embark on a new course of action...these are just a few events which may occur in a postlude by Schumann. The zenith of this technique is apparent in the ending of both Frauenliebe und -Leben, Op. 42 and tonight's offering as well. In both, the pianist has a full page of
solo music to illustrate the singer's psyche for us in sound. Often previous melodies are quoted; often, new music is needed for a new chapter yet to be lived, as is the case with Dichterliebe. The pianist is thrust abruptly into the spotlight, and must cope with the responsibility of articulating the inarticulatable; but where is the pianist who does not love this challenge
French song began to blossom only in the middle of the nineteenth century, well after its German counterpart. Berlioz and Gounod, unlike their predecessors, insisted on poems
of elegance and quality, and dressed their texts in music
with a high degree of sophistication and wit. But it was for Gabriel Faure to inherit these first steps and to eventually elevate the French melodie to its
' rightful place. Faure is known for his short piano
pieces, his chamber music with
strings and piano, but above all, for his songs. He held classical Greek architecture and art in the highest esteem, and made it his mission to remove romantic excess and sentimentality from French music, instilling a love of purity and simplicity in their place, much as Gluck had done a century earlier.
Faure had three distinct periods of composition, and as we follow his progress throughout his long life, it is easy to detect and appreciate the changes each peri?od brought. He begins with romantic, slightly sentimental but touching romances, advances to a world unique to himself, a world of exotic harmonic manipulation and the subtlest of melodic gestures, and finally enters the twentieth century with a rather
austere, streamlined way of writing which would seem dry compared to the preceding periods. Tonight, although not in chrono?logical order, we hear songs from the first two of these three periods. The earliest of these six songs is Apres un rive (1878) and one is struck immediately by its intense lyri?cism, its exploitation of vocal gesture in its melismatic writing, and the modesty of the piano's role. The song that immediately fol?lows is the latest composed of the set. In Prison, melismas are altogether absent, and the bitter cynicism of the text is captured perfectly. (Verlaine was deep in a self-destructive love affair that was to eventually ruin his life.) Apres un r&ve has lovely har?monies, but not shocking ones; Prison tex?tures intense chromaticism and defies easy analysis, and yet the experience strikes our ears as altogether simpler and purer, for we are seared by its economy. Also contained within this song set are examples of songs from the middle of Faure's career--Clair de lune and Mandoline--two of Verlaine's most elegant poems, words which strive to recre?ate the courtly, charming world of a century earlier as depicted in paintings by Fragonard and Watteau. Faure follows the poet's mis?sion perfectly, choosing first a minuet for piano solo with a vocal descant, and for Mandoline, a witty and decorative madrigal, sophisticated melismas sung over the constant chatter of the keyboard. En priere sounds earlier than it actually is, suc?ceeding in suggesting a vulnerable child's voice of supplication to Heaven. The group's first song, Les berceaux, is a much earlier song, but a perfect example of a consistent trait in Faure's songs. This composer is rarely interested in painting individual words or events; his style is to create an envelope into which the whole poem can easily fit. The rocking accompaniment first describes ships straining at their moorings, and then cradles rocked by anxious moth?ers--both captured expertly in the same ges?ture.
Henri Duparc's name is primarily known to lovers of French song. His entire published output consists solely of sixteen solo songs and one duet. A few works have been lost or were destroyed by the composer, but these too were pieces for voice. And yet, despite such a small quantity of music, Duparc is inevitably included on the shortest lists of important French composers. This is only possible because of the extraordinary quali?ty of these remaining few gems. Unlike Faure who resisted any foreign influence, particularly anything Germanic, Duparc was fascinated by the music of Wagner. He made several trips to Bayreuth, and speaks in his diary of his extreme joy at a chance meeting with the titanic maestro. Duparc maintains a firm allegiance to French lyricism and to the balance of a melody so crucial to Gallic tastes, and somehow combines these with a rich chromaticism that bespeaks his Wagnerian allegiance. The composer has orchestrated many of the sixteen songs, and
one hears instrumental colors and tex?tures throughout Duparc's work. We are fortunate tonight, for Mr. van Dam has long been a champion of Duparc's songs, and is the first noteworthy artist to record all of them.
Chanson triste is Duparc's earliest published song. Wide, arching vocal lines are underpinned with a harp-like accom?paniment, producing a feeling of sponta-
neous lyricism. The song's title is a bit of a misnomer, for this poem speaks only of hope, gratitude, and optimism. Baudelaire's exotic and erotic words provide the spark for the second song, L'invitation au voyage, written two years later in 1870. Seductive, even dangerous harmonic manipulation is very appropriate here to create the luxury and sensuality included in the invitation. The wedding of Duparc's music and Baudelaire's words only occurs in two songs,
but it is no less important than the Faure'-Verlaine fusion spoken of earlier. Lastly, we hear a rarity, Le Galop, which became avail?able only in a 1995 publication of Duparc's complete oeuvre. A rather Germanic song, this horse-riding saga is a first cousin to the ballads of Schubert and Loewe.
We cannot see into the future, but from our present perspective Poulenc serves to complete the evolution of the French melodie begun a century earlier by Berlioz. And again, it is in his songs that the hall?marks of his style can be found most easily. A gifted pianist with enormous hands, Poulenc has left pianists with formi?dable technical challenges in his accompani?ments. His instructions for pedaling are as much part of his compositions as the notes themselves, and create a whole new flavor of
intermingled sonorities for the
listener. Having found a text, Poulenc would recite it
over and over, often living with a poem for a year or more, until precisely the correct prosody present?ed itself to him, or per?haps a melodic twist that
underlined an ironic or
expressive moment. Poulenc's
whole generation was reacting
vigorously against romanticism, against impressionism, against symbolism. They preferred to state their ideas clearly and sim?ply, thus laying the cornerstone for the birth of neoclassicism in the twentieth century.
"I detest dirty stories, but I adore obscenity." This interesting and provocative statement by Francis Poulenc would perhaps explain his choice of these eight poems from a seventeenth-century book he found by chance, thus creating one of his signature
works: the Chansons gailliardes or Ribald Songs, composed in 1926. Pierre Bernac, the creator of this cycle, and indeed for most of the Poulenc songs for male voice, always cautioned against printing translations of these texts outside France. (Thus, reader, consider yourself forewarned and fore?armed!) There is no vulgarity in the music, however. Poulenc approaches these texts with great straightforwardness, candor, and respect. The result is quintessential Poulenc and provides a permanent fixture in any baritone's French repertoire.
Program notes by Martin Katz.
An acclaimed concert, oratorio, opera and lieder singer, Belgium native Jose" van Dam is one of today's most renowned and requested interpreters of the bass-baritone repertoire. He has been heard in all of the music capitals throughout Europe, North and South America and Japan, singing at opera houses and concert halls under many of the world's preeminent conductors.
Highlights of Jose van Dam's 199899 season included his aforementioned con?certs in Boston (an exclusive US engage?ment) and performances of Tosca and Falstaff in France, Carmen in Monte Carlo, Don Giovanni in Paris and The Damnation of Faust in Luxembourg.
A highly sought after recitalist, Mr. van Dam has traveled to the US in recent sea?sons for performances at Orchestra Hall in Chicago, Carnegie Hall in New York and in Boston, Los Angeles and Fort Worth. His engagements in Europe included Gianni Schicchi in Brussels, The Damnation of Faust in Geneva, Man of La Mancha in Liege; recitals in France and Spain; and on a tour of Japan he sang in Pelleas et Melisande. In Salzburg, in the summer of 1998, he sang in Messiaen's St. Francois d'Assise, a part for
which he has won much acclaim.
Further highlights of recent seasons include the role of Mephistopheles in Berlioz' The Damnation of Faust with the Metropolitan Opera Orchestra at Carnegie Hall in New York; Mahler Songs with the Montreal Symphony Orchestra and with the Chicago Symphony Orchestra and Pierre Boulez, Mr. van Dam performed songs by Ravel and Mahler. Other credits include appearances at the San Francisco Opera, Lyric Opera of Chicago, and the Metropolitan Opera where he has per?formed in several productions, including Pelleas et Melisande, The Tales of Hoffmann, The Marriage of Figaro and Der Fliegende Hollaender. He sang recitals in Montreal and Toronto and performed with the Los Angeles Philharmonic.
Jose van Dam is regularly invited to, and has performed at, the most esteemed opera houses and festivals in the world including Opera de Paris, Covent Garden, La Scala in Milan, Vienna State Opera, Deutsche Oper Berlin, the Metropolitan Opera, the Theatre Royal de la Monnaie in Brussels, Teatro Colon in Buenos Aires, the Salzburg Festival (Easter and summer) and festivals in Aix-en-Provence and Orange, France. He has appeared in numerous operas in these loca?tions portraying Falstaff, Wozzeck, Simon Boccanegra, Philip II (Don Carlo), Don Giovanni, the four villains in The Tales of Hoffmann, Boris Godunov, Sachs (Die Meistersinger von Niirnberg), Amfortas (Parsifal), the Flying Dutchman, Jochanaan (Salome), Mephisto (Gounod's Faust), and Berlioz' The Damnation of Faust. Recently he has sung, most successfully, his first Scarpia in Tosca, the title role in Gianni Schicchi and Selim in Turco in Italia. In 1983 he created the title part in the world premiere of Oliver Messiaen's St. Francois d'Assise at the Paris Opera, and later was equally acclaimed for this role in the Peter Sellars production at the 1992 Salzburg Festival.
Born in Brussels, Jose van Dam entered the Brussels Conservatory at age seventeen, graduating a year later with diplomas and first prize in voice and opera performance. Within a few years he had gained four prizes in competitions, winning the International Bel Canto Competition in Liege, the International Competition "Ecole des Vedettes" in Paris, the International Competition of Song of Toulouse, and the International Music Competition in Geneva. Mr. van Dam made his operatic debut in Liege as Don Basilio in Rossini's II Barbiere di Siviglia and subsequently performed the role of the Toreador Escamillo in Bizet's Carmen at Milan's La Scala, in Paris and at Covent Garden in London. Lorin Maazel heard Mr. van Dam and invited him to record Ravel's L'Heure Espagnole for Deutsche Grammophon with him and then asked him to join the Deutsche Oper in West Berlin where Mr. van Dam sang his first leading role.
The art of Jose van Dam can be heard on an extensive discography. His most recent releases are Die Meistersinger von
Niirnberg, conducted by Sir Georg Solti and Berlioz' Les Nuits d'ete, Serge Baudo con?ducting. Among his other recent recordings are Gounod's Faust, Oedipe by Enescu, Don Quichotte for EMI France and Pelleas et Melisande with Claudio Abbado (DGG), all of which have been honored with awards. He can be heard in the title role in Le Nozze di Figaro (Philips), in Carmen, conducted by Sir Georg Solti, Berlioz' Romeo et Juliette with the Boston Symphony under Seiji Ozawa and Simon Boccanegra with Claudio Abbado conducting La Scala Orchestra. He can also be heard in performances of Cosi fan tutte and Strauss' Salome with the Vienna Philharmonic and, with the Berlin Philharmonic and Herbert von Karajan, Beethoven's Fidelio and Symphony No. 9, Brahms' German Requiem, Bruckner's Te Deum, Mozart's Requiem and Coronation Mass, Debussy's Pelleas et Melisande and Wagner's Parsifal. He is a two-time Grammy Winner: in 1992 for principal soloist in "Best Opera Recording" (Richard Strauss' Die Frau ohne Schatten) and in 1985 for a recording of the songs of Maurice Ravel, with Pierre Boulez conducting the BBC Symphony Orchestra.
Jose van Dam was named a Baron by His Majesty Albert II of Belgium. Previously, the city of Berlin honored him with the title of "Kammersanger" and for his extraordinary interpretations on stage and on records, he has received the following awards: German Music Critics' Prize (1974), Gold Medal of the Belgian Press (1976), Grand Prix de VAcademie Francaise du Disque (1979), Orphee d'Or of the Academie Lyrique Francaise (1980), European Critics' Prize for his interpretation of the title part in St. Francois d'Assise in Paris (1985), Diapason d'Or and Prix de la Nouvelle Academie du Disque (1993) as well as the Orphee d'Or de VAcademie du Disque Lyrique (1994).
Jose van Dam starred in the motion pictures The Music Teacher (distributed by Orion Pictures) and Don Giovanni, as Leporello, conducted by Lorin Maazel and completed a video-film and recording of Voyage d'Hiver (Disque Forlane).
Tonight's recital marks Jose van Dam's UMS debut.
Pianist Maciej Pikulski was born in Poland, where he began his musical studies at the Krakow Conservatory. He continued his studies at the Superior National Conservatory of Music in Paris, where he was unanimously awarded first prize in piano studies, as well as first prizes in both chamber music and vocal accompaniment.
A student of Dominiquo Merlet, Mr. Pikulski continued his work as soloist with Clive Britton, himself a former pupil of Claudio Arrau. He also studied with Jacques Rouvier, Pascal Devoyon and Dimitri Bashkirov. Among his other influences are Charles Spencer, Martin Isepp, and Paul von Shilavski. Mr Pikulski has performed in recital, with orchestra and at festivals in England, France, Poland, Belgium, Italy and Russia. His solo recordings include Rachmaninoff Concerto No. 2 (in a limited edition), completed by works of Liszt and Chopin.
Inspired by the vocal repertoire, Mr. Pikulski studied lieder with Sylvaine Billier and Udo Reinemann. Subsequently, his accompanying talent was in tremendous demand in France and beyond, leading to performances with Renee Fleming, Felicity Dott, Udo Reinemann, Thierry Felix, Edith Wiens and Maria Baio.
Bass-baritone Jose van Dam recognizes Mr. Pikulski's remarkable talent, and since 1993, Mr. Pikulski has been the exclusive accompanist of the renowned singer, per-
forming together in the world's most presti?gious theaters and concert halls (La Scala in Milan, Carnegie Hall in New York, Teatro Colon in Buenos Aires, Theatre Royal de la Monnaie in Brussels and the Theatre des Chempe Elysees in Paris). Together, these artists give life to Henri Duparc's melodies in recitals in Portugal, Spain, Greece, Switzerland and Argentina. They also recorded two CDs devoted to the works of Duparc and BrahmsWolf.
Tonight's recital marks Made] Pikulski's UMS debut.
PU1,, American Repertory
Robert Brustein, Artistic Director Robert J. Orchard, Managing Director
Movement, Costumes, Masks, and Puppetry Music
Set Design Lighting Adaptation Sound Adaptation Production Restaging
Saturday Afternoon, October 21, 2:00 (Family Performance) Saturday Evening, October 21, 8:00 Sunday Afternoon, October 22, 2:00 Sunday Evening, October 22, 7:00 Power Center, Ann Arbor, Michigan
The King Stag
by Carlo Gozzi
English version by Albert Bermel
Andrei Serban
Julie Taymor Elliot Goldenthal
Michael H. Yeargan John Ambrosone Christopher Walker Abbie Katz
Twelfth, Thirteenth, Fourteenth and Fifteenth Performances of the 122nd Season
First Annual International Theater Festival
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Support for this performance is provided by media sponsor, Michigan Radio.
This is a Heartland Arts Fund Program, with major support from the National Endowment for the Arts and Michigan Council for Arts and Cultural Affairs.
Special thanks to the UMS Advisory Committee, U-M Theater Department, Residential College, and the U-M Living Learning Programs for their involvement in this residency.
This production and its tour have been made possible in part by the generous support of AT&T.
The King Stag is part of CrossCurrents, a major multi-year initiative of the A.R.T. and the Prince Music Theater in Philadelphia, designated to create and sustain a body of new music-theatre works. CrossCurrents is sponsored by Philip Morris Companies, Inc.
Large print programs are available upon request.
In Order of Appearance
Cigolotti, Durandarte's Servant Durandarte, A Magician and
Voice of Cigolotti's Parrot Tartaglia, Prime Minister Leandro, Son of Pantalone, A Courtier Clarice, Tartaglia's Daughter Angela, Daughter of Pantalone Pantalone, Second Minister to the King Brighella, Valet to the King Smeraldina, Brighella's Sister Truffaldino, Birdcatcher Deramo, The King
Movement of The Shadow Puppets, Marionettes, and Kites
Stage Manager Assistant Stage Manager Blue People Coordinator
Jeremy Rabb
Sean Runnette Dmetrius Conley-Williams Antonio Edwards Suarez Kristine Goto Sarah Howe William Church Douglas Goodenough Sophia Fox-Long Kevin Bergen Jay Boyer
Grant Smith
Mark Fortin Maura Nolan Henry Todd Thomas Peters Jeremy Proctor Naeemah White-Peppers
Martin Lechner Victoria Sewell Kelli Edwards
The Oriental Kingdom of Serendippo and the Forest of Miracoli.
Running time is approximately ninety minutes. There will be no intermission.
Denotes a member of the Actor's Equity Association.
Taking the Imaginary Seriously
Director Andrei Serban's Notes on The King Stag
y production, The King Stag at the A.R.T., formed part of my "year of Gozzi," begun with Puccini's opera Turandot, which was presented at the Olympic Arts Festival in Los Angeles and remounted for the opening of the Covent Garden season in London, and followed with a production of Prokofiev's opera based on The Love of Three Oranges in Geneva. The theatre of Carlo Gozzi seems to me an important point of reference and, in any case, the source to which I had to return in order to unravel the threads of theatrical?ity that the opera composers set in motion with their music. Here an opposition comes into play, embodied at one time in the quar?rels of Gozzi and Goldoni, and renewed at the turn of the century in the quarrels of Meyerhold and Stanislavski. (Meyerhold took Gozzi as his master, and even entitled the publication in which he set forth his theatrical theory, The Love of Three Oranges.) It is well known how fundamental this quarrel has been ever since for the choices that have been made in the contem?porary theatre. What Gozzi wanted to affirm is that the theatre's truth exists only within the theatre; that the theatre's function is not to copy or mimic any sort of reality; and that naturalism is a perversion of art. This is obviously equally true of opera, which is in its very essence an art of convention and of imagination--by the simple fact that in opera one expresses oneself in song.
Gozzi's scenarios represent first and foremost an homage to the theatre, to art-and the power of art that can create laugh-
ter, healthy and athletic laughter, that can heal--an homage to this intentional game that engages the imagination, the emotions, the intellect, and longing. For this reason we must play it truthfully, which means that we must not at any price undercut the joyous craziness of the work with a true-to-life lie that would be contrary to its nature. We must take the imaginary seriously, in its extreme creative liberty. For if the theoreti?cal reference point of this theatre is Meyerhold, its poetical reference point is Magritte: this great joy of surrealism that must lead to a very naive style of playing, like that of children's theatre, almost like a "Punch and Judy" show. It is also a matter of going back to the primary function, that of the medieval mysteries, which makes of it much more than a simple, silly diversion, but rather the actual staging of theatre in its very essence. The choice of the set in the form of a ring is to underline this image of the theatre-within-the-theatre. The game-
playing function in this setup is counterbal?anced by the presence of "spectators" who, from the "upper gallery," watch over the characters of the fable; a disturbing presence is superimposed on the parody. So it's a
Gozzi's scenarios represent first and foremost an homage to the theatre, to art--and the power of art that can create laughter, healthy and athletic laughter, that can heal."
kind of irrational windmill spinning about, mixing the comic, the absurd, the grating, and the irritating in an invented reality that is joyous and sparkling. Here the theatre is king, joy bursts forth, gestures crackle, agi?tated by a kind of organic pulsation that must be made to surge from the story--per?haps finding, along the way, the path to the "biomechanics" that Meyerhold talks about; in other words, something like an energy, a pattern of rhythms, a system of gestures. If the mill of images and sounds works right, the audience will feel pulled into this great wheel of made-up reality--into laughter. The King is also the audience.
Kevin Bergen (Truffaldino) has appeared off-Broadway as Sgt. Gregovich in Teahouse of the August Moon, and off-off-Broadway as the Schoolmaster in A Dream Play, Kulygin in The Three Sisters, Reuben Light in Dynamo, and in the original works Were You with Three-Legged Dog and The Women
of Orleans at HERE. Regionally, Mr. Bergen has performed with the American Repertory Theatre in Tartuffe, Alice in Bed, and The Cabinet of Dr. Caligari; with the Commonwealth Shakespeare Company as Mercutio in Romeo and Juliet; and with the People's Light and Theatre Company as Orlando in As You Like It, Camille in A Flea in Her Ear, Henry Antrobus in The Skin of Our Teeth, and Raleigh in Last Train to Nibroc. Kevin is a graduate of the American Repertory Theatre Institute for Advanced Theatre Training.
Jay Boyer's {Deramo) work at the American Repertory Theatre includes Slaughter City, The Cabinet of Doctor Caligari, and The Island of Anyplace. He played Florizel in A Winter's Tale with the Shakespeare Project in New York, and appeared with the Knightsbridge Theatre in Los Angeles in A Midsummer Nights Dream. He will soon be seen in the independent feature-film Secundus Venio. Mr. Boyer is a graduate of A.R.T. Institute for Advanced Theatre Training at Harvard, where some of his roles included Grangier in Overboard, and the Baboon in In The Jungle of Cities. He received his BA in Theatre and Economics from Vanderbilt University.
William Church (Pantalone) is a recent grad?uate of the A.R.T.MXAT Institute and holds an MFA from Moscow Art Theatre School. He appeared in the A.R.T. productions of The Ohio State Murders, Full Circle, and Ivanov, and is a founding member of the Baobab Theatre Company, where he played Ben in Seascape with Sharks and Dancer and Matthew in Private Eyes. He recently appeared in Macbeth at the Public Theatre in Boston, and has performed with the Repertory Theatre of St. Louis, the Illinois Shakespeare Festival, Hope Summer Repertory Theatre, and the Great American People Show. He directed children's theatre in
West Africa, while serving as a Peace Corps volunteer. Mr. Church is a graduate of Webster University's Conservatory of Theatre Arts and the Interlochen Arts Academy.
