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UMS Concert Program, Saturday Oct. 18 To Nov. 02: University Musical Society: Fall 2003 - Saturday Oct. 18 To Nov. 02 --

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Rights Held By
University Musical Society
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Season: Fall 2003
University Of Michigan, Ann Arbor

University Musical Society
of the University of Michigan
Fall 2003 Season
125th ums season
university musical society
University of Michigan Ann Arbor
Letters from the Presidents Letter from the Chair
UMSexperience 27
UMSsupport 35 35
Corporate Leaders Foundations UMS Board of Directors Senate Advisory Committee UMS Staff Teacher Advisory Committee
General Information
Gift Certificates
UMS History
UMS Choral Union
Venues Burton Memorial Tower
The 125th UMS Season
Education & Audience Development
UMS Preferred Restaurant & Business Program
Advisory Committee
Sponsorship & Advertising
Internships & College Work-Study Ushers
UMS Advertisers
Front Coven Miami City Ballet (Phitip Bermingham), Church of the Savior on Blood (Jack tollman). Wynton Marsalis (Keith Major), Mark Rylance as Olivia in Globe Theatre's Twelfth Night, iack Coven Sketch of Igor Stravinsky by Pablo Picasso (BettmannCORBIS), Boston Pops Esplanade Orchestra (Michael Lutch).
;m the u-
he University of Michigan joins the University Musical Society (UMS) in welcoming you to its 125th Anniversary Season. We are proud of the wonderful partnership between our two organizations and of the role of the ' University as co-sponsor of several events on this season's calendar. In addition to
reflecting the artistic beauty and passion that are integral to the human experience, these jointly sponsored events are also wonderful opportunities for University of Michigan students and faculty to
learn about the creative process and the sources of inspiration that motivate artists and scholars.
Several superb productions will result from our partnership. The current season includes an exciting collaboration of UMS, the University of Michigan Museum of Art, and the University's Center for Russian and East European Studies. This alliance is creating a multidisciplinary festival, Celebrating St. Petersburg, 300 Years of Cultural Brilliance. Among the brilliant offerings in the series is Alexander Pushkin's Boris Godunov, directed by Declan Donnellan, a Royal Shakespeare Company alumnus. It will be performed in Russian with English supertitles. The University and UMS will also jointly pres-f. ent an authentic Elizabethan production by Shakespeare's Globe Theatre: the witty comedy Twelfth Night, which will have a week of performances in the Michigan Union Ballroom. The historically accurate
production is presented in association with the 100th Anniversary Celebration of the Michigan Union.
We are delighted to welcome UMS back to Hill Auditorium in time to celebrate its 125th Anniversary with concerts and revelry between January 17-19. Some of the high?lights of the year will include a festive gala dinner full of surprises on January 17, and a rare appearance of the marvelous Orchestre Revolutionnaire et Romantique and the Monteverdi Choir on January 18. The weekend will conclude with the Jazz Divas Summit on January 19, as the University and UMS jointly commemorate Martin Luther King Jr. Day.
I want to thank the faculty and staff of the University of Michigan and the University Musical Society for their hard work and dedication in making our partnership a success. The University of Michigan is pleased to support the Univer?sity Musical Society during this exhilarating 0304 season, and we share the goal of making our co-presentations academic and cultural events that benefit the university community and the broadest possible constituency.
Mary Sue Coleman
President, University of Michigan
hank you for joining us for this performance during UMS's historic 125th season. We appreciate your support of the performing arts and of UMS, and we hope that we'll see you at more of our programs during this milestone season. Check the complete listing of UMS's 0304 events beginning on p. 27 and on our web-
site at UMS is the oldest university-related per?forming arts presenting organization in the United States. From its founding in 1879 as the Choral Union under
U-M Professor Henry Simmons Frieze to the current day, UMS has sought to bring to the community the very best in the performing arts from around the world. When I think about how UMS has been able to pursue and carry out this commit?ment to excellence for more than a century, six factors come to mind:
1) The incredible support of you, the audience. I place at the very top of this list the outstanding support UMS has received over its entire history from the people of Michigan and northern Ohio. By your faithful attendance and generous financial support -one of our most generous patrons has been a Choral Union Series subscriber for over 60 years -UMS has not only thrived locally but has become one of the leading presenters in the US. Internationally renowned artists and ensembles often tell us following their tours in the US that the Ann Arbor audi-
ence was the best on the tour -in its size, sophistication, and enthusiastic response. Thank you!