Dmetrius Conley-Williams (Tartaglia) appeared at the A.R.T. as the Messenger in The Bacchae, the Barker in Woyzeck, the Boatswain in The Tempest, and the Lord and Tailor in The Taming of the Shrew, as well as in the A.R.T. Institute productions of A Night Out, A Midsummer Night's Dream, Zeus Stories, Viva Detroit, and Six Degrees of Separation. He was seen as Mark Antony in Julius Caesar, Tybalt in Romeo and Juliet, and Lysander in A Midsummer Night's Dream with the Commonwealth Shakespeare Company, and performed the role of Marcel in Weldon Rising at the Coyote Theater, Boston Center for the Arts. Off-Broadway he was seen in Candide, The Resistible Rise of Arturo Ui, and The Creditors at Classic Stage Company in New York City. Resident credits include Leontes in The Winter's Tale at Shakespeare and Company, Unfinished Business at Indiana Repertory Theatre, and Ice House at the Actors Theatre of Louisville. Television credits include the PBS special The Reunion. He received his master's degree from the Moscow Art Theatre and is a graduate of the A.R.T.MXAT Institute for Advanced Theatre Training.
Sophia Fox-Long (Smeraldina) is a recent graduate of the A.R.T.MXAT Institute for Advanced Theatre Training. Her roles at A.R.T. include Emily in The Marriage of Bette and Boo (Best Ensemble Acting, Independent Reviewers of New England), the Lady in Andrei Serban's production of The Taming of the Shrew, and the Chorus in Don DeLillo's Valparaiso, as well as many roles at the A.R.T. Institute, including JessieMeloraLittle Melora in Crossdressing in the Depression and Varya in The Cherry
Orchard. Work in New York includes the title role in Mac Wellman's Hypatia (SoHo Rep; also presented at the A.R.T. Institute) and Jennie in Wellman's At Jennie Richee (Arts at St Ann's). Sophia holds a BA in English from Cambridge University, England (where her roles included Helena in A Midsummer Night's Dream and the Mother in Blood Wedding) and an MFA in Acting from the Moscow Art Theatre School, Russia.
Kristine Goto {Clarice) returns to the role of Clarice after appearing in A.R.T.'s 1996 revival of The King Stag. Her resident the?atre credits include Iko in Betty the Yeti at A Contemporary Theatre in Seattle and Frasquita in One Crazy Day or The Marriage of Figaro at the Arizona Theatre Company. At the Galvin Playhouse in Phoenix she played Lady Teazle in The School for Scandal (AFT&T Critics' Circle "Best Actress Award" nomination) and lead roles in A Flea in Her Ear, One Man's Dance, and As Is, among others. She recently returned to the US from Russia, having completed her masters degree in Acting at the Moscow Art Theatre School, and performing the lead role of Miranda in the MXAT American Studio production of Don Juan. She is a graduate of the A.R.T.MXAT Institute for Advanced Theatre Training at Harvard, where her roles included the title role in Medea, Masha in Three Sisters, Megara in Heracles, TitaniaHippolyta in A Midsummer Night's Dream, and the Evil Queen in The Island of Anyplace. Television credits include Killing Time for the MTV and Nickelodeon net?works, as well as a recurring role on the LifetimeEMG series Home Connection. Ms. Goto was a Regents' Scholar in Theatre and recipient of the Kader Award for Creative Achievement in the Art of Acting at Arizona State University, where she earned her BFA in Theatre Performance. She currently lives in Los Angeles.
Douglas Goodenough (Brighella) appeared as Antigonus in The Winter's Tale and as Ernest in The Idiots Karamazov at the A.R.T. He is a graduate of the Cincinnati Conservatory of Music and a recent gradu?ate of the A.R.T.MXAT Institute. His Institute credits include Joe Keller in All My Sons and Trigorin in The Seagull, as well as roles in St. Joan of the Stockyards, The Bluebird, Prelude and Liebestod, Phoebe's Got Three Sisters, and The Blind. Other profes?sional credits include Baylor in A Lie of the Mind at the Ensemble Theatre Cincinnati, Roger in Grease, Harry McAfee in Bye Bye Birdie, and Mr. Maracheck in She Loves Me.
Sarah Howe (Angela) is a recent graduate of the A.R.T.MXAT Institute, where she played the Mother in All My Sons and appeared in St. Joan of the Stockyards, The Great God Brown, and Phoebe's Got Three Sisters. She was seen on the A.R.T. stage as Perdita in The Winter's Tale last spring. Ms. Howe received her BFA from the Actor Training Program at the University of Utah.
Jeremy Rabb's (Cigolotti) regional theater credits include Man and Superman and Peter Pan & Wendy at the American Repertory Theatre; A Christmas Carol at Indiana Repertory Theatre; Young Abe Lincoln with TheatreworksUSA; Fiddler on the Roof, Damn Yankees, and Peter Pan at Maine State Music Theatre; Waiting for Godot and Hamlet with the Ritual Theatre Company; and Crumbs at Expanded Arts. His television credits include Africans in America (PBS) and Renaissance (PBS). A graduate of the American Repertory Theatre Institute at Harvard, Mr. Rabb's roles there included Trigorin in The Seagull and Michael in Someone Who'll Watch Over Me. He is a graduate of Princeton University.
Sean Runette (Durandarte) is a graduate of the A.R.T. Institute, and previously appeared with the A.R.T. in The King Stag at the Mitsui Festival in Tokyo, and in the A.R.T. New Stages production of Fun and Nobody. His New York credits include Waterbird at PS 122, The Merchant of Venice and Dead House at the End of the Street at NADA, Royal Blood and The Changeling at HERE, Yikes! at the Cucaracha Theatre and CSV Theater, Easter at Naked Angels, Proof through the Night at the Public Theater, and Sin at the Ohio Theater. Resident credits include Death of a Salesman at the Alley Theatre and the Papermill Playhouse and Pick Up Axe at San Jose Repertory Theatre. Mr. Runette appeared in the films Copland, Two If By Sea, My Girlfriend's Boyfriend, Angel in New York, and the upcoming film of Easter. Television credits include Law and Order, Sex in the City, and Third Watch.
Grant Smith (Percussionist) is involved in many world music, jazz, classical and dance projects in Boston and New York. His the?ater credits include the A.R.T.'s production of Shlemiel The First and The King Stag, Joel Grey's Borscht Capades, and Trish Seabree's Lounge People. He was also a contributor to the Allston Theater Project's production of The Firebugs. Mr. Smith has toured globally from Crakow to Thailand and New Zealand. He has performed with Itzhak Perlman, Yo-Yo Ma, Don Byron, the Violent Femmes, Garrison Keillor (A Prairie Home Companion on PBS), Jane Wang, Jenna Grace Smith, and the Green Bay Packers. A member of the Klezmer Conservatory Band, Mr. Smith has performed on many stages from Radio City, Wolf Trap, and Tanglewood to the Hollywood Bowl and the Concertgebouw in Amsterdam.
Antonio Suarez (Leandro) is a recent gradu?ate of the A.R.T.MXAT Institute, where he played Mauler in St. Joan of the Stockyards, Anthony in A Question of Mercy, the Blind Old Man in The Blind, the Fanatic Fan in Prelude and Liebestod, the Poet in Phoebe's Got Three Sisters, and Julio in Sarita. He appeared as Dmitry Karamazov in The Idiots Karamazov at the A.R.T., Trebonius and Octavius Caesar in Julius Caesar and as Ariel in The Tempest in the Commonwealth Shakespeare Company's productions on the Boston Common. In New York he has per?formed at LaMama ETC, Soho Rep, and the 42nd Street Collective. He is a graduate of Marymount Manhattan College, and received an MFA degree from the Moscow Art Theatre School.
Albert Bermel (English Version), whose previous association with the A.R.T. includes translating The King Stag, The Serpent Woman, The Miser, and three of the four Moliere farces in Sganarelle, is a distinguished author, critic, translator, playwright, and teacher. His translations, both published and performed, include works by Beaumarchais, Cocteau, Corneille, Courteline, Jarry, Labiche, and Moliere. His recent works include Moliere's Theatrical Bounty and Carlo Gozzi: Five Tales for the Theatre (co-translated by Ted A. Emery), both published by the University of Chicago Press. A Professor of Theatre at the City University of New York, Mr. Bermel received a Guggenheim Fellowship in Playwriting in 1965 and the George Jean Nathan Award for Dramatic Criticism in 1974.
Andrei Serban (Original Director) is a renowned director and has worked in the US with LaMama Theatre, the Public Theatre, Lincoln Center, Circle in the Square, Yale Repertory Theatre, the Guthrie Theatre, A.C.T., and the New York City,
Seattle and Los Angeles Operas, in addition to the American Repertory Theatre. In Europe, Mr. Serban has worked at the Paris, Geneva, Vienna, and Bologna Opera Houses, the Welsh National Opera, Covent Garden, Theatre de la Ville, Helsinki Lilla Teatern, the Bucharest Municipal Theatre; and in Japan with the Shiki Company of Tokyo. He has taught acting and directing at Yale, University of California, Carnegie-Mellon, Sarah Lawrence, the Paris Conservatoire d'Art Dramatique, and the A.R.T. Institute for Advanced Theatre Training, and has received grants from the Ford, Guggenheim, and Rockefeller Foundations. Several of his productions have been nominated for Broadway and off-Broadway awards. Andrei Serban is current?ly the Director of the Oscar Hammerstein Center for the Performing Arts at Columbia University.
Julie Taymor's (ChoreographerCostumes MasksPuppetry) many credits worldwide include The Lion King (Tony Awards for "Best Direction" and "Best Costumes") and The Green Bird on Broadway, The Green Bird and Titus Andronicus at the Theatre for a New Audience in New York, The Tempest for the American Shakespeare Festival, The Transposed Heads for Lincoln Center, and Liberty's Taken (an original musical co-cre?ated with David Suehsdorf and Elliot Goldenthal). Her opera productions include Salome in St. Petersburg, Russia, The Flying Dutchman for the Los Angeles Opera, Oedipus Rex for the Saito Kinen Festival, Japan, and The Magic Flute for Maggio Musicale, Florence. She directed, designed, and co-wrote (with Elliot Goldenthal) Juan Darien: A Carnival Mass (winner of five Tony nominations and several Obies) pre?sented at the Edinburgh Festival, on a tour of the US West Coast, and at Lincoln Center in New York. Her first film, Titus Andronicus, was recently released worldwide.
She also adapted and directed two stories by Edgar Allan Poe for Public Television's American Playhouse. She is a McArthur and Guggenheim Fellow.
Michael Yeargan (Set Designer) designed sets for Long Day's Journey Into Night, The Threepenny Opera, The Juniper Tree, The Seven Deadly Sins, and Sganarelle at the A.R.T. He is resident designer for the Yale Repertory Theatre and Professor of Stage Design at Yale School of Drama. Mr. Yeargan has designed extensively in American resident theatres and on Broadway, and for opera companies throughout the US and Europe. Designs in Britain include Eugene Onegin, I Puritani, La Boheme, Norma, and Beatrice and Benedict for Welsh National Opera; Carmen and La Forza del Destino for Scottish Opera; and Attila, Simon Boccanegra, Stiffelio, and Aida for Covent Garden. Work elsewhere includes Cost fan tutte for Frankfurt Opera, and Werther, Rigoletto, and La Traviata for the Australian Opera. His US productions include Cost fan tutte, Ariadne aufNaxos, and Otello for the Metropolitan Opera, Anthony and Cleopatra and Susannah for the Lyric Opera of Chicago, Hansel and Gretel for the Dallas Opera, and Attila for the Houston Grand Opera.
Elliot Goldenthal's (Composer) theatre compositions include The Serpent Woman at the A.R.T., Titus Andronicus, The Taming of the Shrew, and The Tempest for Theatre for a New Audience; The Transposed Heads for Lincoln Center and the American Music Theatre Festival; and Juan Darien (Obie Award) at Lincoln Center. Mr. Goldenthal's orchestral works include Shadow Play Scherzo, a commission for the Brooklyn Philharmonic in honor of Leonard Bernstein's seventieth birthday, Pastime Variations for the Haydn-Mozart Chamber Orchestra at BAM, and Fire, Water, Paper: A
Vietnam Oratorio for the Boston Symphony Orchestra, presented at Carnegie Hall and the Kennedy Center. His film scores include Michael Collins (Oscar nomination), Batman Forever, Interview with a Vampire (for which he received an Oscar nomina?tion), Drugstore Cowboy, and Pet Cemetery. He received the NY Foundation for the Arts Fellowship and the First Annual Toscanini Award, the Stephen Sondheim Award at the American Music Theatre Festival, the Richard Rogers Award, and an Obie Award.
John Ambrosone (Lighting Designer) has designed thirty-five productions for the A.R.T., including The Winter's Tale, The Ohio State Murders, Ivanov, The Cripple of Inishmaan, Charlie in the House of Rue, Valparaiso, The Marriage ofBette and Boo, How I Learned to Drive, Nobody Dies on Friday, Man and Superman, The Old Neighborhood, When the World Was Green (A Chef's Fable), Alice in Bed, Slaughter City, and Buried Child. On Broadway he designed The Old Neighborhood. Work in resident theatres includes the Alley Theatre, Long Wharf Theatre, the Coconut Grove Playhouse, Brooklyn Academy of Music (BAM), the Walnut St. Theatre, and Arena Stage. Mr. Ambrosone also has designed in Singapore, Moscow, Japan, Brazil, Taiwan, Mexico, Germany, and France.
Christopher Walker (Sound Designer) composed music and designed sound at the A.R.T. for The Tempest, the trio of plays by Beckett: Eh Joe, Ghost Trio, and Nacht und Traume for An Evening of Beckett. Previously he composed music and designed sound for such productions as A Streetcar Named Desire, Arms and the Man, and Born Yesterday at the Intiman Theatre; Little Murders, The Play's the Thing, and Twelfth Night at the Bathhouse Theatre; and Lust and Pity, Not Sunset Boulevard, and The Holiday Survival Game Show at the Alice B.
Theatre. He also scores for dance and has composed for the Allegro Dance Festival, the Bumber-shoot Festival, and On the Boards.
Abbie Katz (Director) began her affiliation with the American Repertory Theatre in 1981, stage-managing the original produc?tion of The King Stag in 1984. She is cur?rently Associate Producer with the International Festival of Arts & Ideas, based in New Haven.
Martin Lechner (Stage Manager) previously stage-managed the A.R.T. production of Loot. He spent five seasons at the Shakespeare Theatre in Washington, DC, stage-managing Henry IV, Henry V, Henry VI, As You Like It, The Tempest, Peer Gynt, Julius Caesar, and Sweet Bird of Youth. He has also worked at the Julliard Drama School in New York and the Alley Theatre in Houston, and he spent two seasons as Production Stage Manager at the New Jersey Shakespeare Festival, participating in two national tours and several regional tours.
Robert Brustein (Artistic Director) is the founding director of the Yale Repertory and American Repertory Theatres, and has supervised well over two-hundred produc?tions, acting in eight and directing twelve
(including his own adaptations of The Father, Ghosts, The Changeling, and the tril?ogy of Pirandello works: Six Characters in Search of an Author, Right You Are (If You Think You Are), and Tonight We Improvise). He has written eleven adaptations for the A.R.T. (most recently Shlemiel the First, The Wild Duck, and The Master Builder) and is the author of twelve books on theatre and society, including Reimagining American Theatre; The Theatre of Revolt, Dumbocracy in America; Making Scenes, a memoir of his Yale years when he was Dean of the Drama School; and Who Needs Theatre, a collection of reviews and essays for which he received his second George Jean Nathan Award for dramatic criticism. His latest book, Cultural Calisthenics, was released last year. Mr. Brustein also served for twenty years as Director of the Loeb Drama Center, and is Professor of English at Harvard and drama critic for the New Republic. He is a recipient of the George Polk Award in journalism, the Elliot Norton Award for professional excel?lence in Boston theatre, the New England Theatre Conference's 1985 Annual Award "for outstanding creative achievement in the American theatre," the 1995 American Academy of Arts and Letters Award for Distinguished Service to the Arts, the Pirandello Medal, and a medal from the Egyptian Government for his contribution to world theatre. His Six Characters in Search of an Author won the Boston Theatre Award for Best Production of 1996. His play Demons, which was broadcast on WGBH radio in 1993, had its stage world premiere as part of A.R.T. New Stages. His play Nobody Dies on Friday was given its world premiere in the same series and was pre?sented at the Singapore Festival of Arts, and his short play, Poker Face, was presented by the Boston Playwrights Theatre. His new play, The Face-Lift, is being premiered dur?ing the A.R.T. 2000-01 season. Mr. Brustein is a member of the American Academy of
Arts and Letters and the American Academy of Arts and Sciences.
Robert J. Orchard (Managing Director) co-founded the A.R.T. with Robert Brustein in 1979 and has served as the Company's Managing Director for twenty-one years. Recently, he was also appointed Director of the Loeb Drama Center at Harvard. Prior to 1979, he was Managing Director of the Yale Repertory Theatre and the School of Drama for seven years, where he also served as Associate Professor and Co-Chairman of the Theatre Administration Department. For the past fifteen years, Mr. Orchard has been active in facilitating exchanges, leading sem?inars, and advising on public policy with theatre professionals and government offi?cials in Russia. Mr. Orchard has served as Chairman of both the Theatre and the OperaMusical Theatre Panels at the National Endowment for the Arts, on the Board and Executive Committee of the American Arts Alliance, the national advo?cacy association for the performing and visual arts, and as a trustee of Theatre Communications Group (TCG), the nation?al service organization for the American professional theatre and publisher of American Theatre magazine. Mr. Orchard recently received the Elliot Norton Award for Sustained Excellence.
The American Repertory Theatre (A.R.T.), under the leadership of Artistic Director Robert Brustein and Managing Director Robert J. Orchard, is recognized as one of the world's leading producing organizations and theatrical training conservatories. Since 1980, operating in association with Harvard University, the Company has presented 145 productions, eighty-two of which were pre?mieres, new translations and adaptations. The A.R.T. has performed at the main festi-
vals in Edinburgh, Asti, Avignon, Belgrade, Ljubljana, Israel, Holland, Venice, Paris, Sao Paulo, Moscow, Madrid, Quebec, Tokyo, Singapore, and Taipei; and in this country it has played in sixty-three cities in twenty states, including the Olympic Arts Festival in Los Angeles. The A.R.T. has been the recipient of the Pulitzer Prize, the Jujamcyn Award, a special Tony Award, and the Best in France Award. As one of the few compa?nies in this country with a resident acting ensemble still performing in rotating reper?tory, the A.R.T. has welcomed major American and international artists who, with their special talents, have enlivened the theatrical atmosphere of the whole nation. The A.R.T. is also one of the few theatres in this country that serves as a professional training ground with programs in acting, directing, and dramaturgy that are fully integrated with the activities of the Company. Established in 1987, The Institute for Advanced Theatre Training at Harvard is now a joint two-year program with the Moscow Art Theatre School in a historic, exclusive, worldwide partnership that includes a three-month residency in Moscow, master teachers from both coun?tries, and the opportunity to perform at selected European festivals. Upon comple?tion of the curriculum students receive a Certificate of Achievement and a Master of Fine Arts Degree.
This weekend's performances ofThe King Stag mark the debut appearances of the American Repertory Theatre under UMS auspices.
Worldwide Representation
Extremetaste, Ltd
Jon H. Teeuwissen Jedediah Wheeler
?S Bryn Terfel Bass-Baritone
Bank One, Rakefet Hak, Piano
Trois Melodies Francises
Nuit d'Etoiles
Claude Debussy
(Theodore Faullin de Banville)
Nuit d'e'toiles, sous tes voiles,
Sous ta brise et tes parfums,
Triste lyre qui soupire,
Je reve aux amours defunts.
La sereine melancolie
Vient ?clore au fond de mon coeur,
Et j'entends Tame de ma mie
Tressaillir dans le bois reveur.
Je revois a notre fontaine
Tes regards bleus comme les cieux;
Cette rose, c'est ton haleine,
Et ces 6toiles sont tes yeux.
Apres un rfrve, Op. 7, No. 1 Gabriel Faure' (Romain Bussine)
Dans un sommeil que charmait ton image, Je revais le bonheur
ardent mirage; Tes yeux 6taient plus doux, ta voix
pure et sonore, Tu rayonnais comme un ciel eclaire1
par l'aurore.
Tu m'appelais, et je quittais la terre, Pour m'enfuir avec toi vers la lumiere. Les cieux pour nous entr'ouvraient
leurs nues, Splendeurs inconnues,
lueurs divines entrevues. Helas! Helas! triste reveil des songes Je t'appelle, 6 nuit, rends-moi
tes mensonges! Reviens, reviens radieuse, Reviens, 6 nuit myste'rieuse!
Three French Melodies
Night of Stars
Night of stars, beneath your veils,
Amid your breezes and your scents,
While a sad lyre is sighing,
1 dream of my late loves.
Serene melancholy
Suddenly unfolds at the bottom of my heart,
And I sense the soul of my beloved
Trembling in the dreaming forest.
I see again, in our fountain,
Your glances blue as the skies;
This rose, it is your breath,
And these stars are your eyes.
After a Dream
In sleep charmed by your image, I dreamed the glowing
mirage of happiness; Your eyes were more sweet, your voice
pure and rich; You shone like a sky lighted by the
You called to me, and I left the earth, To fly with you toward the light. The skies half-opened their clouds
for us, Unknown splendours,
divine lights only glimpsed. Alas! Alas! Sad awakening from dreams; I call to you, o night, give me
back your illusions! Return, return in radiance, Return, o mysterious night!
Automne, Op. 18, No. 3
{Armand Silvestre)
Automne au ciel brumeux,
aux horizons navrants, Aux rapides couchants, aux aurores palies, Je regarde couler comme l'eau du torrent, Tes jours faits de melancolie. Sur l'aile des regrets, mes esprits emportes, Comme s'il se pouvait que notre age renaisse, Parcourent en revant les coteaux enchantes, Oil, jadis, sourit ma jeunesse! Je sens au clair soleil du
vainqueur, Refleurir en bouquet
les roses deiiees, Et monter a mes yeux des larmes,
qu'en mon coeur Mes vingt ans avaient oubliees!
Autumn of misty skies,
of heart-rending horizons, Of hasty sunsets, of pale dawns, I see flowing like the waters of a torrent, Your days filled with melancholy. My thoughts, carried away on wings of regret, As if our lifetime could be reborn, Roam dreaming through the enchanted hills, Where, in days gone by, my youth delighted! I feel in the bright sunlight of souvenir
triumphant recollections, The scattered roses blooming again
in a bouquet, And I feel tears rising to my eyes,
which in my heart My twenty years had forgotten!
Three Songs
Frajiz Schubert
Trinklied, D. 888
(Ferdinand Mayerhofer von Griinbiihel)
Bacchus, feister Fiirst des Weins, Komm mit Augen hellen Scheins, Uns're Sorg' ersauf' dein Fass, Und dein Laub uns kronen lass. Full' uns, bis die Welt sich dreht! Full' uns, bis die Welt sich dreht!
Standchen, D. 889
{Friedrich Reil)
Horch, horch, die Lerch' im Atherblau!
Und Phobus, neu erweckt,
Trankt seine Rosse mit dem Tau,
Der Blumenkelche deckt.
Der Ringelblume Knospe schleufit
Die goldnen Auglein auf;
Mit allem, was da reizend heifit,
Du stifie Maid, steh aufi
Drinking Song
Come thou monarch of the vine, Plumpy Bacchus, with pink eyne! In thy fats our cares be drown'd With thy grapes our hairs be crown'd Cup us 'till the world go round! Cup us 'till the world go round!
Hark, hark, the lark in the blue of heaven!
And Phoebus, newly awakened,
Waters his steeds with the dew
That lies on chaliced flowers.
The marigold bud opens
It's little golden eyes;
Along with every lovely thing,
Sweet maid, arise!
(Eduard von Bauernfeld)
Was ist Silvia, saget an, DaB sie die weite Flur preist Schon und zart seh ich sie nahn; Auf Himmelsgunst und Spur weist, Dafi ihr alles untertan.
Ist sie schon und gut dazu Reiz labt wie milde Kindheit; Ihrem Aug' eilt Amor zu, Dort heilt er seine Blindheit Und verweilt in siifier Ruh'.
Darum Silvia, ton, o Sang, Der holden Silvia Ehren; Jeden Reiz besiegt sie lang, Den Erde kann gewahren: Kranze ihr und Saitenklang!
To Sylvia
What is Sylvia, tell me, That the wide meadow extols her I see her approach, fair and tender; A sign of heaven's favor is That all are subject to her.
Is she kind as well as fair
Refreshing are her gentle childlike charms;
Cupid hastens to her eyes,
There to cure his blindness
And linger in sweet peace.
Then, O song, resound to Sylvia,
To fair Sylvia's glory;
Long has she acquired every grace
That earth can bestow:
Bring her garlands and the sound of strings!
Schwanengesang, D. 957, Op. posth. (excerpts)
Franz Schubert
(Ludwig Rellstab)
Rauschendes Bachlein, so silbern und hell, Eilst zur Geliebten so
munter und schnell Ach, trautes Bachlein, mein Bote sei du; Bringe die Griifie des Fernen ihr zu.
All ihre Blumen im Garten gepflegt, Die sie so lieblich am Busen tragt, Und ihre Rosen in purpurner Glut, Bachlein, erquicke mit kiihlender Flut.
Wenn sie am Ufer, in Traume versenkt, Meiner gedenkend, das Kopfchen hangt, Troste die SiiBe mit freundlichem Blick, Denn der Geliebte kehrt bald zuriick.
Neigt sich die Sonne mit rotlichem Schein, Wiege das Liebchen in Schlummer ein. Rausche sie murmelnd in
sufie Ruh, Fliistre ihr Traume der Liebe zu.
Love's Message
Murmuring brook, so silver and bright, Do you hasten, so lively and swift,
to my beloved
Ah, sweet brook, be my messenger; Bring her greetings from her distant lover.
All the flowers, tended in her garden, Which she wears so charmingly on her breast, And her roses in their crimson glow, Refresh them, brooklet, with your cooling waters.
When on your banks she inclines her head, Lost in dreams, thinking of me, Comfort my sweetheart with a kindly glance, For her beloved will soon return.
When the sun sinks in a red flush,
Lull my sweetheart to sleep.
With your soft murmurings bring her
sweet repose, And whisper dreams of love.
Das Fischermadchen
(Heinrich Heine)
Du schones Fischermadchen, Treibe den Kahn ans Land; Komm zu mir und setze dich nieder, Wir kosen Hand in Hand.
Leg an mein Herz dein Kopfchen, Und furchte dich nicht zu sehr; Vertraust du dich doch sorglos Taglich dem wilden Meer.
Mein Herz gleicht ganz dem Meere, Hat Sturm und Ebb' und Flut; Und manche scheme Perle In seiner Tiefe ruht.
Der Doppelganger
(Heinrich Heine)
Still ist die Nacht, es ruhen die Gassen; In diesem Hause wohnte mein Schatz. Sie hat schon langst die Stadt verlassen, Doch steht noch das Haus auf demselben Platz.
Da steht auch ein Mensch und starrt in die Hohe, Und ringt die Hande vor Schmerzensgewalt; Mir graust es, wenn ich sein Antlitz sehe-Der Mond zeigt mir meine eigne Gestalt. Du Doppelganger, du bleicher Geselle! Was affst du nach mein Liebesleid, Das mich gequalt auf dieser Stelle so manche Nacht, in alter Zeit
Die Taubenpost
{Johann Gabriel Seidl)
Ich hab'eine Brieftaub in meinem Sold, Die ist ergeben und treu; Sie nimmt mir nie das Ziel zu kurz, Und fliegt auch nie vorbei.
Ich sende sie viel tausendmal Auf Kundschaft taglich hinaus, Vorbei an manchem lieben Ort, Bis zu der Liebsten Haus.
Dort schaut sie zum Fenster heimlich hinein, Belauscht ihren Blick und Schritt, Gibt meine GriiBe scherzend ab, Und nimmt die ihren mit.
The Fisher Maiden
Lovely fisher maiden,
Guide your boat to the shore;
Come and sit beside me,
And hand in hand we'll talk of love.
Lay your little head on my heart, And do not be too afraid; For each day you trust yourself Without fear to the turbulent sea.
My heart is just like the sea,
It has its storms, its ebbs and flows;
And many a lovely pearl
Rests in its depths.
The Wraith
The night is still, the streets are at rest;
In this house lived my sweetheart.
She has long since left town,
But the house still stands on the self-same spot.
A man stands there too,
staring up,
And wringing his hands in anguish; I shudder when I see his face-The moon shows me my own form. You wraith, pallid companion! Why do you ape the pain of my love Which tormented me on this very spot, So many a night, in days long past
Pigeon Post
I have a carrier-pigeon in my pay, Devoted and true; She never stops short of her goal And never flies too far.
Each day I send her out
A thousand times on reconnaissance,
Past many a beloved spot,
To my sweetheart's house.
There she peeps furtively in at the window, Observing her every look and step, Conveys my greeting breezily, And brings hers back to me.
Kein Briefchen brauch ich zu schreiben mehr, Die Trane selbst geb ich ihr; Oh sie vertragt sie sicher nicht, Gar eifrig dient sie mir.
Bei Tag, bei Nacht, im Wachen, im Traum, Ihr gilt das alles gleich; Wenn sie nur wandern, wandern kann, Dann ist sie iiberreich.
Sie wird nicht miid, sie wird nicht matt, Der Weg ist stets ihr neu; Sie braucht nicht Lockung, braucht nich Lohn, Die Taub ist so mir treu.
Drum heg ich sie auch so treu an der Brust,
Versichert des schonsten Gewinns;
Sie heiBt--die Sehnsucht!
kennt ihr sie
Die Botin treuen Sinns.
I no longer need to write a note,
I can give her my very tears;
She will certainly not deliver them wrongly,
So eagerly does she serve me.
Day or night, awake or dreaming, It is all the same to her; As long as she can roam She is richly contented.
She never grows tired or faint, The route is always fresh to her; She needs no enticement or reward, So true is this pigeon to me.
That's why I cherish her as truly in my heart,
Certain of the fairest prize;
Her name is--Longing!
Do you know her
The messenger of constancy.
Three Songs
Robert Schumann
Venezianische Lied I, from Myrthen, Op. 25 Venetian Song I
(Thomas Moore)
Leis' ruder hier,
Mein Gondolier,
Leis', leis'!
Die Flut vom Ruder spriihn,
So leise lafi,
DaK sie uns nur vernimmt,
Zu der wir ziehn!
O konnte, wie er schauen kann,
Der Himmel reden traun,
Er sprache vieles wohl von dem,
Was nachts die Sterne schaun!
Nun rasten hier,
Mein Gondolier;
Sacht, sacht!
Ins Boot die Ruder! sacht, sacht!
Auf zum Balkone schwing' ich mich,
Doch du haltst unten Wacht.
O wollten halb so eifrig nur
Dem Himmel wir uns weihn,
Als schoner Weiber Diensten traun,
Wir konnten Engel sein! Sacht!
Row gently here,
My gondolier,
Gently! Gently!
So softly wake the tide,
That not an ear
On earth may hear,
But hers to whom we glide!
Had Heaven but tongues to speak, as well
As he has starry eyes to see,
Oh, think what tales 'twould have to tell
Of wand'ring youths like me!
Now rest thee here,
My gondolier;
Hush, hush, for up I go!
To climb yon light
Balcony's height
While thou keep'st watch below.
Ah! did we take for Heaven above
But half such pains as we
Take, day and night, for women's love,
What Angels we should be!
Venetianische Lied II
Wenn durch die Piazzetta Die Abendluft weht, Dann weifit du, Ninetta, Wer wartend hier steht. Du weifit, wer trotz Schleier
und Maske dich kennt, Wie Amor die Venus
am Nachtfirmament.
Ein Schifferldeid trag' ich Zur selbigen Zeit, Und zitternd dir sag' ich: "Das Boot liegt bereit! O komm, wo den Mond
noch Wolken umziehn, Lafi durch die Lagunen, mein Leben, uns fliehn!"
Die beiden Grenadiere, Op. 49, No. 1
Nach Frankreich zogen zwei Grenadier', Die waren in RuSland gefangen. Und als sie kamen ins deutsche Quartier, Sie liefien die Kopfe hangen.
Da horten sie beide die traurige Mar: Dafi Frankreich verloren gegangen, Besiegt und geschlagen das tapfere Heer-Und der Kaiser, der Kaiser gefangen.
Da weinten zusammen die Grenadier' Wohl ob der klaglichen Kunde. Der eine sprach: "Wie weh wird mir, Wie brennt meine alte Wunde!"
Der andre sprach: "Das Lied ist aus, Auch ich mocht' mit dir sterben, Doch hab' ich Weib und Kind zu Haus, Die ohne mich verderben."
"Was schert mich Weib, was schert mich Kind Ich trage weit besser Verlangen; Lafi sie betteln gehn, wenn sie hungrig sind-Mein Kaiser, mein Kaiser gefangen!
Gewahr mir, Bruder, eine Bitt':
Wenn ich jetzt sterben werde,
So nimm meine Leiche nach Frankreich mit,
Begrab mich in Frankreichs Erde.
Venetian Song II
When through the Piazzetta Night breathes her cool air, Then, dearest Ninetta, I'll come to thee there. Beneath thy mask shrouded,
I'll know thee afar, As Love knows, though clouded,
his own Evening Star.
In garb, then, resembling Some gay gondolier, I'll whisper thee, trembling: "Our bark, love, is near! Now, now, while there hover
those clouds o'er the moon, 'Twill waft thee safe over you silent Lagoon!"
The Two Grenadiers
To France were trudging two grenadiers Who had been taken captive in Russia, And as they came to the German quarters They hung their heads in sorrow.
There they heard the grievous news That France had been lost, Her valiant army defeated and shattered-And the Emperor, the Emperor captured.
Then the grenadiers wept together
At these sorry tidings.
Once said, "Alas! alas!
My old wound is burning!"
The other said, "This is the end; I would gladly die with you, But I've a wife and child at home Who without me will perish."
"What care I for wife or child My thoughts are on greater things; Let them beg if they are hungry-My Emperor, my Emperor is captured!
Grant me brother, one favor: If I am now to die, Take my body to France with you And bury me in French soil.
Das Ehrenkreuz am roten Band Sollst du aufs Herz mir legen; Die Flinte gib mir in die Hand, Und giirt mir urn den Degen.
So will ich liegen und horchen still, Wie eine Schildwach', im Grabe, Bis einst ich hore Kanonengebriill Und wiehernder Rosse Getrabe.
Dann reitet mein Kaiser wohl
iiber mein Grab,
Viel Schwerter klirren und blitzen; Dann steig' ich gewaffnet hervor
aus dem Grab-Den Kaiser, den Kaiser zu schutzen!"
Lay on my heart my cross Of honor on it's red riband; Put my musket in my hand, And gird my sword about me.
So, like a sentry, will I lie In my grave, silently listening Until one day I hear the cannons' roar And the trot of neighing horses.
Then my Emperor will ride
over my grave,
Many swords will clash and flash; Then, fully armed, I will rise
from my grave-To defend my Emperor, my Emperor!"
A Shropshire Lad (excerpts)
George Butterworth (Alfred Edward Housman)
Loveliest of Trees
Loveliest of trees, the cherry now Is hung with bloom along the bough, And stands about the woodland ride Wearing white for Eastertide.
Now, of my three-score years and ten, Twenty will not come again, And take from seventy springs a score, It only leaves me fifty more.
And since to look at things in bloom Fifty springs are little room, About the woodlands I will go To see the cherry hung with snow.
When I was one-and-twenty
When I was one-and-twenty
I heard a wise man say,
"Give crowns and pounds and guineas
But not your heart away;
Give pearls away and rubies
But keep your fancy free."
But I was one-and-twenty,
No use to talk to me.
When I was one-and-twenty I heard him say again "The heart out of the bosom Was never given in vain; 'Tis paid with sighs a plenty And sold for endless rue." And I am two-and-twenty, And oh, 'tis true, 'tis true.
Look not in my eyes
Look not in my eyes, for fear They mirror true the sight I see, And there you find your face too clear And love it and be lost like me.
On the long nights through must lie Spent in star defeated sighs, But why should you as well as I Perish Gaze not in my eyes.
A Grecian lad, as I hear tell, One that many loved in vain, Looked into a forest well And never looked away again.
There, when the turf in spring-time flowers, With downward eye and gazes sad, Stands amid the glancing showers A jonquil, not a Grecian lad.
Think no more, lad.
Think no more, lad; laugh, be jolly: Why should men make haste to die Empty heads and tongues a-talking Make the rough road easy walking, And the feather pate of folly Bears the falling sky.
Oh, 'tis jesting, dancing, drinking Spins the heavy world around. If young hearts were not so clever, Oh, they would be young for ever: Think no more; 'tis only thinking Lays lads underground.
Think no more, lad; laugh, be jolly: Why should men make haste to die Empty heads and tongues a-talking Make the rough road easy walking, And the feather pate of folly Bears the falling sky.
The lads in their hundreds
The lads in their hundreds to Ludlow come
in for the fair, There's men from the barn and the forge and
the mill and the fold, The lads for the girls and the lads for the
liquor are there, And there with the rest are the lads that will
never be old.
There's chaps from the town and the field
and the till and the cart, And many to count are the stalwart, and
many the brave, And many the handsome of face and the
handsome of heart, And few that will carry their looks or their
truth to the grave.
I wish one could know them, I wish there
were tokens to tell The fortunate fellows that now you can
never discern; And then one could talk with them friendly
and wish them farewell And watch them depart on the way that they
will not return.
But now you may stare as you like and
there's nothing to scan; And brushing your elbow unguessed at and
not to be told, They carry back bright to the coiner the
mintage of man, The lads that will die in their glory and
never be old.
Is my team ploughing
"Is my team ploughing, That I was used to drive And hear the harness jingle When I was man alive"
Ay, the horses trample,
The harness jingles now:
No change though you lie under
The land you used to plough.
"Is football playing Along the river shore, With lads to chase the leather, Now I stand up no more"
Ay, the ball is flying, The lads play heart and soul; The goal stands up, the keeper Stands up to keep the goal.
"Is my girl happy, That I thought hard to leave, And has she tired of weeping, As she lies down at eve"
Ay, she lies down lightly, She lies not down to weep: Your girl is well contented. Be still, my lad, and sleep.
"Is my friend hearty, Now I am thin and pine, And has he found to sleep in A better bed than mine"
Yes, lad, I lie easy,
I lie as lads would choose;
I cheer a dead man's sweetheart,
Never ask me whose.
Three Songs
John Ireland {John Masefield)
Sea Fever
I must go down to the seas again, to the
lonely sea and the sky, And all I ask is a tall ship and a star to steer
her by, And the wheel's kick and the wind's song
and the white sail's shaking, And a grey mist on the sea's face and a grey
dawn breaking.
I must go down to the seas again, for the call
of the running tide Is a wild call and a clear call that may not be
denied; And all I ask is a windy day with the white
clouds flying, And the flung spray and the blown spume
and the seagulls crying.
I must go down to the seas again, to the
vagrant gypsy life, To the gull's way and the whale's way where
the wind's like a whetted knife; And all I ask is a merry tale from a laughing
fellow-rover, And quiet sleep and a sweet dream when the
long trick's over.
The Bells of San Marie
It's pleasant in Holy Mary
By San Marie lagoon,
The bells they chime and jingle
From dawn to afternoon.
They rhyme and chime and mingle,
They pulse and boom and beat,
And the laughing bells are gentle
And the mournful bells are sweet.
Oh, who are the men that ring them, The bells of San Marie, Oh, who but sonsie seamen Come in from over sea, And merrily in the belfries They rock and sway and hale, And send the bells a-jangle, And down the lusty ale.
It's pleasant in Holy Mary
To hear the beaten bells
Come booming into music,
Which throbs, and clangs, and swells,
From sunset till the daybreak,
From dawn to afternoon.
In port of Holy Mary
On San Marie lagoon.
The Vagabond
Dunno a heap about the what an' why, Can't say's I ever knowed. Heaven to me's a fair blue stretch of sky, Earth's jest a dusty road.
Dunno the names o' things, nor what they are, Can't say's I ever will.
Dunno about God--he's just the noddin' star Atop the windy hill.
Dunno about Life--it's jest a tramp alone From wakin1--time to doss. Dunno about Death--it's jest a quiet stone All over-grey wi' moss.
An' why I live, an' why the old world spins, Are things I never knowed; My mark s the gypsy fires, the lonely inns, An' jest the dusty road.
Three Songs
Love is a babel
Herbert Perry {Anonymous)
Love is a babel
No man is able
To say 'tis this or 'tis that;
So full of passions
Of sundry fashions,
'Tis like I cannot tell what.
Love's fair in cradle,
Foul in fable,
'Tis either too cold or too hot;
An arrant liar,
Fed by desire,
It is and yet it is not.
Love is a fellow
Clad oft in yellow,
The cankerworm of the mind;
A privy mischief,
And such a sly thief
No man knows which way to find.
Love is a wonder
That's here and yonder,
As common to one as to moe;
A monstrous cheater,
Ev'ry man's debtor;
Hang him and so let him go,
Hang him and so let him go.
Now sleeps the Crimson petal
Roger QuUter
{Lord Alfred Tennyson)
Now sleeps the Crimson petal, now the white; Nor waves the cypress in the palace walk; Nor winks the gold fin in the porph'ry font: The firefly wakens: waken thou with me.
Now folds the lily all her sweetness up, And slips into the bosom of the lake; So fold thyself, my dearest, thou, and slip, Into my bosom and be lost, be lost in me
Money, O!
Michael Head
When I had money, money, O! I knew no joy till I went poor; For many a false man as a friend Came knocking all day at my door.
Then felt I like a child that holds A trumpet that he must not blow Because a man is dead;
I dared not speak to let this false world know Much have I thought of life, and seen How poor men's hearts are ever light; And how their wives do hum like bees About their work from morn 'till night.
So when I hear these poor ones laugh, And see the rich ones coldly frown Poor men, think I, need not go up So much as rich men should come down.
When I had money, money, O! I knew no joy till I went poor; For many a false man as a friend Came knocking all day at my door.
Welsh Songs
Suo Gin
Huna blentyn ar fy mynwes Clud a chynnes ydyw hon Breichiau mam sy'n dynn amdanat Cariad mam sy' dan fy mron. Ni chaiff amharu'th gyntun Ni wna'r undyn a thi gam. Huna'n dawel annwyl blentyn Huna'n fwyn ar fron dy fam.
Huna'n dawel heno huna Huna'n fwyn a tlws ei lun Pam yr wyt yn awr yn gwenu Gwenu'n dirion yn dy hun. Ai angylion fry sy'n gwenu Arnat ti yn gwenu'n lion Tithau'n gwenu'n 61 dan huno Huno'n dawel ar fy mron.
Paid ag ofni, dim ond deilen Cura, cura ar y ddor Paid ag ofni ton fach unig Sua sua ar Ian y mor. Huna blentyn nid oes yma Ddim i roddi i ti fraw Gwena'n dawel yn fy mynwes Ar yr engyl gwynion draw.
Sleep my baby on my bosom Closely nestle, safe and warm Mother wakeful watches o'er you Round you folded mother's arms. Sweet there's nothing near can hurt you Nothing threatens, here you rest. Sleep my baby, sleep and fear not Sleep you sweetly on my breast.
Lulla, lulla, sweetly slumber Mother's treasure slumber deep Lulla, lulla now you're smiling Smiling dear one through your sleep. Say are angels bending o'er you Smiling down from Heaven above Is that heavenly smile your answer Love from dreamland answering love.
Hush my treasure, 'tis a leaflet Beating, beating on the door Hush my pretty, 'tis the ripple Lapping, lapping on the shore Mother watches, nought can harm you Angel wardens gather nigh Blessed angels bending o'er you Sing you lulla, lullaby.
Men of Harlech
Ni chaiff gelyn ladd ac ymlid Harlech! Harlech! cwyd i'w herlid
Y mae Rhoddwr mawr ein Rhyddid Yn rhoi nerth i ni.
Wele Cymru a'i byddinoedd Yn ymdywallt o'r mynyddoedd! Rhuthrant fel rhaeadrau dyfroedd, Llamant fel y Hi!