2) Our unique relationship with the University of Michigan. Years ago, enlightened leaders of both UM and UMS determined that UMS should be an independent organization, but one with a special affiliation with the University. This unique relationship has enabled us to develop many mutually beneficial programs that serve both the University and the larger community. While UMS does not receive general fund or student-fee support, we have been able to seek and receive special support from the University when we have faced an unanticipated challenge or an extraordinary artistic opportunity. Those who study uni?versitypresenter partnerships have told us that ours with U-M is the most effective in the US. To our most significant, long-time partner, we say thank you!
3) Abundant, high-quality performance venues. How fortunate that we have in a community of our size so many remark?able venues for our performances, includ?ing Hill and Rackham Auditoriums, Power Center, Mendelssohn Theatre, Michigan Theater, St. Francis of Assisi Catholic Church, EMU Convocation Center, and the others we use now and have used in the past. Such a diverse array of facilities enables us to provide an appropriate venue for whatever artistic genre we are present?ing. Please join us for the weekend events January 17-19 when UMS returns to the renovated and restored Hill Auditorium.
4) A century of bold impresarios. We need only to be reminded of former UMS President Charles Sink's ability to convince the most famous singer in the world, Enrico Caruso, to perform in Hill Auditorium in 1919 to appreciate the imagination, negoti?ating skills, and chutzpah that characterized the impresarios who led UMS through its first century. The last of this special group was Mr. Gail Rector, who led UMS with great distinction until his retirement in 1987 and who has recently returned from the south to live in Ann Arbor. When you see him at our concerts, please take a moment to thank him for his contributions to UMS. Gail and his predecessors continue to inspire the current UMS team every day as we recall their single-minded determina?tion to bring the very best to Ann Arbor, no matter what!
5) Outstanding volunteers. Put quite simply, UMS could not exist were it not for nearly 700 volunteers who serve UMS now and for the thousands of others who preceded them over the years. Each member of the 150-voice Choral Union, 300-member UMS Usher Corps, 39-member Teacher Advisory Committee, 10-member Student Intern Corps, 46-member Advisory Committee, 63-member Senate, and 34-member Board of Directors is a volun?teer, giving their time and talents to UMS. We are deeply grateful for their dedication and service.
6) Remarkable staff. I am privileged to work with unusually talented, creative, hardworking, and loyal staff colleagues. Frequent turnover is the norm for arts organizations, yet the team of UMS department heads has an average tenure with UMS of 11 years. This is remarkable. Each member of this team -Sara Billmann, Ben Johnson, John Kennard, Michael Kondziolka, and Susan McClanahan -has achieved a measure of national leader?ship in his or her respective areas of expertise. The remainder of the staff is comprised of equally dedicated colleagues who share the management team's commit?ment to serving the mission of UMS. We are pleased to recognize the contributions of UMS's longest serving staff member, Sally Cushing, when she celebrates her 35th anniversary with UMS this fall.
Feel free to get in touch with us if you have any questions or problems. The best place to begin is with our Ticket Office at 734.764.2538. You should also feel free to get in touch with me about anything related to UMS. If you don't see me in the lobby at our performances, please send me an email message at or call me at 734.647.1174.
Very best wishes,
Kenneth C. Fischer UMS President
'elcome to the 0304 season! In the University Musical Society's 125th season, there is much to celebrate. We can look forward to the St. Petersburg celebration with Valery Gergiev and the Kirov Orchestra, the Globe Theatre's pro?duction of Twelfth Night, and the Israel Philharmonic among many. Most impor-
tantly, Saturday, January 17, 2004 brings an exciting concert that celebrates UMS's return to Hill Auditorium and 125 years of UMS history. Our tradition of bringing
excellent music, theater, and dance to the southeast Michigan community has grown to include education for the whole com?munity -school children, university students, and adults -and the creation of new and exciting works such as those that have come to us through the Royal Shakespeare Company.