Llwyddiant i'n marchogion Rwystro gledd yr estron! Gwybod yn ei galon gaiff, Fel bratha cleddyf Brython;
Y deddyn erbyn cledd a chwery, Dur yn erbyn dur a dery,
Wele faner Gwalia'i fyny Rhyddid aiff a hi!
Bugail Aberdyfi
Idris Lewis
Mi geisiaf eto ganu can,
I'th gael di'n 61, fy ngeneth Ian,
I'r gadair siglo ger y tan
Ar fynydd Aberdyfi.
Paham, fy ngeneth hoff, paham
Gadewaist fi a'th blant di nam
Mae Arthur bach yn galw'i fam
A'i galon bron a thori;
Mae'r ddau oen llywaeth yn y llwyn
A'r plant yn chware efo' wyn;
0 tyrd yn 61, fy ngeneth fwyn,
1 fynydd Aberdyfi.
Nosweithiau hirion, niwlog du, Sydd o fy mlaen, fy ngeneth gu. O! agor eto ddrws y ty Ar fynydd Aberdyfi. O! na chaet glywed gweddi dlos Dy Arthur Bach cyn cysgu'r nos, A'i ruddiau bychain fel y rhos Yn wylo am ei fami; Gormesaist 'lawer arnaf, Men Gormesaist innau, dyna ben.
Men of Harlech, march to glory, Victory is hov'ring o'er ye, Bright eyed freedom stands before ye, Hear ye not her call
At your sloth she seems to wonder Rend the sluggish bonds asunder, Let the war cry's deaf "ning thunder, Ev'ry foe appall.
Echoes loudly waking, Hill and valley shaking; Till the sound spreads wide around, The Saxon's courage breaking Your foes on ev'ry side assailing, Forward press with hearts unfailing, Till invaders learn with quailing Cambria ne'er can yield.
Shepherd of Aberdovey
I'd like to try again to sing a song
To get you back, my pure girl
To the rocking chair by the fire,
On Aberdovey mountain.
Why, my favorite girl, why
Did you leave me and the children
Little Arthur is calling for his mother
And his heart is nearly breaking.
There are two pet sheep in the grove
And the children are playing with the lamb;
Come back, my pure girl,
To Aberdovey mountain.
The long nights, black mist,
That's before me, my beloved girl.
Oh! Open the door of the house again
On Aberdovey mountain.
Oh! Cannot you hear the prayers
Of your little Arthur before
Sleeping in the night,
With his small cheeks like the rose
Weeping for his mother
You put a burden on me, Gwen.
y Bass-Bantone
Bank One, Rakefet Hak, Piano
Claude Debussy Gabriel Faure
Franz Schubert
Robert Schumann
Wednesday Evening, October 25, 2000 at 8:00 Hill Auditorium, Ann Arbor, Michigan
Three French Melodies
Nuit d'Etoiles
Apres un reve, Op. 7, No. 1 Automne, Op. 18, No. 3
Three Songs
Trinklied, D. 888 Standchen, D. 889 An Silvia, D. 891
Schwanengesang, D. 957, Op. posth. (excerpts)
Liebesbotschaft Das Fischermadchen Der Doppelganger Die Taubenpost
Three Songs
Venetianische Lied I, from Myrthen, Op. 25
Venetianische Lied II
Die beiden Grenadiere, Op. 49, No. 1
George Butterworth
John Ireland
Hubert Parry Roger Quilter Michael Head
Traditional Traditional Idris Lewis
A Shropshire Lad (excerpts)
Loveliest of trees
When I was one-and-twenty
Look not in my eyes
Think no more, lad
The lads in their hundreds
Is my team ploughing
Three Songs
Sea Fever (Masefield Settings) The Belles of San Marie The Vagabond
Three Songs
Love is a babel
Now sleeps the Crimson petal
Money O!
Welsh Songs
Suo Gan
Men of Harlech
Bugail Aberdyfi
The audience is politely asked to withhold applause until the end of each group of songs. Please do not applaud after the individual songs within each group.
Sixteenth Performance of the 122nd Season
122nd Annual Choral Union Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is sponsored by Bank One, Michigan.
Special thanks to Jorge Solis of Bank One for his generous support of the Univeristy Musical Society.
Additional support provided by media sponsor, WGTE.
The piano used in this evening's performance is made possible by Mary and William Palmer and Hammell Music, Inc., Livonia, Michigan.
Tonight's floral art is provided by Cherie Rehkopf and John Ozga of Fine Flowers, Ann Arbor.
Bryn Terfel appears by arrangement with Harlequin Agency, Ltd., Cardiff, Wales. Bryn Terfel records exclusively for Deutsche Grammophon.
Large print programs are available upon request.
A trio of French melodies opens tonight's concert in a highly romantic vein. While Debussy and Faure were to eventually follow very different paths as their careers grew and their prestige increased, at this early stage both composers were still finding their voices. France was awash with the operas of Gounod and Massenet, and writing in any other style would have been difficult and not very profitable for any ambitious young composer. Debussy was only eighteen when he penned Nuit d'Btoiles, and as was always
the case with these early
vocal works, this song
was written for and dedicated to the gifted soprano, Mme. Vasnier. This teenage infatuation is respon?sible for at least two dozen songs, all of which strive to show off
the voice's lyricism and
agility, never requiring texts
of any particular literary significance. Faure's early songs--these two were written in 1878--are also imbued with romantic lyricism, and often employ poems that bor?der on the sentimental. These are choices Faure would soon eschew in favor of restraint and sophisticated symbolist texts, but not quite yet. Apres un reve is perhaps his most performed song, being transcribed for virtually every instrument, and proving just as touching with or without its text. Dark colors and dramatic moods were rarely to Faure's taste, but in Automne we find an arresting success in both. No longer simply an accompaniment, here the piano challenges the singer to paint the heightened regret of this season.
English is the original language of the first group of Schubert songs on tonight's pro?gram. These were all written on the same day in July of 1826, as Schubert was vaca?tioning at the country home of his friend, Franz von Schober, just outside of Vienna. The two always enjoyed easy good times, and the warmth of their rapport, the sum?mer weather, and Shakespeare's unclouded sentiments have all conspired to bequeath us this sunny trio of strophic songs. The texts are incidental songs from Anthony and Cleopatra, Cymbelline, and Two Gentlemen of Verona respectively. In the first two songs, Shakespeare has written but one verse, but Schubert's translators took it upon them?selves to add additional lyrics to justify repe?titions of the music. In the case of An Silvia all three verses are by the Bard himself. In his Schubert Song Companion, John Reed calls this hymn to Silvia a perfect song, a "testament to the universality of the two finest song composers ever...Schubert and Shakespeare." All three of these charming songs may be sung in English (with a few adjustments to the syllabification) or in their German translations.
The four songs from Schwanengesang were all written between August and October of 1828, "Die Taubenpost" being Schubert's very last effort. The composer never had a song-cycle in mind, and simply turned to texts by various poets as he composed his last gems. Following his death, his publish?ers coined the dramatic title of this group of fourteen songs, but it remains simply that: an invention of the marketplace. The diver?sity of musical styles, along with the lack of poetic unity more than proves this point.
"Liebesbotschaft" is Schubert's final example of a song wherein a brook plays a central role; indeed the entire Schone Miillerin cycle of 1823 is based on a brook as protagonist. This song gives the illusion of simplicity, but its demands for both performers are signifi?cant. Schubert's style changes considerably for the songs to Heine texts that follow. Here economy rules: the range of the key?board is reduced by an octave in each hand, and there is not one extraneous measure. Schubert's last serenade "Das Fischermadchen" is no exercise in wooing by vocal effects; rather Schubert capitalizes on Heine's subtle manipulations and double-meanings and seduces with understatement. "Der Doppelganger" is a shattering miracle of a song, against which all others can be mea?sured. Over the piano's passacaglia of four bars, the singer traces the horror of self-real?ization and disgrace. Here Schubert fuses recitative and lyricism into a single force that looks forward sixty years to Hugo Wolf. Finally, in his last song, Schubert shows us once again his youthful side, both in his choice of text and his jaunty music with which to clothe it. This is not a composer in pain, facing death only weeks away; this is the eternal optimist who modestly but irrev?ocably changed our idea of songs forever.
The two Venetian songs of Robert Schumann are yet another example of text we will hear tonight which were originally in English. Moore's poems were translated and enjoyed widely throughout Europe, and Schumann chose this pair for inclusion in his large collection entitled Myrthen, the ini?tial flowering of his "Year of Song." As has often been described, the composer's success in his career, coupled with his union with Clara, created a virtual torrent of song com?position in 1840. One marvels that
Schumann had enough time to write his music down, much less imagine it in the first place! In addition to Moore, this collec?tion of Opus 25 includes translated poems from the English of Byron and Burns, as well as original texts of Riickert and Goethe, to name but a few German poets herein. Schumann tries in this pair of songs to cre?ate an Italianate mood: swinging rhythms to suggest the water lapping in the lagoon, romantic melodies for the voice to mimic the gondolier's sensuous serenades. To con?clude this group, Mr. Terfel gives us one of the world's favorite Schumann songs. Heine's Two Grenadiers has been on concert programs since the year it was written. Here is a vastly different Schumann, an ecstatic patriot singing in heroic ballade style. The quotation of La Marseillaise is a dramatic stroke from a composer who did not bor?row often from other materials. As the piano's postlude depicts the hero's death, no audience can remain unmoved.
Singing has always been an integral part of the British, Scottish, Welsh and Irish men?tality and lifestyle. Be it as an amateur, a choral society member, a choirmaster, or a professional, raising one's voice in songs employing texts in English has never gone out of fashion. We must note that after the baroque airs of Purcell and Arne a long hia?tus in British composition ensued. This is not to say that singing was unknown, but rather that the creative impulse was more manifest in literature and the visual arts. At last, toward the end of the nineteenth centu?ry, a host of composers appeared on the scene, with vocal music very much part of their consciousness. This second flowering has continued unabated throughout the twentieth century in both the concert hall and opera house. Mr. Terfel offers us some
choice highlights from this romantic vocal renaissance, including a trio from his own native Wales, known the world over for its passion for singing.
The group of six songs from Housman's A Shropshire Lad of George Butterworth are an important part of any baritone's English repertoire, and have been so for nearly a century. Innumerable British composers, indeed others who were close associates of Butterworth's, such as Vaughan-Williams and Sir Edward Elgar, have set these famous texts. To fully appreciate how stirring and evocative these poems are for British read?ers, one need only know that the govern?ment saw fit to include a copy of Housman's collection in each soldier's gear as he marched into the first World War. This same conflict was to bring Butterworth's life to its early end--he was only thirty-one when he died in the trenches. Very little of his music is left to us, as the composer decided to destroy most of his manuscripts--unworthy in his opinion--before enlisting in the mili?tary in 1915. These songs easily capture the simplicity, the wholesomeness of British rural life, its civility, its appreciation of peace and nature. No actual folksongs are included here, but the clean and symmetri?cal writing, the modesty of the keyboard's contribution, the lack of vocal artifice or exaggeration all work together to suggest the world of the folksong nevertheless. The sen?timents are heartfelt and sincere, and these songs are sure to stay before the public as long as there are lovers of English words to sing them.
John Ireland lived a long, fruitful life, com?posing songs and ballads until well into his seventh decade. He began his musical life as an organist and choirmaster, but later was able to derive his living solely from his com-
posing. At the Royal College of Music, Benjamin Britten was one of his many illus?trious pupils. While perhaps a bit sentimen?tal to our jaded ears today, his ballades were once the toast of British concert halls.
Hubert Parry was knighted for his devotion to music education in England and helped to found the Royal College of Music, men?tioned above. The repertoire for both piano solo and voice was increased substantially by this very prolific composer. "Love is a babel" is from his English Lyrics of 1905. Roger Quilter did not need to earn his living at all, but chose to compose chiefly for voice and piano. His is a highly romantic style, less reserved than his colleagues heard this evening. His immortal setting of Tennyson's words dates from 1904. Lastly, Michael Head was both a singer and pianist, and special?ized in concerts wherein he was the sole performer. His songs are very listenable, never challenging to the ear, always enter?taining, harkening back to a simpler time. Money O! is a perennial baritone favorite.
Program notes by Martin Katz.
The Welsh bass-baritone Bryn Terfel studied at the Guildhall School of Music and Drama with Arthur Reckless and Rudolf Piernay, winning the 1988 Kathleen Ferrier Scholarship and the 1989 Gold Medal Award. That year he also won the Lieder Prize at the Cardiff Singer of the World Competition. Other significant awards include BBC Music Magazine "Artist of the Year" 1999, 1992 Gramophone Magazine "Young Singer of the Year," "Newcomer of the Year" in the inaugural
International Classical Music Awards in 1993, winning the solo vocal category in the Gramophone Awards for his album An Die Musik, the "People's Award" voted by listeners of Classic FM at the Gramophone Awards for his recording of The Vagabond, and a Grammy Award for Best Classical Vocal performance for his recording of Opera Arias.
He has performed the role of Mozart's Figaro in the world's leading opera houses, including New York's Metropolitan Opera; La Scala, Milan; Vienna Staatsoper; Royal Opera House (ROH), Covent Garden; the Chatelet, Paris; Lyric Opera Chicago and San Francisco Opera. He has also performed Figaro, Leporello and Jochanaan at the Salzburg Festival; Dr Miracle and Balstrode in Vienna; Leporello at the Chicago Lyric Opera and at the Met; Wolfram at the Met; Masetto, Balstrode and Jochanaan at the Royal Opera House; Jochanaan for Bayerische Staatsoper, Scarpia for
Netherlands Opera, Falstaff for Australian Opera and the title role in Don Giovanni for Opera National de Paris. Highlights of the 19992000 season included Falstaff for Lyric Opera Chicago; the re-opening of the ROH, Covent Garden in a new production of Falstaff, Rakes Progress for San Francisco Opera, a recital tour of Australia and New Zealand and guest appearances at the open?ing and closing ceremonies of the 1999 Rugby World Cup.
He has an equally distinguished career on the concert platform, appearing with James Levine in Mahler's Symphony No. 8; Claudio Abbado in Brahms' Ein Deutsches Requiem; soloist in the 1994 BBC Last Night at the Proms and performances of Elijah at both the BBC Proms, Edinburgh Festival and with the New York Philharmonic. Mr. Terfel made his debut at the Hollywood Bowl in the summer of 1998. He has given recitals in La Scala, Milan, Florence, Berlin, Munich, Vienna, London, Edinburgh, Istanbul, New York, and venues throughout the US and Canada. In summer 2000, Mr. Terfel hosted his own Festival in Faenol, North Wales.
Amongst his numerous recordings are Salome; Le Nozze di Figaro; both title role and Leporello in Don Giovanni; The Rakes Progress; Beethoven's Symphony No. 9; Mendelssohn's Elijah; Berlioz' La Damnation de Faust, Faure and Durufle Requiem, Mozart Requiem and a duet album with Cecilia Bartoli. Solo recordings include Schubert Lieder, Schumann Liederkreis, English song; opera arias; Handel arias; Something Wonderful--a collection of songs by Rodgers and Hammerstein; and If Ever I Would Leave You--a collection of songs by Alan Jay Lerner. Recent releases include We'll Keep a Welcome--a collection of tradi?tional Welsh Songs.
Tonight's recital marks Bryn Terfel's UMS debut.
As the first Israeli to join the Metropolitan Opera's musical staff, Rakefet Hak has been an assistant conductor since 1997 on various productions, including Die Zauberflote, Le Nozze Di Figaro, Die Fledermaus, Aida and II Barbiere Di Siviglia. Ms. Hak first joined the Metropolitan Opera as a member of the Lindemann Young Artist Development Program.
Ms. Hak's current engagements include assistant conducting the Metropolitan Opera productions of Die Zauberflote and La Traviata, and assistant conducting Placido Domingo in Aida, the Los Angeles Opera's 2000 season opener.
Last summer at Spoleto, Ms. Hak par?ticipated as coachpianist for the new pro?duction of Trittico, and performed with the Spoleto Orchestra in the US premiere of
Kurt Weill's Die Burgschaft, con?ducted by Julius Rudel. In the sum?mer of 1997, she participated in the Merola Opera Program at the San Francisco Opera.
Other perfor?mances include Weil Recital Hall at Carnegie Hall, Town Hall, the
Tilles Center and the Lincoln Theater of Miami. Ms. Hak has also performed for National Public Radio, WQXR (for the Marilyn Home Foundation), The Chamber Music Society of Lincoln Center, as well as the Institute of Vocal Arts in Italy.
In her native Israel, Ms. Hak was coachaccompanist for the New Israeli Opera. Additionally, she performed at such venues as The Rekanati Concert Hall, The Noga Theater and Einav Hall, and has
coachedperformed with the Israel Vocal Arts Institute in Tel Aviv.
In 1993, Ms. Hak became the first accompanist to receive a scholarship from the America Israel Cultural Foundation, which honored her with an additional grant in 1995.
Ms. Hak pursued her Bachelor and Masters degrees at the Hartt School of Music and then the Manhattan School of Music. Studying with renowned pianists Irma Vallecillo and Warren Jones, Ms. Hak attended both schools on full scholarship.
Tonight's recital marks Rakefet Hak's UMS debut.
UMS Mfcia
presents lVllbld
Jose Manuel Neto, Portuguese Guitar Carlos Manuel Proenca, Guitar Daniel Pinto, Acoustic Bass Guitar Ricardo Dias, Accordion and Piano Manuel Rocha, Violin
Program Thursday Evening, October 26, 2000 at 8:00
Power Center, Ann Arbor, Michigan
of the 122nd Season
Seventh Annual World Culture Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
The Steinway piano used in this evening's performance is made possible by Hammell Music, Inc., Livonia, Michigan.
Misia appears by arrangement with Trawick Artists Management, Inc., New York, NY.
Large print programs are available upon request.
Finding True Feelings
by Jean-Claude Feugnet
Misia carries within her a small country placed on the edge of Europe, swept by the Atlantic spray. She carries within her a town, her birthplace and the pole of her existence. Porto and Portugal are Misia's constant companions.
She carries within her a song of nostal?gia, born of the winds that blow across the crest of the waves that lap the shores of her small country--the fado.
Her voice too is like the wind: by turns undulating and silky, or as powerful as the roar of the soul caught in the torment of this absurd life, "rejoicing in woe, and suf?fering in gladness."
It was only when she left Portugal in her early adult years that Misia discovered the genuine love she bore for her homeland, as she wandered along various paths without bothering to find out where she was going. Born into a family of artists, somewhere between music hall and classical ballet, she unquestioningly continued in the family tradi?tion, yet deep in her heart the fado sang on, like a continual return to her own country.
For a fado, a few old, even ancient melodies are selected for the poem they are to accompany. It is the singer's task to choose them and express them through her voice, infusing this centuries-old tradition with all that she feels is new, yet genuine, deep and ancient.
Today Misia lives in Lisbon and sings fado all over the world, for even if she gently mocks her fellow countrymen, those "past masters of the saudade," at every concert she discovers anew that there is nothing more universally shared than the tragedy of our lives.
To counter-balance the dizzying speed at which she travels, Misia carries her own home with her--the stage.
She has become, in fact, her own point of balance. Once she is on stage, surrounded by musicians, in the glare of the lights, her burden lifts and she is liberated from the cares of life. Similarly her audience is surprised and delighted to share the feeling of well-being after a little saudade, as if cleansed by a musical rite from time immemorial.
by Alex Ginsberg
Since she began performing fado profession?ally, Misia has quickly become one of the leading contemporary interpreters of an art form steeped in tradition. Like Misia herself, the fado tradition is the child of diverse influences, and is surrounded by an aura of mystery and tragedy. Taken from the Portuguese word for "fate fado is an intoxi?cating blend which draws on Portugal's cen?turies-old poetic and literary tradition, and adds to it Brazilian and Cape Verdean musi?cal influences encountered through nine?teenth-century imperialism.
The result, which has been compared to American blues, is an urban cafe style of song, in which a solo singer accompanied by several guitars gives voice to the unrequited love, the pain of existence, and the enduring hope that are universally human but also so typical of Portugal. It is the singer's task to select a few traditional melodies that she will weave and develop in expert fashion to accompany the poem for a particular fado.
Throughout the nineteenth and twenti?eth centuries, fado became an integral part of the musical landscape of Portugal. Its saudade (bittersweet yearning) echoed through Lisbon's gritty Alfama district, ema?nating from bars, cafes, and private homes with a power and a presence uniquely its own. To this day it remains a tradition that relies poignantly on personal expression, for fado is rarely taught in Portuguese conserva?tories; rather, it is learned and passed on in the informal surroundings of living rooms and barroom stages.
Following the 1974 revolution which ended nearly fifty years of fascist rule in Portugal, fado proponents struggled to over?come the perception that the long tradition of their art associated them with reactionary positions. Misia has played a major role in returning fado to its anarchic, intellectual roots through her expert blend of authentic?ity and innovation. By commissioning verse from the leading poets and novelists of the Portuguese-speaking world, she has suc?ceeded in speaking to modern audiences through a voice centuries old.
Born in Oporto, Portugal, Misia spent her early twenties in Catalonia, Spain, the crossroads of the Atlantic and Mediterranean cultures. The daughter of a music-hall star and the granddaughter of a classical ballerina, Misia was deeply influ?enced by the artistic and bohemian environ?ment in which she matured.
Having gained an appreciation for change across different musical cultures, Misia grew nostalgic for her homeland and returned to Portugal to pursue her burgeoning interest in fado singing. Her unique conception of this age-old folk form was based both on her eclectic musical experience and her belief in the importance of poetry in song. Seeking to modernize the fado through contemporary verse, rather than instrumen-
tation, Misia has commissioned poems from some of the most acclaimed novelists and poets, including 1998 Nobel Prize winner Jose Saramago, Lidia Jorge, Agustina Bessa-Luis, and Lobo Antunes.
Misia's performance of the fado incor?porates the influence of many musical cul?tures. Her ability to convey great universal emotions serves to bridge the gap created by an art form steeped in local color and a language considered hermetic. Her captivat?ing stage presence has helped her to gain wide public appreciation and her image and attitude create an atmosphere of mystery appropriate to great interpreters of the genre. In 1997, Misia was awarded the prestigious Grand Prix de I'Academie Charles Cros for her recorded work.
Tonight's performance marks Misia's debut under UMS auspices.
North American Tour Direction
Trawick Artists Management, Inc. New York, NY
Jochen Schefe, Sound Engineer
Bale Folclorico da Bahia
Automotive Jos? Carlos Arandiba, Artistic Director
Program Friday Evening, October 27, 2000 at 8:00
Saturday Afternoon, October 28,2000 at 2:00 (Family Performance) Saturday Evening, October 28, 2000 at 8:00 Power Center, Ann Arbor, Michigan
Carnaval 2000
Danga De Origem (Origin Dance)
Puxada De Rede (Fishermen's Dance)
Samba De Roda
Samba Reggae
Eighteenth, Nineteenth and Twentieth Performances of the 122nd Season
Seventh Annual World Culture Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is sponsored by Dow Automotive, with additional support from AAA Michigan.
Special thanks to Larry Denton and Tim Nasso of Dow Automotive for their generous support of the University Musical Society.
Additional support provided by media sponsors, WEMU and WDET.
This is a Heartland Arts Fund Program, with major support from the National Endowment for the Arts and Michigan Council for Arts and Cultural Affairs.
Special thanks to the U-M Center for Latin American and Caribbean Studies, the International Institute, Peter SparlingDance Gallery, U-M Dance Department, U-M Honors Program, and the UMS Advisory Committee for their involvement in this residency.
Bale Folcl6rico da Bahia appears by arrangement with Columbia Artists Management, Inc.
Large print programs are available upon request.
Andre Borges
Augusta Braga
Fabio Concei;ao
Adalberto Dias
Guilherme Duarte
Nildinha Fonseca (soloist in Fishermen's Dance)
Joilson Lima
Vanice Muniz
Ricardo Novais
Vera Passos
Reinaldo Pepe
Clodonaldo Santana
Edileuza Santos
Janete Silva (soloist in Samba Reggae)
Rose Soares .
Gilson Correia
Sivaldo Tavares
Alcides Morais
Daniel Sousa (Berimbau soloist in Capoeira)
Jos? Ricardo Sousa
Andre Souza
Joel Souza
Miralva Couto
Dora Santana (soloist)
There will be no intermission in tonight's program.
Danga De Origem (Origin Dance)
Choreography Augusto Omolii
Antonio Portella
Based on a legend depicting the creation of the Universe as interpreted by Candomble, the African religion brought to Brazil by the slaves during the colonial period (sixteenth and seventeenth "centuries) and still prac?ticed today in Bahia: "The Supreme God, Oxala, with His sons, formed the Universe from a mixture of sacred powder and water."
Puxada De Rede (Fishermen's Dance)
Choreography Walson Botelho
Bahian Folklore
A popular demonstration, still seen on the beaches of Bahia, in which Iemanja, the Goddess of the Sea, is invoked by the fisher?men and their wives who, through their dances and songs, ask for an abundant catch.
Choreography Walson Botelho Music Bahian Folklore
A dramatic dance that originated in the sugar cane plantations of Bahia during Brazil's colonial period and was danced by the slaves to celebrate a good harvest. Maculele, due to its potential for violence, was also used as a means of defense by slaves against their owners.
Samba De Roda
Choreography Walson Botelho
Walson Botelho and Jose Carlos Arandiba
Bahian Folklore
The most popular dance and rhythm in Bahia, the samba first appeared in Brazil as an entertainment practiced by the slaves during their leisure hours.
Walson Botelho and Jose Carlos Arandiba
Bahian Folklore
A form of martial art that originated in Africa and, during the colonial period, was brought to Brazil by slaves from Angola.
Choreography Rosangela Silvestre
Antonio Portella and Jorge Paim
Meaning "Dance of Happiness" in Yoruba, a language of West Africa. This dance has influenced most of the cultural and religious celebrations in Bahia. A festival of sound, color and movement that shows the sensual?ity and spirit of the Bahian people.
Samba Reggae
Jose Carlos Arandiba and the Company
from the songs of Bahia's Carnaval
The most recent form of popular music to appear in Bahia, Samba Reggae is a mixture of Afro-Bahian rhythms such as afoxe, ijexd, and samba duro (with a Caribbean influ?ence). Paul Simon was the first mainstream artist to introduce this new rhythm to the world when he performed and toured with the Bahian percussion band Olodum.
The 32-member Bate Folcl6rico da Bahia is the only professional folk dance company in Brazil, and was formed in 1987 by Walson Botelho and Ninho Reis in the city of Salvador in the northern State of Bahia. Since its first performances the following year, the troupe has achieved considerable
international success, in particular, at France's Lyon Biennale de la Danse in 1994 and 1996, at Sydney Festival and Spoleto Festival USA in 1997.
The company has toured throughout Brazil, and in 1990, 1993 and 1996 was named "Best Dance Company in Brazil," an award given by the Ministry of Culture. Since its 1992 European debut in Berlin, the company has returned several times to Germany, France, Portugal, Sweden, Finland, Denmark and other countries. Their first tour in the US in early 1996 included New York, Boston, Washington DC, Berkeley, Costa Mesa, Minneapolis, and Cleveland. During 1997 and 1998, the troupe visited more than fifty cities in their North America tour.
The current eleven-week tour presents the world premiere of Carnaval 2000, a repertory of authentic folkloric dance and music that is based on the three different influences that formed the Brazilian people: African, from the introduction of slavery in the late sixteenth century; Indigena, the
Brazilian natives; and European, through the Portuguese colonization.
This marvelous company, with its dancers, musicians and singers, represents the culture, the traditions, the beliefs, the history, the colors, the music, and the move?ments of the people of Bahia.
This weekends performances mark Bale Folclorico da Bahia's debut performances under UMS auspices.
Walson Botelho, General Director and also co-founder of the company, is a choreogra?pher and former performer, who graduated
from the Federal University of Bahia with a degree in Cultural Anthropology. He has worked as Dance Director at Cultural Foundation in Bahia, as Production Director for the Bale Teatro Castro Alves, in Salvador, and as Assistant Director,
dancer, singer and musician with the com?pany Viva Bahia.
Jos6 Carlos Arandiba, Artistic Director, has worked with the company in this capacity
since 1992. A former solo performer with the Contemporary Dance Group at the Federal University of Bahia, he is an interna?tionally-recognized teacher and director whose work has been seen on televisions in France, Germany, and
Holland, and he has choreographed for sev?eral European-based companies.
Bale Folcldrico da Bahia
Walson Botelho, General Director
Jose Carlos Arandiba, Artistic Director
Jose Ricardo Sousa, Musical Director
Nildinha Fonseca, Choreographic Assistant
Robson Nunes, Sound Engineer
Gustavo Cobas, Lighting DesignerOperator
Alberto Pitta, Color Backdrop in Samba Reggae
Walson Botelho, Antonio das Gracas and Ninho Reis,
Costumes and Accessories Fernando Bergen and Patricia Souza,
Wardrobe Supervisors
Jairo Fonseca and Carlos Matias, Stage Technicians Jos? Carlos Arandiba (Modern and Ballet),
Dance Instructor Nildinha Fonseca (Afro-Brazilian dance),
Dance Instructor
Bale Folclorico da Bahia wishes to acknowledge the Teatro Castro Alves (Centro Tecnico), Escola De Danca Da Fundacao Cultural Da Bahia, and Ministerio Da Cultura (Secretaria de Artes Cenicas) and Rosmar Associates Inc. (Canada) for their cooperation in making the North American Tour of Carnaval 2000 a reality.
North American Staff for Bale Folcldrico da Bahia
Harry Rakowski, Company Manager Charles Williams, Production Manager Joseph Carney, Asst. Production Manager Michael Reid, Asst. Company Manager
Coach Transportation by Transit Masters Ken Reedy, Coach Driver
TH E 20002001 UMS SEASON
All educational activities are free and open to the public unless otherwise noted ($). Many events with artists are yet to be planned--please call the UMS Education Office at 734.647.6712 or the UMS Box Office at 734.764. 2538 for more informa?tion. Activities are also posted on the UMS website at
The second half of the educational season will be published in the winter program book.
Keith Jarrett, piano Gary Peacock, bass Jack DeJohnette, drums
Saturday, September 23, 8 p.m. Hill Auditorium PREP by Michael Jewett, Program Host, WEMU. Saturday, September 23, 7:00 p.m., Michigan League, 2nd Floor, Henderson Room. Sponsored by National City. Presented with additional support from lazzNet, a program of the Nonprofit Finance Fund, funded by the Doris Duke Charitable Foundation and the National Endowment for the Arts. Media sponsors WEMU and WDET.
Itzhak Perlman, violin Rohan De Silva, piano
Sunday, September 24, 4 p.m. Hill Auditorium PREP"Jascha Heifetz'Vilna: the 'Jerusalem of Lithuania' Yesterday and Today" by Zvi Gitelman, Director, lean & Samuel Frankel Center for Judaic Studies. Sunday, September 24, 2:30-3:30 p.m., Michigan League, 2nd Floor, Hussey Room.
hi collaboration with the Center for Russian and Eastern European Studies. Sponsored by Pfizer. Media sponsor WGTE.
Opening Night Cabaret: Puttin' On The Ritz Mary Cleere Haran, cabaret singer
Richard Rodney Bennett, piano
Line Milliman, bass
Sunday, September 24, 6:30 p.m.
(following Perlman recital)
Michigan League Ballroom
Sponsored by Pfizer.
Bulgarian Women's Choir: Angelite
Gregory Petkov, conductor Thursday, October 5, 8 p.m. St. Francis of Assisi Catholic Church
PREP by Inna Nardoditskaya, Lecturer, U-M Flint Music Deparlment. Thursday, October 5,7 p.m., St. Francis of Assisi Parish Activity Center. Presented with the generous support of Kathleen G. Charla.
Takacs Quartet and Andreas Haefliger, piano
Friday, October 6, 8 p.m. Rackham Auditorium Sponsored by Edward Surovell Realtors.
Iceland Symphony Orchestra
Rico Saccani, music director Judith Ingolfsson, violin Thursday, October 12, 8 p.m. Hill Auditorium Co-sponsored by O'Neal Construction and Elastizell Corporation of America. Media sponsor WGTE.
Gate Theatre of Dublin
Michael Colgan, artistic director
Waiting for Godot
by Samuel Beckett
Directed by Walter Asmus
Friday, October 13, 8 p.m.
Saturday, October 14, 8 p.m.
Power Center
Meet the Artist Post-performance
dialogue from the stage. Friday,
October 13.
Panel Discussion "Beckett and the
Irish Theater" with members of the
Gate Theatre of Dublin. Led by Enoch
Brater, U-M Professor of Theater.
Saturday, October 14, 11-12:30 p.m.,
Trueblood Theater, 2nd Floor, Freize
Presented with support from Charles
Hall and Pepper Hamilton LLP.
Media sponsor Michigan Radio.
Gate Theatre of Dublin Krapp's Last Tape
by Samuel Beckett Directed by Pat Laffan Saturday, October 14, 2 p.m. Saturday, October 14, 5 p.m. Residential College Auditorium (East Quad)
Presented with support from Charles Hall and Pepper Hamilton LLP. Media sponsor Michigan Radio.
Buena Vista Social Club
presents Omara Portuondo
with special guest
Barbarito Torres, laud
Saturday, October 14, 8 p.m.
Hill Auditorium
Sponsored by the Thomas B. McMullcn
Co., Inc.
Presented with support from JazzNet, a
program of the Nonprofit Finance Fund,
funded by the Doris Duke Charitable
Foundation and the National
Endowment for the Arts.
Media sponsors WF.MU and WDET.
Jose van Dam, bass-baritone
Maciej Pikulski, piano Friday, October 20, 8 p.m. Lydia Mendelssohn Theatre PREP "Lied vs. Melodie" by Richard LeSueur, Music Specialist, Ann Arbor District Library. Friday, October 20, 7:00-7:30 p.m., Michigan League, Michigan Room (2nd Floor). Media sponsor WGTE.
American Repertory Theater
Robert Brustein, artistic director The King Stag
A Tragicomic Tale for the Theater Directed by Andrei Serban Movement, Costumes, Masks and Puppetry by Julie Taymor Saturday, October 21, 2 p.m. (Family Performance) Saturday, October 21,8 p.m. Sunday, October 22, 2 p.m. Sunday, October 22, 7 p.m. Power Center
77ns is a Heartland Arts Fund Program with major support from the National Endowment for the Arts and Michigan Council for Arts and Cultural Affairs. Media sponsor Michigan Radio.
Bryn Terfel, baritone
Rakefet Hak, piano Wednesday, October 25, 8 p.m. Hill Auditorium Sponsored by Bank One. Media sponsor WGTE.
Thursday, October 26, 8 p.m. Power Center
Bale Folclorico da Bahia
Friday, October 27, 8 p.m. Saturday, October 28, 2 p.m. (One-Hour Family Performance) Saturday, October 28, 8 p.m. Power Center
Capoeira Master Class by company members of the Bale Folcl6rico da Bahia. Saturday, October 27,10:00 a.m. noon, Peter Sparling Dance Gallery, Main Studio, 111 Third Street, Ann Arbor. Contact Susan Byrnes at 734.747.8885 to register. Panel Discussion "Art, Culture and Performance in Brazil" with members of the company and artistic director Jose Carlos Arandiba led Lucia Suarez, Asst. Professor of Romance Languages and Literature. In collaboration with the U-M Center for Latin American and Caribbean Studies. Friday, October 27,4:00-5:00 p.m., Room 1636, 1st Floor, International Institute. Sponsored by Dow Automotive. Presented with support from AAA Michigan.
This is a Heartland Arts Fund Program with major support from the National Endowment for the Arts and Michigan Council for Arts and Cultural Affairs. Media sponsors WEMU and WDET.
Nina Simone
Friday, November 3, 8 p.m.
Hill Auditorium
PREP "Nina Simone: Pure Soul" by
Linda Yohn, Music Program Manager,
WEMU. Friday, November 3,7:00
p.m., Michigan League, Michigan
Room (2nd Floor).
Presented with support from JazzNet, a
program of the Nonprofit Finance Fund,
funded by the Doris Duke Charitable
Foundation and the National
Endowment for the Arts.
Media sponsors WEMU and WDET.
Oumou Sangare with Habib Koite and Bamada
Saturday, November 4, 8 p.m. Michigan Theater Media sponsor WEMU.
Liz Lerman Dance Exchange
Saturday, November 4, 8 p.m. Music Hall Detroit Community Dance Master Class led by Liz Lerman. Free and open to the public. Monday, October 30,7:00-9:00 p.m., Main Studio, Peter Sparling Dance Gallery. Call 734.747.8885 to RSVP. Presented in collaboration with U-M Arts of Citizenship and Detroit's Music Hall.
Funded in part by the National Dance Project of the New England Foundation for the Arts, with lead funding from the National Endowment for the Arts and the Doris Duke Charitable Foundation. Additional funding provided by the Andrew W. Mellon Foundation and the Philip Morris Companies Inc.
Michigan Chamber Players
Sunday, November 5,4 p.m. Rackham Auditorium Complimentary Admission
Laurence Equilbey, artistic
Thursday, November 9, 8 p.m.
St. Francis of Assisi Catholic
PREP by Steven Moore Whiting, U-M
Professor of Musicology. Thursday,
November 9,7:00 p.m., St. Francis of
Assisi, Parish Activity Center.
Camerata Academica Salzburg
Roger Norrington, conductor
Joshua Bell, violin
Friday, November 10, 8 p.m.
Hill Auditorium
This performance is made possible by
the Catherine S. ArcureHerbert E.
Sloan Endowment Fund.
Media sponsor WGTE.
Herbie Hancock and Wayne Shorter
Saturday, November 11,8 p.m. Michigan Theater Sponsored by Comerka, Inc. Presented with support from JazzNet, a program of the Nonprofit Finance Fund, funded by the Doris Duke Charitable Foundation and the National Endowment for the Arts. Media sponsors WEMU and WDET.
Young Uck Kim, violin Menahem Pressler, piano
Sunday, November 12, 4 p.m. Rackham Auditorium
Ravi and Anoushka Shankar
Friday, November 17, 8 p.m. Hill Auditorium Media sponsor WDET.
Handel's Messiah
UMS Choral Union
Ann Arbor Symphony Orchestra
Thomas Sheets, conductor
Saturday, December 2, 8 p.m.
Sunday, December 3, 2 p.m.
Hill Auditorium
Presented with the generous support of
Carl and Isabelle Brauer.
Ute Lemper
Bruno Fontaine, piano Saturday, December 9, 8 p.m. Michigan Theater Presented with the generous support of Ronnie and Sheila Cresswell. Media sponsor WDET.
Rudy Hawkins Singers A Gospel Christmas
Saturday, December 16, 8 p.m. Music Hall Detroit Sponsored by Dow Automotive. This performance is co-presented with The Arts League of Michigan. Media sponsor WEMU.
Pilobolus with The Klezmatics
Saturday, January 6, 2 p.m. (One-Hour Family Performance) Saturday, January 6, 8 p.m. Sunday, January 7, 4 p.m. Power Center Media sponsor WDET.
Moses Hogan Singers
Moses Hogan, conductor
Wednesday, January 10, 8 p.m.
St. Francis of Assisi Catholic
Media sponsor WEMU.
Vermeer Quartet Saturday, January 13, 8 p.m. Rackham Auditorium
Mingus Big Band Blues and Politics
with Kevin Mahogany, vocals
Monday, January 15, 8 p.m.
Hill Auditorium
Sponsored by the Detroit Edison
Presented with support from JazzNet, a
program of the Nonprofit Finance Fund,
funded by the Doris Duke Charitable
Foundation and the National
Endowment for the Arts.
This performance is co-presented with
the U-M Office of Academic
Multicultural Initiatives.
Media sponsors WEMU and WDET.
Michigan Chamber Players
Sunday, January 21,4 p.m. Rackham Auditorium
Complimentary Admission
Alvin Ailey American Dance Theater
Judith Jamison, artistic director with the Rudy Hawkins Singers Wednesday, January 31,8 p.m. Thursday, February 1, 8 p.m. Friday, February 2, 8 p.m. Saturday, February 3, 2 p.m. (One-Hour Family Performance) Saturday, February 3, 8 p.m. Sunday, February 4, 3 p.m. Detroit Opera House Detroit
These performances are co-presented with the Detroit Opera House and The Arts League of Michigan, with addition?al support from the Venture Fund for Cultural Participation of the Community Foundation for Southeastern Michigan. Media sponsor WDET.
Dresden Staatskapelle
Giuseppe Sinopoli, conductor Friday, February 2, 8 p.m. Hill Auditorium Media sponsor WGTE.
Brentano String Quartet
Sunday, February 4, 4 p.m. Rackham Auditorium Presented in partnership with the Chamber Music Society of Detroit.
Hubbard Street Dance Chicago
James F. Vincent, artistic director
Friday, February 9, 8 p.m.
Saturday, February 10, 8 p.m.
Power Center
Presented with the generous support of
Susan B. Ullrich.
Media sponsor WDET.
Dubravka Tomsic, piano
Sunday, February 11,4 p.m.
Hill Auditorium
This performance is made possible by
the H. Gardner Ackley Endowment
Fund, established by Bonnie Ackley in
memory of her husband.
Media sponsor WGTE.
Dairakudakan Kaiin No Uma
(Sea-Dappled Horse) Akaji Maro, artistic director Wednesday, February 14, 8 p.m. Power Center
Swedish Radio Symphony Orchestra and Choir
Manfred Honeck, conductor Marina Mescheriakova, soprano Nadja Michael, mezzo-soprano Marco Berti, tenor John Relyea, bass-baritone Friday, February 16, 8 p.m. Hill Auditorium Sponsored by KeyBank. Media sponsor WGTE.
Swedish Radio Choir and Eric Ericson Chamber Choir
Eric Ericson, conductor
Saturday, February 17, 8 p.m.
St. Francis of Assisi Catholic
Presented with the generous support of
Kathleen G. Charla.
Manuel Barrueco, guitar
Sunday, February 18,4 p.m. Rackham Auditorium
Ballet Preljocaj Paysage apres la Bataille
Angelin Preljocaj, artistic director Wednesday, February 21, 8 p.m. Power Center
Texaco Sphinx Competition Concerts
Junior Division Honors Concert Friday, February 23, 1 p.m. Hill Auditorium Complimentary Admission
Senior Division Finals Concert Sunday, February 25, 3 p.m. Orchestra Hall Detroit The Sphinx Competition is generously presented by the Texaco Foundation.
Prague Chamber Orchestra with the Beaux Arts Trio
Wednesday, March 7, 8 p.m. Hill Auditorium Sponsored by CFl Group, Inc. Media sponsor WGTE.
Royal Shakespeare Company Shakespeare's History Cycle Henry VI, Parts I, II and III Richard HI
Directed by Michael Boyd
Cycle 1: Saturday, March 10 &
Sunday, March 11
Cycle 2: Saturday, March 17 &
Sunday, March 18
Added Cycle!
Cycle 3: Tuesday, March 13-
Thursday, March 15
Power Center
The Royal Shakespeare Company is a
co-presentation of the University
Musical Society and the University of
Media sponsor Michigan Radio.
Les Violons du Roy
Bernard Labadie, conductor David Daniels, countertenor Thursday, March 22, 8 p.m. St. Francis of Assisi Catholic Church
Presented with the generous support of Maurice and Linda Binkow. Media sponsor WGTE.
Academy of St. Martin-in-the-Fields
Murray Perahia, conductor
and piano
Saturday, March 24, 8 p.m.
Hill Auditorium
Sponsored by Pfizer.
Media sponsor WGTE.
Chamber Music Society of Lincoln Center
David Shifrin, artistic director Heidi Grant Murphy, soprano Ida Kavafian, violin Heidi Lehwalder, harp Paul Neubauer, viola Fred Sherry, cello Ransom Wilson, flute with cellists from the U-M School of Music Wednesday, March 28, 8 p.m. Lydia Mendelssohn Theatre Media sponsor WGTE.
Brass Band of Battle Creek
Friday, March 30, 8 p.m. Hill Auditorium Sponsored by Ideation.