The rich cultural history of UMS is one I know you want to continue. Many of you made extraordinary efforts to ensure our future by making an additional gift, or an increased gift, after you learned of our budgetary challenges last spring. We greatly appreciate your support, which helped to keep us on solid financial ground.
I hope you will continue to keep UMS high on your list of philanthropic priorities. If you haven't made a gift before, or haven't made a gift for some while, I hope you will consider doing so. In addition to your annual gift, you may be able to provide for UMS in a more substantial and longer-lasting way, with a gift to endowment or through a trust or bequest arrangement. Susan McClanahan, Director of Develop?ment, would be pleased to talk with you about ways of making your gift that will benefit you as well as UMS. Remember, your gift to UMS ensures the continuation of the brilliant programming and educa?tional activities for future generations.
Prue Rosenthal
Chair, UMS Board of Directors
Sandra Ulsh
Vice President and Executive Director, Ford Motor Company Fund "Through music and the arts we are
inspired to broaden our horizons, bridge differences among cultures and set our spirits free. We are proud to support the University Musical Society and acknowl?edge the important role it plays in our community."
David Canter
Senior Vice President, Pfizer, Inc. "The science of discovering new medicines is a lot like the art of music: To make it all come together, you need a diverse collection of very brilliant people. What you really want are people with world-class talent--and to get those people, you have to offer them a special place to live and work. UMS is one of the things that makes Ann Arbor quite special. In fact, if one were making a list of the things that define the quality of life here, UMS would be at or near the very top. Pfizer is honored to be among UMS's patrons."
Douglass R. Fox
President, Ann Arbor Automotive "We at Ann Arbor Automotive are pleased to sup?port the artistic variety and program excellence given to us by the University Musical Society."
William M. Broucek
President and CEO, Bank of Ann Arbor "Bank of Ann Arbor is pleased to contribute to enriching the life of our community by our sponsorship of the 0304 season."
Erik W. Bakker
Senior Vice President, Bank One, Michigan "Bank One is honored to be a partner with the University Musical Society's proud tradition 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 organization that provides such an important service to Ann Arbor."
Greg Josefowicz
President and CEO, Borders Group, Inc. 'As a supporter of the University Musical Society, Borders Group is pleased to help strengthen our community's commitment to and appreciation for artistic expression in its many forms."
Len Niehoff
Shareholder, Butzel Long "UMS has achieved an international reputation for excellence in presentation, education, and most recently creation and commissioning. Butzel Long is honored to support UMS, its distinctive and diverse mission, and its important work."
Clayton Wilhite
Managing Partner, CFI Group, Inc. "We're pleased to be in the group of community businesses that supports UMS Arts and Education. We encourage those who have yet to participate to join us. Doing so feels good."
Rhonda Davenport
Group Manager & First Vice President of Ann Arbor Region, Comerica Incorporated "Our communities are enriched when we work together. That's why we at Comerica are proud to support the University Musical Society and its tradition of bringing the finest in performing arts to our area."
Erin R. Boeve
Sales Manager, Crowne Plaza "The Crowne Plaza is a proud supporter and sponsor of the University Musical Society. The dedication to education through the arts is a priceless gift that continually enriches our community."
Fred Shell
Vice President, Corporate and Government Affairs, DTE Energy
"Plato said, 'Music and rhythm find their way into the secret places of the soul.' So do UMS programs. The DTE Energy Foundation salutes your efforts to enrich the quality of our lives through your music."
Edward Surovell
President, Edward Surovell Realtors "Edward Surovell Realtors and its 300 employees and sales associates are proud of our 20-year relationship with the University Musical Society. We honor its tradition of bringing the world's leading performers to the people of Michigan and setting a standard of artistic leadership recognized internationally."
Leo Legatski
President, Elastizell Corporation of America "UMS has survived the cancellations of September 2001, the renovation of Hill Auditorium, and budget cutbacks this past year. They need your support-more than ever--to continue their outstanding pro?gramming and educational workshops."
Brian Campbell
President & CEO, Kay don Corporation "For over a century, the University Musical Society has been a national leader in arts presentation. Kaydon Corporation is honored to be counted among the supporters of this proud tradition of musical and artistic excellence."
Rick M. Robertson
Michigan District President, KeyBank 'KeyBank is a proud supporter of the performing arts and we commend the University Musical Society on its contributions to the cultural excellence it brings to the community."
Albert M. Berriz
President and CEO, McKinley Associates, Inc. 'The success of UMS is based on a commitment to present a diverse mix of quality cultural performances. McKinley is proud to support this tradition of excellence which enhances and strengthens our community."
Erik H. Serr
Principal, Miller, Canfield, Paddock & Stone, P.L.C. "Miller Canfield is a proud supporter of the University Musical Society and its contribution to the culture of our community through its presen?tation of wonderful and diverse cultural events which contribute substantially to inspiration and enrichment of our community."
Robert J. Malek
Community President, National City Bank "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."
Joe Sesi
President, Sesi Lincoln Mercury Volvo Mazda "The University Musical Society is an important cultural asset for our community. The Sesi Lincoln Mercury Volvo Mazda team is delighted to sponsor such a fine organization."
Don Hawkins
Senior Vice President, Director of Community Affairs, TCF Bank
"TCF Bank is pleased to join the University Musical Society to make the arts accessible to students of diverse backgrounds. How thrilling to see children's faces, experiencing their first performance as only UMS can present."
Sharon L. Beardman
Regional Vice President, TIAA-CREF Individual and Institutional Services, Inc.
"TIAA-CREF is proud to be associated with one of the best universities in the country and the great tradition of the University Musical Society. We celebrate your efforts and appreciate your commitment to the performing arts community."
Thomas B. McMullen
President, Thomas B. McMullen Co., Inc. "I used to feel that a UM-Ohio State football ticket was the best ticket in Ann Arbor. Not anymore. UMS provides the best in educational and artistic entertainment."
UMS gratefully acknowledges the support of the following foundations and government agencies.
$100,000 and above Association of Performing Arts
Presenters Arts Partners Program Doris Duke Charitable Foundation The Ford Foundation JazzNet Michigan Council for Arts and
Cultural Affairs The Power Foundation The Wallace Foundation
$50,000 99,999
Community Foundation for
Southeastern Michigan National Endowment for the Arts The Whitney Fund
$10,000 49,999
Continental Harmony
New England Foundation for the Arts
$1,000 9,999
Akers Foundation
Arts Midwest
Heartland Arts Fund
The Lebensfeld Foundation
Marine and Stuart Frankel Foundation
Mid-America Arts Alliance
The Molloy Foundation
Montague Foundation
(of R. and P. Heydon) Sams Ann Arbor Fund The Sneed Foundation, Inc. Vibrant Ann Arbor Fund
UNIVERSITY MUSICAL SOCIETY of the University of Michigan
Prudence L. Rosenthal,
Chair Clayton Wilhite,
Vice-Chair Jan Barney Newman,
Secretary Erik H. Serr, Treasurer
Michael C. Allemang Janice Stevens Botsford Kathleen G. Charla Mary Sue Coleman Hal Davis
Sally Stegeman DiCarlo Aaron P. Dworkin David Featherman George V. Fornero Beverley B. Geltner
Debbie Herbert Carl Herstein Toni Hoover Alice Davis Irani Gloria James Kerry Barbara Meadows Lester P. Monts Alberto Nacif Gilbert S. Omenn Randall Pittman
Philip H. Power 19 Doug Rothwell Judy Dow Rumelhart Maya Savarino Cheryl L. Soper Peter Sparling James C. Stanley Karen Wolff
(former members of the VMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Gail Davis Barnes Richard S. Berger Maurice S. Binkow Lee C. Bollinger Paul C. Boylan Carl A. Brauer Allen P. Britton William M. Broucek Barbara Everitt Bryant Letitia J. Byrd Leon S. Cohan Jill A. Corr Peter B. Corr Jon Cosovich Douglas Crary
Ronald M. Cresswell Robert F. DiRomualdo James J. Duderstadt Robben W. Fleming David J. Flowers William S. Hann Randy J. Harris Walter L Harrison Norman G. Herbert Peter N. Heydon Kay Hunt Stuart A. Isaac Thomas E. Kauper David B. Kennedy Richard L. Kennedy Thomas C. Kinnear F. Bruce Kulp