Ronald K. BrownEvidence
Ronald K. Brown, artistic director Saturday, March 31,8 p.m. Power Center
Funded in part by the National Dance Project of the New England Foundation for the Arts, with lead funding from the National Endowment for the Arts and the Doris Duke Charitable Foundation. Additional funding provided by the Andrew W. Mellon Foundation and the
Philip Morris Companies Inc. Media sponsor WEMU.
Orion String Quartet and Peter Serkin, piano
Sunday, April 1,4 p.m. Rackham Auditorium Presented with the generous support of Ami and Prue Rosenthal.
Royal Concertgebouw Orchestra of Amsterdam
Riccardo Chailly, conductor Matthias Goerne, baritone Wednesday, April 4, 8 p.m. Hill Auditorium Sponsored by Forest Health Services. Media sponsor WGTE.
Emerson String Quartet
Friday, April 6, 8 p.m. Rackham Auditorium Sponsored by Bank of Ann Arbor.
John Relyea, bass-baritone
Warren Jones, piano Saturday, April 14, 8 p.m. Lydia Mendelssohn Theatre Sponsored by Miller, Canfield, Paddock and Stone, P.L.C. Media sponsor WGTE.
Mark Morris Dance Group
Mark Morris, artistic director Friday, April 20, 8 p.m. Saturday, April 21,8 p.m. Power Center
Sponsored by McKinley Associates, Inc., and The Shiffman Foundation, Sigrid Christiansen and Richard Levey. Funded in pan by the National Dance Project of the New England Foundation for the Arts, with lead funding from the National Endowment for the Arts and the Doris Duke Charitable Foundation. Additional funding provided by the Andrew W. Mellon Foundation and the Philip Morris Companies Inc.
Berlioz' Requiem
UMS Choral Union
Greater Lansing Symphony
U-M School of Music
Symphony Band
Thomas Sheets, conductor
Sunday, April 22,4 p.m.
Hill Auditorium
Sponsored by Jim and Millie Irwin.
UMS Co-Commission & World Premiire Curse of the Gold: Myths from the Icelandic Edda
Conceived and directed by
Benjamin Bagby and Ping
Performed by Sequentia in
association with Ping Chong
and Company
Wednesday, April 25, 8 p.m.
Thursday, April 26, 8 p.m.
Lydia Mendelssohn Theatre
Presented with the generous support of
Robert and Pearson Macek.
Presented in collaboration with the U-M
Institute for the Humanities.
Media sponsor Michigan Radio.
The Ford Honors Program is made possi?ble by a generous grant from the Ford Motor Company Fund 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 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, with subsequent honorees being Jessye
Norman, Garrick Ohlsson, The Canadian Brass, and Isaac Stern (left).
This season's Ford Honors Program will be held in early May. The recipient of the 2001
UMS Distinguished Artist Award will be announced in January 2001.
Ford Honors Program Honorees
1997 Jessye Norman
1998 Garrick Ohlsson
Isaac Stern
In the past several seasons, UMS' Education and Audience Development program has grown significantly. With a goal of deepening the understanding of the importance of the live performing arts and the major impact the arts can have in the community, UMS now seeks out active and dynamic collabora?tions and partnerships to reach into the many diverse communities it serves.
Family Performances
For many years, UMS has been committed to providing the opportunity for families to enjoy the arts together.
This season's Family Performances include:
? American Repertory Theater: The King Stag
? Bale Folclorico da Bahia
? Pilobolus
Alvin Ailey American Dance Theater
Specially designed for family participation that creates an environment where both chil?dren and adults can learn together, the UMS Family Performances are a great way to spend quality time with your children.
Master of Arts Interview Series
Now entering its fifth year, this series is an opportunity to showcase and engage the cho?reographers in academic, yet informal, dia?logues about their art form, their body of work and their upcoming performances.
This year's series includes interviews with several UMS artists, including Menahem Pressler and others to be announced.
PREPs (Performance-Related Educational Presentations)
This series of pre-performance presentations features talks, demonstrations and workshops designed to provide context and insight into the performance. All PREPs are free and open to the public and usually begin one hour before curtain time.
Meet the Artists: Post-Performance Dialogues
The Meet the Artist Series provides a special opportunity for patrons who attend perform?ances to gain additional understanding about the artist, the performance they've just seen and the artistic process. Each Meet the Artist event occurs immediately after the perform?ance, and the question-and-answer session takes place from the stage.
Artist Residency Activities
UMS residencies cover a diverse spectrum of artistic interaction, providing more insight and greater contact with the artists. Residency activities include interviews, open rehearsals, lecturedemonstrations, in-class visits, master classes, participatory work?shops, clinics, visiting scholars, seminars, community projects, symposia, panel discus?sions, art installations and exhibits. Most activities are free and open to the public and occur around the date of the artist's perform?ance.
Major residencies for the 20002001 season are with:
Gate Theater of Dublin
? Bale Folclorico da Bahia
Liz Lerman Dance Exchange
Alvin Ailey American Dance Theater
? Royal Shakespeare Company
? Ping ChongBenjamin Bagby
Youth Performances
These performances are hour-long or full length, specially designed, teacherand stu?dent-friendly live matinee performances.
The 20002001 Youth Performance Series includes:
American Repertory Theater: The King Stag
Bale Folclorico da Bahia
Anoushka Shankar & Ensemble
Mingus Big Band: Blues and Politics
Alvin Ailey American Dance Theater
Hubbard Street Dance Chicago
Royal Shakespeare Company: Richard III
Ronald BrownEvidence
Teachers who wish to be added to the youth performance mailing list should call 734.615. 0122 or e-mail
The Youth Education Program is sponsored by
Teacher Workshop Series
This series of workshops for all K-12 teachers is a part of UMS' efforts to provide school?teachers with professional development oppor?tunities and to encourage ongoing efforts to incorporate the arts in the curriculum.
This year's Kennedy Center Workshops are:
"Autobiography and Biography: Exploring
Point of View through Dance"
"Responding to Visual Art Through
? "Songs of the Underground Railroad"
"The Drama of Shakespeare"
Workshops focusing on the UMS youth per?formances are:
"Indian Music in the Classroom"
? "African American Modern Dance
in the Classroom"
For information and registration, please call 734.615.0122.
The Kennedy Center Partnership
The University Musical Society and Ann Arbor Public Schools are members of the Performing Arts Centers and Schools: Partners in Education Program of the John F. Kennedy Center for the Performing Arts. Selected because of its demonstrated com?mitment to the improvement of education in and through the arts, the partnership team participates in collaborative efforts to make the arts integral to education and creates a multitude of professional development opportunities for teachers and educators.
Special Discounts for Teachers and Students to Public Performances
UMS offers special discounts to school groups attending our world-class evening and weekend performances. Please call the Group Sales hotline at 734.763.3100 for more infor?mation about discounts for student and youth groups.
UMS Camerata Dinners
Now entering their fifth season, Camerata Dinners are a delicious and convenient beginning to your UMS concert evening. Our dinner buffet is open from 6:00 to 7:30 p.m., offering you the perfect opportunity to arrive early, park with ease, and dine in a relaxed setting with friends and fellow patrons. Catered this year by the very popular Food Art, our Camerata Dinners will be held prior to the Choral Union Series performances list?ed below. All dinners will be held in the Alumni Center with the exception of the din?ners on October 12 and November 10, which will be held in the Dow Laboratory Atrium. Dinner is $35 per person. UMS members at the Benefactor level ($500) and above are entitled to a discounted dinner price of $30 per person. All members receive reservation priority. Please reserve in advance by calling 734.647.8009.
We are grateful to Sesi Lincoln Mercury for their support of these special dinners.
Thursday, October 12
Iceland Symphony Orchestra
Wednesday, October 25
Bryn Terfel
? Friday, November 10
Camerata Academica Salzburg
Friday, February 2
Dresden Staatskapelle
? Friday, February 16
Swedish Radio Symphony Orchestra and Choir
Wednesday, March 7
Prague Chamber Orchestra
? Saturday, March 24
Academy of St. Martin-in-the-Fields Wednesday, April 4
Royal Concertgebouw Orchestra
of Amsterdam ("Denotes dinners held in the Dow Laboratory Atrium)
Celebrate in style with dinner and a show or stay overnight and relax in luxurious comfort! A delectable meal followed by prior?ity, reserved seating at a performance by world-class artists sets the stage for a truly elegant evening--add luxury accommoda?tions to the package and make it a perfect get-a-way. UMS is pleased to announce its cooperative ventures with the following local establishments:
The Artful Lodger Bed & Breakfast
1547 Washtenaw Avenue Call 734.769.0653 for reservations Join Ann Arbor's most theatrical host and hostess, Fred & Edith Leavis 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, has been comfortably restored and furnished with contemporary art and performance memorabilia. The Bed & Breakfast for Music and Theater Lovers!
The Bell Tower Hotel & Escoffier Restaurant 300 South Thayer
734.769.3010 for reservations and prices Fine dining and elegant accommodations, along with priority seating to see some of the world's most distinguished performing artists, add up to a perfect overnight holiday. Reserve space now for a European-style guest room within walking distance of the per?formance halls and downtown shopping, a special performance dinner menu at the Escoffier restaurant located within the Bell Tower Hotel, and priority reserved "A" seats to the show. All events are at 8 p.m. with din?ner prior to the performance.
Package includes valet parking at the hotel, overnight accommodations in a European-
style guest room, a continental breakfast, pre-show dinner reservations at Escoffier restaurant in the Bell Tower Hotel, and two performance tickets with preferred seating reservations.
Packages are available for select perform?ances. Call 734.763.3010 for details.
Gratzi Restaurant 326 South Main Street 734.663.5555 for reservations and prices Pre-performance Dinner Package includes guaranteed reservations for a preor post-performance dinner (any selection from the special package menu plus a non-alcoholic beverage) and reserved "A" seats on the main floor at the performance. Packages are available for select perform?ances. Call 734.763.5555 for details.
Visit and enjoy these fine area restaurants. Join us in thanking them for their gener?ous support of UMS.
Bella Ciao Trattoria 118 West Liberty-734.995.2107 Known for discreet dining with an air of casual elegance, providing simple and elabo?rate regional Italian dishes for you and your guests' pleasure. Reservations accepted.
Cafe Marie
1759 Plymouth Road 734.662.2272 Distinct and delicious breakfast and lunch dishes, creative weekly specials. Fresh-squeezed juice and captivating cappuccinos! A sunny, casual, smoke-free atmosphere. Take out available.
The Chop House
322 South Main Street 888.456.DINE Ann Arbor's newest taste temptation. An elite American Chop House featuring U.S.D.A. prime beef, the finest in Midwestern grain-
fed meat, and exceptional premium wines in a refined, elegant setting. Open nightly, call for reservations.
The Original Cottage Inn
512 East William 734.663.3379 An Ann Arbor tradition for more than fifty years. Featuring Ann Arbor's favorite pizza, a full Italian menu, banquet facilities and cater?ing services.
D'Amato's Neighborhood Restaurant
102 South First Street 734.623.7400 World class Italian cuisine and thirty-five wines by the glass in sleek atmosphere. Entrees changed daily, private meeting area. Rated 'four stars' by the Detroit Free Press. Lunch weekdays, dinner every night. Reservations welcome.
Gandy Dancer
401 Depot Street 734.769.0592 Located in the historic 1886 railroad depot. Specializing in fresh seafood. Lunches Monday-Friday 11:30-3:30. Dinners Monday-Saturday 4:30-10:00, Sunday 3:30-9:00. Award-winning Sunday brunch 10:00-2:00. Reservations recommended.
326 South Main Street 888.456.DINE Celebrated, award-winning Italian cuisine served with flair and excitement. Sidewalk and balcony seating. Open for lunch and dinner. Reservations accepted.
The Kerrytown Bistro
At the corner of Fourth Avenue and Kingsley in Kerrytown 734.994.6424 The Kerrytown Bistro specializes in fine French Provincial inspired cuisine, excellent wines and gracious service in a relaxed, intimate atmosphere. Hours vary, reservations accepted.
La Dolce Vita
322 South Main Street 734.669.9977 Offering the finest in after dinner pleasures. Indulge in the delightful sophistication of gourmet desserts, fancy pastries, cheeses, fine wines, ports, sherries, martinis, rare scotches,
hand-rolled cigars and much more. Open nightly.
The Moveable Feast
326 West Liberty 734.663.3278 Located just west of Main Street in the restored Brehm estate. Fine American cuisine with a global fare. Full service catering, bakery, wedding cakes.
347 South Main Street 888.456.DINE Zestful country Italian cooking, fresh flavors inspired daily. Featuring the best rooftop seating in town. Open for dinner nightly. Reservations accepted, large group space available.
Real Seafood Company
341 South Main Street 888A56.DINE As close to the world's oceans as your taste can travel. Serving delightfully fresh seafood and much more. Open for lunch and dinner. Reservations accepted.
Red Hawk Bar & Grill
316 South State Street 734.994.4004 Neighborhood bar & grill in campus historic district, specializing in creative treatments of traditional favorites. Full bar, with a dozen beers on tap. Lunch and dinner daily. Weekly specials. Smoke-free. No reservations.
314 East Liberty 734.662.1111 Providing fresh, imaginative vegetarian cui?sine since 1973. All dishes, including desserts, are made in-house daily. Be sure to look over our extensive beverage menu.
Sweet Lorraine's Cafe and Bar
303 Detroit Street 734.665.0700 Modern American cooking, daily eclectic spe?cials, seafood, pasta & steaks. Full bar, wines by-the-glass, and courtyard dining. Open 7 days at 11:00 a.m., weekend brunch. Meetings, banquets, and parties easily accommodated. Coming soon: live entertainment and other exciting surprises.
Weber's Restaurant
3050 Jackson Avenue 734.665.3636 Great American restaurant since 1937. Featuring prime rib, live lobster, roast duck, cruvinet wine tasting flights, home-made pastries. Award-winning wine list. Ports, cognacs, entertainment nightly.
216 South State Street 734.994.7777 Contemporary American food with Mediterranean & Asian influences. Full bar featuring classic and neo-classic cocktails, thoughtfully chosen wines and an excellent selection of draft beer. Spectacular desserts. Space for private and semi-private gatherings up to 120. Smoke-free. Reservations encour?aged.
Back by popular demand, friends of UMS are offering a unique donation by hosting a variety of dining events. Thanks to the generosity of the hosts, all proceeds go directly to support UMS' educational and artistic programs. Treat yourself, give a gift of tickets, or come alone and meet new people! Call 734.936.6837 to receive a brochure or for more information.
UMS Volunteers are an integral part of the success of our organi?zation. 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 activities. We rely on volunteers for a vast array of activities, including staffing the edu?cation residency activities, assisting in artist services and mailings, escorting students for our popular youth performances and a host of other projects. Call 734.936.6837 to request more information.
Now fifty-three members strong, the UMS Advisory Committee serves an integral function within the organization, supporting UMS with a volunteer corps and contribut?ing to its fundraising efforts. Through the Delicious Experiences series, Season Opening Dinner, and the Ford Honors Program gala, the Advisory Committee has pledged to donate $300,000 to UMS this season. Additionally, the Committee's hard work is in evidence at local bookstores with BRAVO!, a cookbook that traces the history of UMS through its first 120 years, with recipes submitted by artists who have performed under our aus?pices. If you would like to become involved
with this dynamic group, call 734.936.6837 for more information.
The Advisory Committee also seeks people to help with activities such as escorting students at our popular youth performances, assisting with mailings, and setting up for special events. Please call 734.936.6837 if you would like to volunteer for a project.
Advertising in the UMS program book or sponsoring UMS performances enables you to reach 130,000 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 performance experi?ences. Call 734.647.4020 to learn how your business can benefit from advertising in the UMS program book.
As a UMS corporate sponsor, your organiza?tion comes to the attention of an educated, diverse and growing segment of not only Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treasures, and also receive numerous
benefits from your investment. For example, UMS offers you a range of programs that, depending on your level of support, provide a unique venue for:
? Enhancing corporate image
? 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, please call 734.647.1176.
Internships with UMS provide experience in performing arts administration, mar?keting, publicity, promotion, production and arts education. Semesterand year-long internships are available in many of UMS' departments. For more information, please call 734.764.9187.
Students working for UMS as part of the College Work-Study program gain valu?able experience in all facets of arts manage?ment including concert promotion and marketing, fundraising, event planning and production. If you are a University of Michigan student who receives work-study financial aid and who is interested in working at UMS, please call 734.764.9187.
Without the dedicated service of UMS' Usher Corps, our events would not run as smoothly as they do. Ushers serve the essential functions of assisting patrons with seating, distributing program books and pro?viding that personal touch which sets UMS events above others.
The UMS Usher Corps comprises over 300 individuals who volunteer their time to make your concert going 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 Center, or Rackham) for the entire concert season.
If you would like information about becoming a UMS volunteer usher, call the UMS usher hotline at 734.913.9696.
Great performances--the best in music, theater and dance--are presented by the University Musical Society because of the much-needed and appreciated gifts of UMS supporters, members of the Society. The list below represents names of current donors as of July 25, 2000. 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. UMS would also like to thank those generous donors who wish to remain anonymous.
Mrs. Gardner Ackley Carl and Isabelle Brauer Dr. Kathleen G. Charla Dr. and Mrs. James Irwin Charlotte McGeoch Randall and Mary Pittman Herbert Sloan and several anonymous donors
Aetna Corporation
Bank One, Michigan
Ford Motor Company Fund
Forest Health Services
Hudson's Project Imagine Office of the Provost,
University of Michigan Pfizer Global Research and
Development; Ann Arbor
Community Foundation for Southeastern Michigan
The Ford Foundation
JazzNetDoris Duke Foundation
Lila Wallace Reader's Digest Audiences for the Performing Network
Lila Wallace Reader's Digest Arts Partners Program
Michigan Council for Arts and Cultural Affairs
National Endowment for the Arts
Herb and Carol Amster
Peter and Jill Corr
Ronnie and Sheila Cresswell
Bank of Ann Arbor Brauer Investments Comerica Bank Dow Automotive KeyBank
McKinley Associates Thomas B. McMullen Company
National City Bank Sesi Lincoln Mercury Edward Surovell Realtors Texaco
Wolverine Technical Staffing, Inc.
Arts Midwest
Detroit Edison Foundation Elizabeth E. Kennedy Fund Benard L. Maas Foundation Mid-America Arts Alliance New England Foundation for the Arts
VIRTUOSI Individuals
Prudence and Amnon
Rosenthal Edward and Natalie Surovell
CFI Group
Maurice and Linda Binkow Douglas D. Crary Ken and Penny Fischer Beverley and Gerson Geltner Charles N. Hall David and Phyllis Herzig F. Bruce Kulp and Ronna Romney David G. Loesel Lawrence and Rebecca Lohr Robert and Pearson Macek Robert and Ann Meredith Joe and Karen Koykka O'Neal Loretta M. Skewes Don and Carol Van Curler Marina and Robert Whitman Ann and Clayton Wilhite Roy Ziegler
Ann Arbor Acura AutoCom Associates Butzel Long Attorneys Cafe Marie Consumers Energy Elastizell Corp of America Miller, Canfield, Paddock and
Stone P.L.C. O'Neal Construction Pepper Hamilton LLP Visteon
Chamber Music America THE MOSAIC FOUNDATION (ofR. &P. Heydon)
LEADERS Individuals
Martha and Bob Ause A. J. and Anne Bartoletto Bradford and Lydia Bates Kathy Benton and Robert Brown
Raymond and Janet Bernreuter Mr. and Mrs. William Brannan Barbara Everitt Bryant Amy and Jim Byrne Edward and Mary Cady Edwin and Judith Carlson Mr. Ralph Conger Katharine and Jon Cosovich Molly and Bill Dobson Jim and Patsy Donahey David Eklund and Jeff Green Mr. and Mrs. Thomas C. Evans John and Esther Floyd James and Anne Ford Otto and Lourdes E. Gago Sue and Carl Gingles Debbie and Norman Herbert Keki and Alice Irani Thomas and Shirley Kauper Judy and Roger Maugh Paul and Ruth McCracken Hattie and Ted McOmber Cruse W. and
Virginia Patton Moss George and Barbara Mrkonic Gilbert Omenn and
Martha Darling John Psarouthakis John and Dot Reed Barbara A. Anderson and
John H. Romani Mabel E. Rugen Don and Judy Dow Rumelhart Carol and Irving Smolder Lois A. Theis Richard E. and
Laura A. Van House Mrs. Francis V. Viola III Marion T. Wirick and
James N. Morgan
Alf Studios AAA Michigan Alcan Automotive Products Austin & Warburton Blue Nile Restaurant Dennis A. Dahlmann Inc. Lansstyrelsen Vastra Gotaland Ideation, Inc.
Joseph Curtin Studios Masco Corporation Republic Bank Ann Arbor Scandinavian Airlines System
Ann Arbor Area Community
The Lebensfeld Foundation Shiffman Foundation Trust
(Richard Levey and Sigrid
PRINCIPALS Individuals
Dr. and Mrs. Gerald Abrams Jim and Barbara Adams Bernard and Raquel Agranoff Lloyd and Ted St. Antoine Lesli and Christopher Ballard Emily W. Bandera, M.D. Dr. and Mrs. Robert Bartlett Karen and Karl Bartscht Ralph P. Beebe
Ruth Ann and Stuart J. Bergstein L. S. Berlin Philip C. Berry
Suzanne A. and Frederick J. Beutler Joan Akers Binkow Elizabeth and Giles G. Bole Lee C. Bollinger and
Jean Magnano Bollinger Howard and Margaret Bond Laurence and Grace Boxer Dale and Nancy Briggs Helen L. Brokaw Jeannine and Robert Buchanan Robert and Victoria Buckler Lawrence and Valerie Bullen Mr. and Mrs. Richard J. Burstein Letitia J. Byrd Betty Byrne
Jim and Priscilla Carlson Jean and Kenneth Casey Janet and Bill Cassebaum Anne Chase
George and Patricia Chatas Don and Betts Chishorm Mr. and Mrs. John Alden Clark David and Pat Clyde Leon and Heidi Cohan Anne and Howard Cooper Mary Cordes and Charleen Price
Principals, continued
Peter and Susan Darrow Beatrice C. DeRocco Jack and Alice Dobson Elizabeth A. Doman Mr. and Mrs.