Leo A. Legatski Earl Lewis Patrick B. Long Helen B. Love Judythe H. Maugh Paul W. McCracken Rebecca McGowan Shirley C. Neuman Len Niehoff Joe E. O'Neal John D. Paul John Psarouthakis Rossi Ray-Taylor Gail W. Rector John W. Reed Richard H. Rogel Ann Schriber
Daniel H. Schurz Harold T. Shapiro George I. Shirley John O. Simpson Herbert Sloan Timothy P. Slottow Carol Shalita Smokier Jorge A. Solis Lois U. Stegeman Edward D. Surovell James L. Telfer Susan B. Ullrich Eileen Lappin Weiser Gilbert Whitaker B. Joseph White Marina v.N. Whitman Iva M. Wilson
Louise Townley, Chair Raquel Agranoff, Vice
Chair Morrine Maltzman,
Jeri Sawall, Treasurer Barbara Bach Paulett M. Banks Milli Baranowski Lois Baru Kathleen Benton Mimi Bogdasarian
Jennifer Boyce Mary Breakey Jcannine Buchanan Victoria Buckler Laura Caplan Cheryl Cassidy Nita Cox Norma Davis Lori Director H. Michael Endres Nancy Ferrario Sara B. Frank
Anne Glendon Alvia Golden Kathy Hentschel Anne Kloack Beth Lavoie Stephanie Lord Judy Mac Esther Martin Mary Matthews Ingrid Merikoski Jeanne Merlanti Candice Mitchell
Bob Morris Bonnie Paxton Danica Peterson Wendy Moy Ransom Svvanna Saltiel Penny Schreiber Sue Schroeder Aliza Shevrin Lorctta Skewes Maryanne Telese Dody Viola Wendy Woods
UMS services
Kenneth C. Fischer, President
Elizabeth E. Jahn, Assistant to the
President John B. Kennard, Jr., Director of
Chandrika Patel, Senior Accountant John Peckham, Information Systems
Manager Alicia Schuster, Gift Processor
Choral Union
Jerry Blackstone, Interim Conductor
and Music Director Jason Harris, Associate Conductor Steven Lorenz, Assistant Conductor Kathleen Operhall, Chorus Manager Jean Schneider, Accompanist Donald Bryant, Conductor Emeritus
Susan McClanahan, Director Mary Dwyer, Mana{er of Corporate
Support Julaine LeDuc, Advisory Committee
and Events Coordinator Lisa Michiko Murray, Manager of
Foundation and Government Grants M. Joanne Navarre, Manager of
Annual Fund and Membership Lisa Rozek, Assistant to the Director
of Development
EducationAudience Development
Ben Johnson, Director Amy Jo Rowyn Baker, Youth
Education Manager Erin Dahl, Coordinator Warren Williams, Manager
MarketingPublic Relations
Sara Billmann, Director Susan Bozell, Marketing Manager Nicole Manvel, Promotion Coordinator
Michael J. Kondziolka, Director
Emily Avers, Production
Administrative Director Jeffrey Beyersdorf, Technical
Jasper Gilbert, Technical Director Susan A. Hamilton, Artist Services
Coordinator Mark Jacobson, Propammmi
Manager Bruce Oshaben, Head Usher
Ticket Services
Nicole Paoletti, Manager Sally A. Cushing, Associate Jennifer Graf, Assistant Manager William P. Maddix, Assistant Manager
Jeff Barudin Nicole Blair Aubrey Lopatin Natalie Malotke Melissa McGivern Nadia Pessoa Fred Peterbark Jennie Salmon Sean Walls
Interns Michelle Jacobs
President Emeritus
Gail W. Rector
Fran Ampey Lori Atwood Robin Bailey Joe Batts Kathleen Baxter Elaine Bennett Lynda Berg Gail Bohner Ann Marie Borders David Borgsdorf
Sigrid Bower Susan Buchan Diana Clarke Hayes Dabney Wendy Day Susan Filipiak Jennifer Ginther Brenda Gluth Barb Grabbe Pamela Graff
Nan Griffith Joan Grissing Lynn Gulick Carroll Hart Barb Harte Bill Hayes Sandy Hooker Susan Hoover Silka Joseph JeffKass
Rosalie Koenig Sue Kohfeldt Laura Machida Ken McGraw Patty Meador Don Packard Susan Pollans Katie Ryan Julie Taylor
Barrier-Free Entrances
For persons with disabilities, all venues have barrier-free entrances. Wheelchair locations vary by venue; visit www.ums.orgtickets or call 734.764.2538 for details. Ushers are available for
Listening Systems
For hearing-impaired persons, the Power Center, Hill Auditorium, and Rackham Auditorium are equipped with assistive listening devices. Earphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found------------
For items lost at Hill Auditorium, Rackham Auditorium, and Power Center please call University Productions at 734.763.5213. For items lost at St. Francis of Assisi Catholic Church, Michigan Theater, Crisler Arena, Pease Auditorium, Michigan Union, Nichols Arboretum, U-M Sports Coliseum, or EMU Convocation Center, please call the UMS Production Office at 734.615.1444.
Please allow plenty of time for parking as the campus area may be congested. Parking is avail?able in the Liberty Square (formerly 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. UMS members at the Principal level and above receive 10 com?plimentary parking passes for use at the Thayer Street or Fletcher Street structures in Ann Arbor.
UMS offers valet parking service for Hill Auditorium performances in the 0304 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 Producer level and above are invited to use this service at no charge.
For up-to-date parking information, please visit the UMS website at
Refreshments are served in the lobby during intermissions of events in the Power Center and Hill Auditorium, and are available in the Michigan Theater. Refreshments are not allowed in the seating areas.
Smoking Areas
University of Michigan policy forbids smoking in any public area, including the lobbies and
Latecomers will be asked to wait in the lobby until a predetermined time in the program, when they will be seated by ushers. UMS staff works with the artists to determine when late seating will be the least disruptive to the artists and other concertgoers.
i noises and enhance the theater-ling experience, Pfizer Inc is providing implimentary HallsO Mentho Lyptus mgh suppressant tablets to patrons pending UMS performances through-rt our 0304 season. i?
h Person
The UMS Ticket Office and the University Productions Ticket Office have merged! Patrons are now able to Purchase tickets for UMS events and thool of Music events with just one
[hone call or visit.
s a result of this transition, the walk-p window is conveniently located at le League Ticket Office, on the north nd of the Michigan League building at , 11 North University Avenue. The Ticket Office phone number and mail?ing address remain the same.
'ote New Hours
lon-Fri: 9am-5pm at: 10am-lpm
By Phone 734.764.2538
Outside the 734 area code, call toll-free 800.221.1229
y Internet WWW.UMlS.Org By Fax 734.647.1171
By Mail
UMS Ticket Office
Burton Memorial Tower
881 North University Avenue
Ann Arbor, MI 48109-1011
ierformance hall ticket offices open 90 minutes prior to 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 Ticket Office. Refunds are not available; however, you will be given a receipt for an income tax deduction. Please note that ticket returns do not count toward UMS membership.
Subscription Ticket Exchanges
Subscribers may exchange tickets free of charge. Exchanged tickets must be received by the Ticket Office (by mail or in person) at least 48 hours prior to the performance. You may fax a photo?copy of your torn tickets to 734.647.1171.
Single Ticket Exchanges
Non-subscribers may exchange tickets for a $5 per ticket exchange fee. Exchanged tickets must be received by the Ticket Office (by mail or in per?son) at least 48 hours prior to the performance. You may fax a photocopy of your torn tickets to 754.647.1171. Lost or misplaced tickets cannot be exchanged.