John R. Edman Dr. and Mrs.
John A. Faulkner Susan Feagin and
John Brown David and
Jo-Anna Featherman Adrienne and
Robert Z. Feldstein Ray and
Patricia Fitzgerald David C. and
Linda L. Flanigan Bob and Sally Fleming Ilene H. Forsyth Michael and Sara Frank Marilyn G. Gallatin James and Cathie Gibson William and Ruth Gilkey Drs. Sid Gilman and
Carol Barbour Alvia G. Golden and
Carroll Smith-Rosenberg Norm Gottlieb and
Vivian Sosna Gottlieb Dr. Alexander Gotz Victoria Green and
Matthew Toschlog Linda and Richard
Greene Frances Greer David and Pamela
Colburn Haron Taraneh and Carl Haske Anne and Harold Haugh Bertram Herzog Julian and Diane Hoff Janet Woods Hoobler Robert M. and
Joan F. Howe Sun-Chien and
Betty Hsiao John and Patricia
Stuart and Maureen Isaac Lennart and
Karin Johansson Elizabeth Judson Johnson Robert L. and
Beatrice H. Kahn Robert and Gloria Kerry
Amy Sheon and
Marvin Krislov Bud and Justine Kulka Barbara and
Michael Kusisto Lenore Lamont Jill Latta and
David S. Bach Mr. and Mrs.
Henry M. Lee Leo and Kathy Legatski Carolyn and Paul Lichter Richard and
Stephanie Lord Dean and Gwen Louis Virginia and
Eric Lundquist John and
Cheryl MacKrell Natalie Matovinovic Margaret W. Maurer Joseph McCune and
Georgiana Sanders Rebecca McGowan and
Michael B. Staebler Dr. H. Dean and
Dolores Millard Andrew and
Candice Mitchell Grant W. Moore Julia S. Morris Eva L. Mueller Mr. and Mrs. Homer Neal Shirley Neuman M. Haskell and Jan
Barney Newman William and
Deanna Newman Marylen and
Harold Oberman Dr. and Mrs.
William J. Oliver Mark and Susan Orringer Elizabeth C. Overberger Mr. and Mrs.
William B. Palmer Dory and John D. Paul John M. Paulson Elaine and Bertram Pitt Eleanor and Peter Pollack Stephen and
Agnes Reading Donald H. Regan and
Elizabeth Axelson Kenneth J. Robinson Mrs. Irving Rose Victor Strecher and
Jeri Rosenberg
Gustave and
Jacqueline Rosseels Dr. Nathaniel H. Rowe Mr. and Mrs.
Charles H. Rubin Maya Savarino Mrs. Richard C. Schneider Rosalie and David
Schottenfeld Dr. John ). H. Schwarz Robert Sears and
Lisa M. Waits Joseph and
Patricia Settimi Janet and
Michael Shatusky Helen and George Siedel J. Barry and
Barbara M. Sloat Tim Sparling and
Lynne Tobin
Steve and Cynny Spencer Gus and Andrea Stager James and Nancy Stanley Mrs. Ralph L. Steffek Mr. and Mrs.
John C. Stegeman Sally A. Stegeman Victor and
Marlene Stoeffler Bengt L. and
Elaine M. Swenson James L. and
Ann S. Telfer Dr. Isaac Thomas III &
Dr. Toni Hoover Susan B. Ullrich Jerrold G. Utsler Charlotte Van Curler Mary Vanden Belt Elly Wagner John Wagner Gregory and
Annette Walker Willes and
Kathleen Weber Elise and Jerry Weisbach Robert O. and
Darragh H. Weisman Angela and
Lyndon Welch Roy and JoAn Wetzel Max Wicha and
Sheila Crowley Dr. and Mrs. Clyde Wu Paul and
Elizabeth Yhouse Ed and Signe Young
Gerald B. and
Mary Kay Zelenock
Allen & Kwan
Commercial Briarwood Mall
J. F. Ervin Foundation Harold and Jean
Grossman Family
Foundation Hudson's Community
Montague Foundation The Power Foundation
Robert Ainsworth Dr. and Mrs. Robert G.
Michael and Suzan Alexander Carlene and Peter Aliferis Michael Allemang and
Denise Boulange Dr. and Mrs. Rudi Ansbacher lanet and Arnold Aronoff Max K. Auppcrle Gary and Cheryl Balint Norman E. Barnett Mason and Helen Barr Astrid B. Beck and
David Noel Freedman Kathleen Beck Harry and Betty Benford John Blankley and
Maureen Foley Jane M. Bloom Ron and Mimi Bogdasarian Charles and Linda Borgsdorf David and Sharon Brooks June and Donald R. Brown Virginia Sory Brown Douglas and
Marilyn Campbell Jean W. Campbell Michael and
Patricia Campbell Bruce and Jean Carlson lack and Wendy Carman James S. Chen Janice A. Clark John and Nancy Clark Edward J. and
Anne M. Comeau Jim and Connie Cook Susan and Arnold Coran Elaine Buxbaum Cousins Clifford and Laura Craig
George and Connie Cress Kathleen J. Crispell and
Thomas S. Porter Mary R. and John G. Curtis Roderick and
Mary Ann Daane James M. Deimen Pauline and Jay J. De Lay Katy and Anthony Derezinski Lloyd and Genie Dethloff Marnee and John DeVine Delia DiPietro and
Jack Wagoner, M.D. Dr. and Mrs.
Stephen W. Director Al Dodds Mr. and Mrs.
Raymond D. Dornbusch Charles and Julia Eisendrath Dr. Alan S. Eiser Stefan S. and Ruth S. Fajans Dr. and Mrs. S.M. Farhat Claudine Farrand and
Daniel Moerman Dede and Oscar Feldman Dr. James F. Filgas Sidney and Jean Fine Clare M. Fingerle Phyllis W. Foster Deborah and
Ronald Freedman Gwyn and Jay Gardner Drs. Steve Geiringer and
Karen Bantel Thomas and
Barbara Gelehrter Beverly Gershowitz Elmer G. Gilbert and
Lois M. Verbrugge Joyce and Fred Ginsberg Paul and Anne Glendon Susie and Gene Goodson Cozette Grabb Dr. and Mrs.
William A. Gracie William and Deborah Gray John and Helen Griffith Leslie and Mary Ellen Guinn Carl E. and Julia H. Guldberg Don P. Haefner and
Cynthia J. Stewart Helen C. Hall Mr. and Mrs. Elmer F. Hamel Susan Harris Paul Hysen and
Jeanne Harrison Anne Vance Hatcher Karl and Eleanor Hauscr Nina E. Hauser Jeannine and Gary Hayden Margaret and
Walter Helmreich J. Lawrence and
Jacqueline Stearns Henkel Carl and Charlene Herstein Mrs.W.A. Hiltner Mr. and Mrs.
William B. Holmes Bellanina Day Spa
David and Dolores Humes Ronald R. and
Gaye H. Humphrey Eileen and Saul Hymans Wallie and Janet Jeffries Jim and Dale Jerome Ellen C. Johnson Frank and Sharon Johnson Mercy and Stephen Kasle Herbert Katz
Richard and Sylvia Kaufman Richard L. Kennedy Emily and Ted Kennedy Howard King and
Elizabeth Sayre-King Dick and Pat King Hermine R. Klingler Bethany and Bill Klinke Philip and
Kathryn Klintworth Jim and Carolyn Knake Joseph and
Marilynn Kokoszka Samuel and Marilyn Krimm Lee and Teddi Landes David and Maxine Larrouy John K. Lawrence Ted and Wendy Lawrence Laurie and Robert LaZebnik Rosebud Solutions Ann M. Leidy Evie and Allen Lichter Charles and Judy Lucas Brigitte and Paul Maassen Edwin and Catherine Marcus Nancy and Philip Margolis Claude and Marie Martin Irwin and Fran Martin Sally and Bill Martin Marilyn Mason Chandler and
Mary Matthews Elaine J. McFadden Eileen Mclntosh and
Charles Schaldenbrand Richard and
Elizabeth McLeary Ted and Barbara Meadows Dr. Gerlinda Melchiori Walter and Ruth Metzger Valerie Meyer Leo and Sally Miedler Myrna and Newell Miller Lester and Jeanne Monts Melinda and Bob Morris Brian and Jacqueline Morton Cyril and Rona Moscow Hillary Murt and
Bruce A. Friedman Martin Neuliep and
Patricia Pancioli Len and Nancy Niehoff Mrs. Marvin Niehuss Gene Nissen Dr. and Mrs.
Frederick C. O'Dell Mr. and Mrs.
James C. O'Neill
Constance L. and
David W. Osier Mitchel Osman, M.D. William C. Parkinson Shirley and Ara Paul Margaret and lack Petersen Lorraine B. Phillips William and Betty Pierce Murray and Ina Pitt Stephen and Bettina Pollock Richard H. and
Mary B. Price Mrs. Gardner C. Quarton Mrs. Joseph S. Radom Jeanne Raisler and
Jonathan Allen Cohn Jim and leva Rasmussen Jim and Bonnie Reece Rudolph and Sue Reichert Ray and Ginny Reilly Maria and Rusty Restuccia Arthur J. Rose Dr. Susan M. Rose Mrs. Doris E. Rowan James and
Adrienne Rudolph Ina and Terry Sandalow Sheldon Sandweiss Ronald and Donna Santo Drs. Edward and
Virginia Sayles Peter C. Schaberg and
Norma J. Amrhein Meeyung and
Charles Schmitter Sue Schroeder Julianne and Michael Shea Howard and Aliza Shevrin Dr. and Mrs.
Martin Shinedling Frances U. and
Scott K. Simonds George and
Mary Elizabeth Smith Dr. Elaine R. Soller Cynthia J. Sorensen Mr. and Mrs. Neil J. Sosin Juanita and Joseph Spallina Stephen and Gayle Stewart Wolfgang Stolper Nancy Bielby Sudia Charlotte B. Sundelson Ronna and Kent Talcott Bob and Betsy Teeter Mrs. E. Thurston Thieme Dr. and Mrs.
Merlin C. Townley Joan Lowenstein and
Jonathan Trobe Marilyn Tsao and Steve Gao Dr. Sheryl S. Ulin and
Dr. Lynn T. Schachinger Bryan and Suzette Ungard Jack and
Marilyn van der Velde Kate and Chris Vaughan Sally Wacker Warren Herb Wagner and
Florence S. Wagner
Bruce and Raven Wallace Charles R. and
Barbara H. Wallgren Dana M. Warnez Joyce L. Watson Robin and Harvey Wax Karl and Karen Weick Raoul Weisman and
Ann Friedman Dr. Steven W. Werns Harry C, White and
Esther R. Redmount Clara G. Whiting Brymer Williams I. D. and Joyce Woods Mr. and Mrs. A. C. Wooll David and April Wright Don and Charlotte Wyche
The Barfield
CompanyBartech Dupuis & Ryden P.C. Guardian Industries
Corporation Public Sector Consultants,
Inc. Charles Reinhart Company
Realtors Stirling Thermal Motors, Inc.
The Sneed Foundation, Inc.
ASSOCIATES Individuals
Anastasios Alexiou
Christine Webb Alvey
Dr. and Mrs. David G. Anderson
David and Katie Andrea
Harlene and Henry Appelman
Patricia and Bruce Arden
Jeff and Deborah Ash
Mr. and Mrs. Arthur J. Ashe, III
Mr. and Mrs. Dan E. Atkins III
Jonathan and Marlene Ayers
Robert L. Baird
John R. Bareham
Cy and Anne Barnes
Gail Davis Barnes
Victoria and Robin Baron
Lois and David Baru
Gary Beckman and Karla Taylor
Srirammohan S. and
Shamal Beltangady Linda and Ronald Benson Robert Hunt Berry Sheldon and Barbara Berry Dan and Irene Biber Cathie and Tom Bloem Roger and Polly Bookwalter Mr. loci Bregman and
Ms. Elaine Pomeranz Allen and Veronica Britton Mrs. A. Joseph Brough Morion B. and Raya Brown
Associates, continued
Dr. and Mrs. Donald T. Bryant Sue and Noel Buckner Trudy and Jonathan Bulkley Arthur W. and Alice R. Burks Susan and Oliver Cameron Margot Campos Charles F. Cannell Nancy Cantor
Marshall F. and Janice L. Carr leannette and Robert Carr James and Mary Lou Carras Carolyn M. Carty and
Thomas H. Haug Dr. and Mrs. Joseph C. Cerny Tsun and Siu Ying Chang Dr. Kyung and Young Cho Soon K. Cho
Dr. and Mrs. David Church Nancy Cilley
Donald and Astrid Cleveland Gerald S. Cole and
Vivian Smargon John and Penelope Collins Wayne and Melinda Colquitt Nan and Bill Conlin Paul N. Courant and
Marta A. Manildi Merle and Mary Ann Crawford Mr. Michael J. and
Dr. Joan Crawford Constance Crump and
Jay Simrod Sunil and Merial Das Charles and
Kathleen Davenport Ed and Ellie Davidson Peter and Norma Davis Ronald and Dolores Dawson John and Jean Debbink Penny and Laurence B. Deitch Elena and Nicholas Delbanco Ellwood and Michele Derr Elizabeth Dexter Martha and Ron DiCecco Bill and Peggy Dixon Jean Dolega
Heather and Stuart Dombey Dr. and Mrs. Edward F. Domino Thomas and Esther Donahue Eugene and Elizabeth Douvan Mr. and Mrs. Daniel G. Dow Phillip Duryea Jane E. Dutton Martin and Rosalie Edwards Judge and Mrs. S. J. Elden Ethel and Sheldon Ellis Mackenzie and Marcia Endo Joan and 1 mil Engel Patricia Enns
Dr. and Mrs. James Ferrara Yi-tsi M. and
AJbcrt Feuerwerker Karl and Sara Fiegenschuh Carol Finerman Herschel and Annette Fink Beth B. Fischer (Mrs. G. J.) Dr. C. Peter and
Beverly A. Fischer Susan R. Fisher and
John W. Waidley Jennifer and Guillermo Flores Mr. and Mrs. George W. Ford Doris E. Foss
Paula L. Bockenstedt and
David A. Fox
Howard and Margaret Fox Andrew and Deirdre Freiberg Lela J. Fuester
Mr. and Mrs. William Fulton Harriet and Daniel Fusfeld Bernard and Enid Galler Eugene and Mary Anne Gargaro David and Marian Gates Mr. and Mrs. Michael Gillis lames and lanet Gilsdorf Maureen and David Ginsburg Albert and Almeda Girod Edward and Ellen Goldberg Irwin Goldstein and
Martha Mayo Charles Goss
James W. and Maria ). Gousseff Elizabeth Needham Graham Maryanna and
Dr. William H. Graves, III Jerry M. and Mary K. Gray Dr. John and Renee M. Greden Lila and Bob Green Bill and Louise Gregory Lauretta and Jim Gribble Carleton and Mary Lou Griffin Mark and Susan Griffin Werner H. Grilk David and Kay Gugala Ken and Margaret Guire Arthur W. Gulick, M.D. Susan and lohn Halloran Yoshiko Hamano Mr. and Mrs. Michael Hanna Martin D. and
Connie D. Harris Robert and Jean Harris Robert and Sonia Harris Naomi Gottlieb Harrison and
Theodore Harrison DDS Clifford and Alice Hart Thomas and Connie Heffner Bob and Lucia Heinold Fred and Joyce Hershenson Peter G. Hinrnan and
Elizabeth A. Young Ms. Teresa Hirth Frances C. Hoffman Matthew C. Hoffmann and
Kerry McNulty Carol and Dieter Hohnke Kenneth and Joyce Holmes Ronald and Ann Holz Drs. Linda Samuelson and
Joel Howell Jane H. Hughes Ann D. Hungerman Thomas and
Kathryn Huntzicker Susan and Martin Hurwitz Robert B. Inglmg Margaret and Eugene Ingram Harold and Jean Jacobson Kent and Mary Johnson Tim and Jo Wiese Johnson Elizabeth and Lawrence Jordan Susan and Stevo Julius Douglas and Mary Kahn Steven R. Kalt and
Robert D. Heeren Dr. and Mrs. Mark S. Kaminski
Perry and Denise Kantncr
George Kaplan and Mary Haan
David and Sally Kennedy
Frank and Patricia Kennedy
Don and Mary Kiel
Tom and Connie Kinnear
Rhea and Leslie Kish
lames and Jane Kister
Beverly Kleiber
Shira and Steve Klein
Laura Klem
Clyde and Anne Kloack
Ruth and Thomas Knoll
Nick Knuth
Dr. and Mrs. Mclvyn Korobkin
Michael and Phyllis Korybalski
Ron and Barbara Kramer
Bert and Catherine La Du
Mr. and Mrs. Henry M. Lapeza
John and Theresa Lee
Peter Lee and Clara Hwang
Mr. and Mrs. Fernando S. Leon
Richard LeSueur
Harry and Melissa LeVine
Myron and Bobbie Levine
Jacqueline H. Lewis
Earl Lewis
Leons and Vija Liepa
Alene and Jeff Lipshaw
Rod and Robin Little
Vi-Cheng and Hsi-Yen Liu
Peter and Sunny Lo
Naomi E. Lohr
E. Daniel and Kay Long
Leslie and Susan Loomans
Helen B. Love
Mr. and Mrs. Carl J. Lutkehaus
Edward and Barbara Lynn
Donald and Doni Lystra
Jeffrey Mackie-Mason
Steve and Ginger Maggio
Virginia Mahle
Melvin and lean Manis
Marcovitz Family
Sheldon and Geraldine Markel
Peter Marshall
Jim and Ann Mattson
Melissa McBrienBaks Family
Margaret E. McCarthy
Ernest and Adele McCarus
W. Bruce McCuaig
Griff and Pat McDonald
Mr. and Mrs. Ernest Merlanti
Bernice and Herman Merte
Helen Metzner
Deanna Relyea and
Piotr Michalowski Prof, and Mrs. Douglas Miller Jeanette and Jack Miller Robert Rush Miller John Mills
Thomas and Doris Miree Kathleen and James Mitchiner Dr. and Mrs.
William G. Moller, Jr. Jane and Kenneth Moriarty Frederick C. Ncidhardt and
Germaine Chipault Laura Nitzberg and
Thomas Carli Donna Parmelee and
William Nolting
Marysia Ostafin and
George Smillie Julie and Dave Owens David and Andrea Page Helen I. Panchuk Drs. Sujit and Uma Pandit William and Hedda Panzer Rene and Hino Papo Elizabeth M. Payne Zoe and Joe Pearson Jim and Julie Phelps Joyce H. and Daniel M. Phillips William and Barbara Pierce Frank and Sharon Pignanelli Richard and Meryl Place Donald and Evonne Plantinga Mary Alice Power Philip and Kathleen Power Bill and Diana Pratt Jerry and Lorna Prescott Larry and Ann Preuss Elizabeth L. Prevot Wallace and Barbara Prince Bradley and Susan Pritts J. Thomas and Kathleen Pustcll Leland and
Elizabeth Quackenbush Patricia Randle and James Eng Anthony L. Reffells and
Elaine A. Bennett Glenda Renwick Janet L. Repp
Molly Resnik and John Martin Carol P. Richardson Jack and Margaret Ricketts John and Marilyn Kintamaki Jay and Machree Robinson Mr. and Mrs. Stephen J. Rogers Mary R. Romig-deYoung Armando Lopez Rosas Elly Rose and Hugh Cooper W. Robin Rose Robert and Joan Rosenblum Gay and George Rosenwald Craig and Jan Ruff Bryant and Anne Russell Robert E. Sanecki Mike Savitski and
Christi Balas Savitski Albert J. and Jane L. Sayed Christine J. Schesky-Black David and Marcia Schmidt Monica and
David E. Schteingart Suzanne Selig Harriet Sclin Erik and Carol Serr Ruth and Jay Shanberge George and Gladys Shirley Hollis and
Martha A. Showalter Ned Shure and Jan Onder Sandy and Dick Simon Robert and Elaine Sims Scott and Joan Singer John and Anne Griffin Sloan Tim and Marie Slottow Alcne M. Smith Carl and Jari Smith Radley and Sandra Smith Mrs. Robert W. Smith Susan M. Smith Jorge and Nancy Solis
Yoram and Eliana Sorokin Tom Sparks Allen and Mary Spivey L. Grasselli Sprankle Curt and Gus Stager Barbara Stark-Nemon and
Barry Ncmon Professor Louis and
Glennis Stout
Dr. and Mrs. Stanley Strasius Brian and Lee Talbot Eva and Sam Taylor Mary D. Teal
Dr. Paul and Jane Thielking Mary H. Thieme Christina and Thomas Thobum Catherine and
Norman Thoburn Edwin J. Thomas Bette M. Thompson Mr. and Mrs. W. Paul Tippett Patricia and Terril Tompkins Paul and Fredda Unangst Dr. and Mrs. Samuel C. Ursu lim and Emilie Van Bochove Kathleen and Edward Van Dam Hugo and Karla Vandersypen Tanja and Rob Van der Voo I. Kevin and Lisa M. Vasconi William C.Vassell Shirley Verrett Carolyn and Jerry Voight lohn and Maureen Voorhees Wendy L. Wahl and
William R. Lee Mrs. Norman Wait Virginia Wait
Robert D. and Liina M. Wallin Dr. and Mrs. Jon M. Wardner Mr. and Mrs.