Group Tickets
When you bring your group to a UMS event, you will enjoy the best the performing arts has to offer. You can treat 10 or more friends, co-workers, and family members to an unforgettable performance of live music dance, or theater. Whether you have a group of students, a business gathering, a college reunion, or just you and a group of friends, the UMS Group Sales Office can bdp you plan the perfect outing. You can make it formal or casual, a special celebration, or just friends enjoying each other's company. The many advantages to booking as a group include:
reserving tickets before tickets go on sale to the general public
? discounts of 13-23 for most performances
arrrwhilhy accommodations
no-risk reservations that are fuuy refundable up to 14 days before the performance
1-3 complimentary tickets for the group organizer (depending on size of group). Comp ticket are not offered for performances with
For information, contact the UMS Group Sales HotlSne at 734,7633100 or
Discounted Student Tickets
Did you know Since 1990, students have pur?chased over 144,000 tickets and have saved more than S2 million through special UMS student programs! UMS's commitment to affordable stu?dent tickets has permitted thousands to see some of the most important, impressive and influential artists from around the world. For the 0304 sea?son, students may purchase discounted tickets to UMS events in three ways:
1. Each semester, UMS holds a Half-Price Student Ticket Sale, at which students can purchase tickets for any event for 50 off the published price. This extremely popular event draws hundreds of students every fall -last year, students saved over SI00,000 by purchasing tickets at the Half-Price Student Ticket Sale!
Be sure to get there early as some performances have limited numbers of tickets available.
2. Students may purchase up to two $10 Rush Tickets the day of the performance at the UMS Ticket Office, or 50 off at the door, subject to availability.
3. Students may purchase the UMS Student Card, a pre-paid punch card that allows students to pay up front (S50 for 5 punches, SI00 for 11 punches) and use the card to purchase Rush Tickets during the 0304 season. Incoming freshman and transfer students can purchase the UMS Card with the added perk of buying Rush Tickets two weeks in advance, subject to availability.
Gift Certificates Looking for that per?fect meaningful gift that speaks volumes about your taste
Tired of giving flowers, tics or jewelry Give a UMS Gift Certificate! Available in any amount and redeemable for any of more than 80 events throughout our season, wrapped and delivered with your persona) message, the UMS Gift Certificate is ideal for weddings, birthdays, Christmas, Hanukkah, Mother's and Father's Days, or even as a bousewanning present when new friends move to town.
New This Year! VMS Gift Certificates are valid for 12 months from the date of purchase and do not expire at the end of the season.
oin the thousands of savvy people who log onto each month!
Why should you log onto
In September, UMS launched a new web site, with more information that you can use:
Tickets. Forget about waiting in long ticket lines. Order your tickets to UMS performances online! You can find your specific seat location before you buy.
UMS E-Mail Club. You can join UMS's E-Mail Club, with information delivered directly to your inbox. Best of all, you can customize your account so that you only receive information you desire -including weekly e-mails, genre-specific event notices, encore information, edu?cation events, and more! Log on today!
Maps, Directions, and Parking. Helps you get where you're going...including insider parking tips!
Education Events. Up-to-date information detailing educational opportunities surround?ing each performance.
Online Event Calendar. Lists all UMS perform?ances, educational events, and other activities at a glance.
Program Notes. Your online source for per?formance programs and in-depth artist infor?mation. Learn about the artists and repertoire before you enter the performance!
Sound and Video Clips. Listen to recordings from UMS performers online before the concert.
CyberSavers. Special weekly discounts appear?ing every Wednesday, only available online.
Development Events. Current information on Special Events and activities outside the concert hall. Make a tax-deductible donation online!
UMS Choral Union. Audition information and performance schedules for the UMS Choral Union.
Photo Gallery. Photos from recent UMS events and related activities.
Student Ticket Information. Current info on rush tickets, special student sales, and other opportunities for U-M students.
hrough an uncompromising commit?ment to Presentation, Education, and the Creation of new work, the University Musical Society (UMS) serves Michigan audiences by bring?ing 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 125 years, strong leadership coupled with a devoted com?munity has placed UMS in a league of interna?tionally-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 this 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 performing arts--internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz
Every day UMS seeks to cultivate, nurture, and stimulate public interest and participation in every facet of the live arts.
and world music performers, and opera and theater. Through educational endeavors, com?missioning of new works, youth programs, artist residencies and other collaborative projects, UMS has maintained its reputation for quality, artistic distinction, and innovation. UMS now hosts approximately 70 performances and more than 150 educational events each season. UMS has flourished with the support of a generous community that this year gathers in 11 diverse venues in Ann Arbor and Ypsilanti.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor campus, and a regular collaborator with many University units, UMS is a separate not-for-profit organi?zation that supports itself from ticket sales, corporate and individual contributions, foun?dation and government grants, special project support from U-M, and endowment income.