Robert M. Warner Drs. Philip and Maria Warren Barry and Sybil Wayburn Deborah Webster and
George Miller Waller L. Wells John and Joanne Werner Susan and Peter Westerman Marcy and Scott Westerman B. Joseph and Mary White Reverend Francis E. Williams Thomas and Iva Wilson Charles Witke and
Aileen Gatten Charlotte A. Wolfe Kathy and Alan Wright MaryGrace and Tom York Ann and Ralph Youngrcn Gail .ind David Zuk
Atlas Tool, Inc. Clark Professional Pharmacy Coffee Express Co. Complete Design &
Automation Systems Inc. Edwards Brothers, Inc. John Leidy Shop, Inc. Malloy Lithographing, Inc. Pollack Design Associates Quinn EvansArchitects A. F. Smith Electric, Inc. Milan Vault
ADVOCATES Individuals
John R. Adams
Tim and Leah Adams
Dr. Dorit Adler
Dr. Diane M. Agresla
Thomas Aigler
Gordon and Carol Allardyce
James and Catherine Allen
Richard and Bettye Allen
Barbara and Dean Alseth
Nick and Marcia Alter
Pamela and Gordon Amidon
Helen and David Aminoff
Dr. and Mrs. Charles T. Anderson
Clarence Anderson
Sandra and David Anderson
Joseph and Annette Anderson
Timothy and Caroline Andresen
Martha Andrews-Schmidt
Barbara T. Appelman
Mary C. Arbour
Catherine S. Arcure
H. C. and Doris Arms
Bert and Pat Armstrong
Gaard and Ellen Arneson
Rudolf and Mary Arnheim
Dwight Ashley
EricM. and Nancy Aupperle
John and Rosemary Austgen
Shirley and Donald Axon
Virginia and Jerald Bachman
Drs. John and Lillian Back
Chris and Heidi Bailey
Prof, and Mrs. J. Albert Bailey
Richard W. Bailey and Julia
Huttar Bailey
Laurence R. ana Barbara K. Baker Barbara and Daniel Balbach Helena and Richard Baton Peter and Paulett Banks David and Monika Barera Maria Kardas Barna Joan W. Barth Robert and Carolyn Bartle Leslie and Anita Basset t Dorothy W. Bauer Mrs. Jere Bauer
Mr. and Mrs. Gilbert M. Bazil, Jr. James and Margaret Bean Mr. and Mrs. John C. Beatty Mr. and Mrs. Steven R. Beckert Robert Beckley and Judy Dinesen Mr. and Mrs. Bruce Beier Steve and Judy Bemis Walter and Antjc Benenson Erling and
Merete Blondal Bengtsson Bruce Benner and
Hely Merle-Benner Linda Bennett
Mr. and Mrs. Ib Bentzen-Bilkvist Dr. Rosemary R. Berardi Mr. and Mrs. Joel S. Berger Barbara Levin Bergman Jim Bergman and
Penny Hommcl Marie and Gerald Berlin Abraham and Thclma Barman Susan A. Bernard Pearl Bernstein
Michel and Dominique Berny Gene and Kay Berrodin Andrew II. Berry, D.O. Mark Bert
R. Bezak and R. Halstead Narcn and Nishta Bhatia Bharat C. Bhushan ohn and Marge Biancke Eric and Doris Billes John E. Billie and Sheryl Hirsch Jack and Anne Birchfield William and Ilene Birge Elizabeth S. Bishop Art and Betty Blair
Donald and Roberta Blitz Marshall and Laurie Blondy Dennis Blubaugh Dr. George ana Joyce Blum Mr. and Mrs.
Ralph O. Boehnkc, Jr. Beverly J. Bole Mark and Lisa Bomia Dr. and Mrs. Frank P. Bongiorno Harold W. and
Rebecca S. Bonnell Edward and Luciana Borbely Lola J. Borchardt Morris and Reva Bornstein Jeanne and David Bostian Victoria C. Botek and
William M. Edwards Inn Botsford and
Janice Stevens Botsford Bob and Jan Bower Dean Paul C. Boylan Marvin J. and Maureen A. Boyle Dr. and Mrs. Ralph Bozell Stacy P. Brackens Dr. and Mrs. C. Paul Bradley Melvin W. and Ethel F. Brandt William R. Brashear Enoch and Liz Brater Mr. and Mrs. Gerald Bright Paul A. Bringer Amy and Clifford Broman Razelle Brooks Olin L. Browder Linda Brown and Joel Goldberg Cindy Browne Molly and John Brueger Mrs. Webster Brumbaugh Dr. Frances E. Bull Margaret E. Bunge Marilyn Burhop Tony and Jane Burton Barbara H. Busch Mr. and Mrs. Dan H. Butler Joanne Cage
Louis and Janet Callaway H. D. Cameron Mrs. Darrell A. Campbell Douglass and Sherry Campbell James H. Campbell Valerie and Brent Carey Barbara Carpenter lames and Jennifer Carpenter Deborah S. Carr Margaret P. Carrigan Dennis B. and
Margaret W. Carroll Dean Carter and Dr. Pctra
Schindler Carter Joseph and Nancy Cavanaugh K. M. Chan
Bill and Susan Chandler J. Wehrley and Patricia Chapman Dr. Carey Charles-Angelos Barry and Marjorie Cneckoway Joan and Mark Chester Tim Cholyway Felix and Ann Chow Catherine Christen Edward and Rebecca Chudacofif Sallie R. Churchill Pat Clapper
Brian and Cheryl Clarkson Barbara Clough Roger and Mary Coe Dorothy Coffey Alice S. Cohen Hubert and Ellen Cohen Hilary and Michael Cohen Mr. and Mrs. William Cohen Willis Colburn and Denise Park Marion Collier Matthew and Kathryn Collins Ed and Cathy Colone Gordon and Marjoric Comfort Wendy and Mark Comstock Carolyn and L. Thomas Conlin Patrick and Anneward Conlin Sandra S. Connellan M. C. Conroy
Philip E. and Jean M. Converse
Donald W. Cook
Dr. and Mrs. William W. Coon
Gage R. Cooper
Dr. and Mrs. Richard Cooper
Alan and Bette Cotzin
Malcolm and Juanita Cox
Marjorie A. Cramer
Richard and Penelope Crawford
Charles and Susan Cremin
Mary C. Crichton
Mr. and Mrs. James I. Crump
Peggy Cudkowicz
Townley and Joann Culbertson
Jean Cunningham
Richard J. Cunningham
Marylee Dalton
loyce Damschroder
Mr. and Mrs. Norman Dancy
Mildred and William B. Darnton
fane and Gawaine Dart
Stephen Darwall and
Rosemarie Hester DarLinda and Robert Dascola Ruth E. Datz
Mr. and Mrs. John L. Dauer Mr. and Mrs. Arthur W. Davidge Judi and Ed Davidson Laning R. Davidson, M.D. Wayne and Patricia Davis Robert and
Barbara Ream Debrodt Joe and Nan Decker Dr. and Mrs. Raymond F. Decker Rossanna and George DeGrood Mr. and Mrs. Rolf A. Deininger George and Margaret Demutn Pamela DeTullio and
Stephen Wiseman Don and Pam Devine Sheryl Diamond Macdonald and Carolin Dick T. L Dickinson and
Lisa Landmeier Gordon and Elaine Didier Jerry and Patti Dobbs Judy and Steve Dobson Paul Dodd and Charlotte Dodd Ed and Betty Doezcma Steven and Paula Donn Deanna and Richard Dorner Roland and Diane Drayson Harry M. and Norrene M. DrefTs Cecilia and Allan Dreyruss lanet Driver and Daniel Hyde John Dryden and Diana Raimi Rhetaugn Graves Dumas Rosanne and Sandy Duncan Robert and Connie Dunlap Richard F. Dunn Jean and Russell Dunnaback Edmund and Mary Durfee John W. Durstine George C. and Roberta R. Earl Elaine Economou and
Patrick Conlin Richard and Myrna Edgar Morgan H. and Sara O. Edwards Julie and Charles Ellis Richard and Helen Emmons H. Michael and Judith L Endres Mr. and Mrs. Fred A. Erb Roger E. Erickson Steve and Pamela Ernst Leonard and Madeline Eron Dorothy and Donald Eschman Sally Evaldson and John Posa Barbara Evans Don and Jeanette Fabcr Mr. and Mrs. Robert B. Fair, r. Mark and Karen Falahee Ellyand Harvey Falit Dr. Cheryl C. Farmer Inka and David Fclbeck Reno and Nancy Fcldkamp Phil and I'hvlHs Fcllin Ronda and Ron Ferber Larry and Andra Ferguson Dennis and Claire Fernly
Advocates, continued
Susan FilipiakSwing City
Dance Studio Clarisse (Clay) Finkbeiner Marilvn Finkbeiner David A. Finn Gerald B. and
Catherine L. Fischer Lydia H. Fischer Dr. and Mrs. Richard L. Fisher Janet and Tom Fisher Barbara and James Fitzgerald Linda and Thomas Fitzgerald Beth and Joe Fitzsimmons Morris and Debra Flaum Kathleen and Kurt Flosky Rochelle Flumenbaum and
Paul Estenson lessica Fogel and
Lawrence Weiner George and Kathryn Foltz Susan Goldsmith and
Spencer Ford Dr Linda K. Forsberg Burke and Carol Fossee Jason I. Fox
William and Beatrice Fox Dan and fill Francis Mark and Gloria Frank Lynn A. Freeland Lucia and Doug Freeth Richard and loann Freethy Sophia French Marilyn L Friedman Esther and Peretz Friedmann Susan Froelich and
Richard Ingram Gail Fromes Jerry Frost
Philip and Renee Frost Joseph E. Fugere and
Marianne C. Mussett Jane Galantowicz Frances and Robert Gamble C. J. Gardiner and Cynthia Koch C. Louise Garrison Janet and Charles Garvin Wood and Rosemary Geist Allan and Harriet Gelfond Chuck and Rita Gelman Ms. Jutta Gerber Deborah and Henry Gerst Michael Gerstenberger W. Scott Gerstenberger and
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Betty and Chuck Gross Laurie Gross
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Michael Marietta Jeff and LcAnn Guyton Caroline and Roger Hackett Jennifer Shikes Haines and
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Mary Anna Harper Laurelynne Daniels and
George Harris Ed Saratn and Joan Harris Susan S. Harris Stephen Haskin and
Karen Soskin Elizabeth C. Hassinen Ruth Hastic
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George C. Collins Karl Henkel and Phyllis Mann Dr. and Mrs. Keith S. Henley Kathryn Dekoning Hentschel and
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l.isun Protuer Imber Diane C. Imredy Edward C. Ingraham Ann K. Irish Sid and Harriet Israel Joan L. Jackson
Judith G. Jackson
Dean and Leslie Jarrclt
Marilyn G. Jeffs
Professor and Mrs. Jerome Jelinek
James and Elaine Jensen
Keith and Kay Jensen
Mark and Linda Johnson
Paul and Olga Johnson
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Andree Joyaux and Fred Blanck
Tom and Marie Juster
Mary Kalmes and
Larry Friedman Paul Kantor and
Virginia Weckstrom Kantor Helen and Irving Kao Mr. and Mrs. Wilfred Kaplan Hans Peter Kappus Diana S. Karam Rosalie Brum Karunas Alex and Phyllis Kato Ann F.KatZ
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Thomas Kenney George L. Kenyon and
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Jeffrey Michael Powers Robert and Mary Pratt Jacob M. Price John and Nancy Prince Yopie Prins and
Michael Daugherty Lisa M. Profera Ernst Pulgram Morton and Diane Raban Mr. and Mrs. Mitchell Radcliff Dr. and Mrs. Tushar N. Raiji Alex and Natasha Raikhel Nancy L. Rajala
Alfred and Jacqueline Raphelson Dr. and Mrs. Robert Rapp Mr. and Mrs.
Robert H. Rasmussen Ruth Rattner
Dr. and Mrs. Mark Rayport Maxwell and Marjoric Reade Sandra Reagan
Mr. and Mrs. Richard W. Redman Dr. and Mrs. James W. Reese Mr. and Mrs. Stanislav Rehak Georgia Reid
Mr. and Mrs. Bernard E. Rcisman James and Judith Reiter Anne and Fred Remley Duane and Katie Renken John and Nancy Reynolds
Alice Rhodes
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Thomas D. Richardson Elizabeth G. Richart Kurt and Lori Riegger Thomas and Ellen Riggs Lita Ristine
Kathleen Roelofs Roberts Dave and loan Robinson H. James and Kathleen Robinson Jonathan and Anala Rodgers Mary Ann and Willard Rodgers Joseph and Joan Rogers Mary F. Loeffler and
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Richard Montmorency Dr. Glenn R. Ruihley Samuel and Irene Rupert Renee Rutz Scott A. Ryan Mitchell and Carole Rycus Ellen and Jim Saalberg Theodore and Joan Sachs Mr. and Mrs. William Sachs Miriam S. Joffe Samson Daren and Maryjo Sandberg John and Reda Santinga Harry and Elaine Sargous Hclga and lochen Schacht Mary A. Schievc Courtland and Inga Schmidt Elizabeth L. Schmitt Gary and Claudia Schnitker Susan G. Schooner Thomas H. Schopmeyer Yi.hak Schottcn and
Katherine Collier Carol H. Schreck and
Ada Herbert David Schultz Aileen Schulze Ed and Sheila Schwartz David and Darlene Scovell Richard A. Seid Janet C. Sell
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David and Elvera Shappirio Ingrid and Cliff Sheldon Lorraine Sheppard Dr. and Mrs. Ivan Sherick Mr. and Mrs. Patrick M. Sherry Rev. William I. Sherzer Jean and Thomas Shope Mary Alice Shulman John Shultz Photography Milton and Gloria Siegel Alida and Gene Silverman Geoffrey and Morrine Silverman Carl Simon and Bobbi Low Michael and Maria Simontc Alice Simsar Alan and Eleanor Singer Donald and Susan Sinta Irma J. Sklenar Beverly N. Slater Kirsten Marie Carr and
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)ohn L. and Suzanne Smucker Nathan and Patrick Sohnly Hugh and Anne Solomon
James A. Somers
Dora Maria Sonderhofif
Dr. Sheldon and Sydelle Sonkin
Errol and Pat Soskolne
Becki Spanglcr and Peyton Bland
Elizabeth Spencer
Mrs. Herbert W. Spendlove (Anne)
Jim Spevak
Nancy Spezia
Scott Sproat
Edmund Sprunger
Irving M. Stahl and
Pamela M. Rider Mr. and Mrs. Gary R. Stahle David and Ann Staiger Constance D. StankraufF Betty and Harold Stark Dr. Erich M. Staudacher Mr. and Mrs. William C. Stebbins Bert and Vickie Steck Virginia and Eric Stein Frank D. Stella Thorn and Ann Sterling William and Georgine Steude Jim and Gayle Stevens Mary Stevens Rick and Lia Stevens Barbara and Bruce Stevenson Harold and Nancy Stevenson John and Beryl Stimson James L. Stoddard Mr. and Mrs.
James Bower Stokoe Robert and Shelly Stoler John Strand Ellen M. Strand and
Dennis C. Regan Clinton and Aileen Stroebel Dr. and Mrs. Jcoffrey K. Stross Mary Stubbins Judy and Sam Stulbcrg Mr. and Mrs. Patrick Suchy Donald and Barbara Sugerman Mike and Peg Supernault Valerie Y. Suslow Alfred Sussman Ronald and Ruth Sutton Eric and Natalie Svaan Earl and Phyllis Swain Rebecca Sweet and Roland Loup John and Ida Swigart Rebecca Szabo Michael W. Tafi and
Catherine N. Herrington Jim and Sally Tamm John Tammincn Denise Tanguay Larry and Roberta Tankanow Jerry and Susan Tarpley Frank and Carolyn Tarzia Robert and Carolyn Tate Stephan Taylor and
Elizabeth Stumbo Margie and Graham Teall James B. Terrill Scott Tcrrill and Maggie Long Carol and )im Thiry Tom and Judy Thompson Peggy Tieman
Bruce Tobis and Alice Hamele Peter and Linda Tolias Fran Toney
Ronald and Jacqueline Tonks Jim Toy
Angie and Bob Trinka Sara Trinkaus Ken and Sandy Trosicn Luke and Mcrling Tsai Jeff and Lisa Tulin-SHver Claire and Jerry Turcotte Jan and Nub Turner Mr. Victor and Dr. Hazel M.
Alvan and Katharine Uhle Fawwaz T. Ulaby Joyce A. Urba and
David J. Kinsclla Morella Urbina Emmanuel-George Vakalo
Paul and Marcia Valenstein
Madeleine Sfallier
Carl and Sue Van Appledorn
Rebecca Van Dyke
Bram and Lia van Leer
Eldon and Beth Van Uere
Fred and Carole van Reescma
Leo and Peggy Van Sickle
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Julia Tiplady-Walden Stanley H.Waldon George and Lorraine Wales David C. and Elizabeth A. Walker Timothy Wang Jill A. Warren Lorraine Nadelman and
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Marilyn L Whealon James B. and Mary F. White Janet F. White Iris and Fred Whitehouse Mr. and Mrs.
Nathaniel Whiteside Thomas F. Wieder Ms. Nancy Wicrnik William and Cristina Wilcox Catherine Wilkerson Benjamin D. Williams John Troy Williams Sara S. Williams Shelly F. Williams Christine and Park Willis Anne Marie and Robert I Willis Bruce Wilson and
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Advocates, continued
Ronald W. Zorney
Erik and Lineke Zuiderweg
David S. and Susan H. Zurvalec
The BSE Design Group, Inc. Diametron, Inc. Doan Construction Co. Dobbs Opticians Inc.
of Ann Arbor Garris, Garris, Garris & Garris
Law Office Lewis Jewelers Organizational Designs SWEA Inc.
Thalner Electronic Labs Thing-a-majigs for Kids Ann Arbor Center for Financial
Erb Foundation
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 thts important support to continue the great tra?ditions of the Society in the future.
Carol and Herb Amster
Mr. Neil P. Anderson
Catherine S. Arcure
Mr. and Mrs! Pal E. Barondy
Mr. Hilbert Beyer
Elizabeth Bishop
Barbara Everitt Bryant
Pat and George Chatas
Mr. and Mrs. John Alden Clark
Dr. and Mrs. Michael S. Frank
Beverly and Gerson Geltner
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A. F. Smith Electric, Inc.
AAA Michigan
Aetna Corporation
Alcan Automotive Products
Allen & Kwan Commercial
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Services Atlas Tool, Inc. Austin & Warburton AutoCom Associates Bank of Ann Arbor Bank One, Michigan The Barfield Company Bar tech Blue Nile Restaurant Brauer Investments Briarwood Mall The BSE Design Group, Inc. Butzel Long Attorneys Cafe Marie CFI Group Charles Reinhart Company
Coffee Express Co. Comerica Bank Complete Design & Automation
Systems Inc. Consumers Energy DaimlerChrysler Dennis A. Dahimann Inc. Diametron, Inc. Doan Construction Co. Dobbs Opticians Inc. of Ann
Dow Automotive Dupuis & Ryden P.C Edward Surovell Realtors Edwards Brothers, Inc. Elastizell Corp of America Ford Motor Company Fund Forest Health Services
Corporation Garris, Garris, Garris & Garris
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Guardian Industries Corporation Hudson's Project Imagine Ideation, Inc. John Leidy Shop, Inc. loscph Curtin Studios KeyBank
Lansstyrelsen Vastra Gotaland lewis jewelers Malloy Lithographing, Inc. Masco Corporation McKinley Associates Milan Vault Miller, Canfield, Paddock and
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of Michigan O'Neal Construction Organizational Designs Pepper Hamilton I.I.I1 Pfizer Global Research and
Development; Ann Arbor
Pollack Design Associates Public Sector Consultants, Inc. Quinn I-vansArchitects Republic Bank Ann Arbor Scandinavian Airlines System Sesi Lincoln Mercury Stirling Thermal Motors, Inc. SWEA Inc. Texaco
Thalner Electronic Labs Thing-a-majigs for Kids Thomas B. McMullen Company Visteon Wolverine Technical Staffing, Inc.
Peter Holderness Woods IN-KIND GIFTS
Bernard and Ricky AgranofT
Allen & Kwan
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8c The Artful Lodger Briarwood Mall Barbara Busch Busch's Valu-Land Charlie Trotter's Chelsea Flower Shop Chicago Symphony Orchestra Claridge Hotel Common Grill Peter and Jill Corr Paul and Pat Cousins,
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Mercy and Stephen Kasle King's Keyboard House Kitcnen Port Richard LeSueur Doni Lystra Stephanie Lord Mcditerrano Merchant of Vino Ingrid Mcrikoski Jeanne and Ernest Merlanti Michigan Car Services, Inc. Ron Miller
Richard and Christine Noyes Nicola's Books Little Professor Karen O'Neal Randal] and Mary Pittman Bev and Pat Pooley leva Rasmusscn Regrets Only Melissa Richter Maya Savarino Schlanderer & Sons Bo and Cathy Schembechler Ann and Tom Schriber SeloShevcl Gallery Howard and Aliza Shevrin Morrinc Silvcrman Grace Singleton Loretta Skewes Herbert Sloan Irving and Carol Smokier South House Bed and Breakfast
Edward Surovell
Ann and Jim Teller
Tom Thompson Flowers
Donna Tope
Robert and Marina Whitman
Elizabeth and Paul Yhouse
Youki Asian Bar & Bistro
Soloists $25,000 or more
Maestro $10,000-24,999
Virtuosi $7,500 9,999
Concertmaster $5,000 7,499
Leader $2,500 4,999
Principal $1,000-2,499
Benefactor $500 999
Associate $250 499
Advocate $100-249
Friend $50 99
Youth $25
38 Ann Arbor Symphony
12 Bank of Ann Arbor 44 Bellanina Day Spa 38 Beresh Jewelers
2 Blue Hill Development
38 Bodman. Longley, and
20 bravo Cookbook
44 Butzel Long Attorneys
43 Carty's Music, Inc.
42 Chelsea Community Hospital
10 Chris Triola Gallery
42 Cleveland's Gill & Grill 22 Comerica Bank
10 Dobson-McOmber Agency, Inc.
13 Edward Surovell Realtors BC Ford Motor Company 34 Foto 1
10 Fraleigh's Nursery
6 Glacier Hills
8 Harmony House
40 Howard Cooper Imports
44 ohn Schultz Photography 38 Kana Korean Restaurant 44 Kerrytown Bistro
16 KeyBank
40 Kind's Keyboard
27 Lewis lewelers
8 Littlcficld and Sons
22 Miller, Canfield, Paddock,
and Stone
8 Muqdus and Mundus
43 National City
42 Performance Network 40 Prudential Securities
44 Rudolf Steiner School FC St. Joseph Mercy Health
10 Sweetwaters Cafe
8 Swing City Dance Studio
34 Three Chairs
8 Ufer & Co. Insurance
43 University Living
8 Washington Street Gallery
18 Whole Foods

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