hroughout its 125-year history, the UMS Choral Union has performed with many of the world's distin?guished 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 performances of large-scale works for chorus and orchestra. Eleven years ago, the Choral Union further enriched that tradition when it began appearing regularly with the Detroit Symphony Orchestra (DSO). Among other works, the chorus has joined the DSO in Orchestra Hall and at Meadow Brook for subscription performances of Stravinsky's Symphony of Psalms, John Adams' Harmonium, Beethoven's Symphony No. 9, Orff 's Carmina Burana, Ravel's Daphnis et Chloe and Brahms'
Participation in the Choral Union remains open to all by audition. Members share one common passion -a love of the choral art.
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 ofGerontius, the Ji Berlioz Requiem and other masterworks to its repertoire. During the 9697 season, the Choral Union again expanded its scope to include per?formances with the Grand Rapids Symphony, joining with them in a rare presentation of Mahler's Symphony No. 8 (Symphony of a Thousand).
Led by interim conductor Jerry Blackstone, the Choral Union will open its current season with performances of Verdi's Requiem with the DSO in September. In December the chorus
will present its 125th series of annual perform?ances of Handel's Messiah. The Choral Union's season will conclude with a performance of William Bolcom's Songs of Innocence and of Experience in the newly renovated Hill Auditorium.
The Choral Union's 0203 season included performances of Mahler's Symphony No. 3 with the DSO, followed by a performance of Beethoven's Symphony No. 9 with the Ann Arbor Symphony Orchestra. The Choral Union's sea?son concluded in March with a pair of magnifi?cent French choral works: Honegger's King David, accompanied by members of the Greater Lansing Symphony Orchestra, and Durufle's mystical Requiem, accompanied by internation?ally renowned organist Janice Beck.
The Choral Union is a talent pool capable of performing choral music of every genre. In addition to choral masterworks, the Choral Union has performed Gershwin's Porgy and Bess with the Birmingham-Bloomfield Symphony Orchestra, and other musical theater favorites with Erich Kunzel and the DSO at Meadow Brook. The 72-voice Concert Choir drawn from the full chorus has performed Durufle's Requiem, the Langlais Messe Solennelle, and the Mozart Requiem. Recent programs by the Choral Union's 36-voice Chamber Chorale include "Creativity in Later Life," a program of late works by nine composers of all historical periods; a joint appearance with the Gabrieli Consort and Players; a performance of Bach's Magnificat, and a recent joint performance with the Tallis Scholars.
Participation in the Choral Union remains open to all by audition. Comprised of singers from Michigan, Ohio and Canada, members of the Choral Union share one common passion -a love of the choral art. For more informa?tion about membership in the UMS Choral Union, e-mail or call 734.763.8997.
The 0304 UMS season will include performances by the world's celebrated music, dance and theater artists in 11 venues in Ann Arbor and Ypsilanti.
Hill Auditorium
he 18-month $38.6-million dollar renovations
to Hill began on May 13, 2002 overseen by Albert Kahn Associates, Inc., and historic preservation architects Quinn EvansArchitects. Originally built in 1913, current renovations will update Hill's infrastructure and restore much of the interior to its original splendor. Exterior renovations will include the reworkinp of brick paving and stone retaining wall areas, restoration of the south entrance plaza, the reworking of the west barrier-free ramp and loading dock, and improvements to landscaping.
Interior renovations will include the demo?lition of lower-level spaces to ready the area for future improvements, the creation of additional restrooms, the improvement of barrier-free cir?culation by providing elevators and an addition with ramps, the replacement of main-level seating to increase patron comfort, introduction of barrier-free seating and stage access, the replace?ment of theatrical performance and audio-visual systems, and the complete replacement of mechanical and electrical infrastructure systems for heating, ventilation, and air conditioning.
When it re-opens in January 2004, Hill Auditorium will seat 3,540.] HillBurtonWebCam.html .-----3
Hill Auditorium Renovation Project Web
Hill Auditorium Construction Website at: :
Power Center
he Power Center for the Performing Arts was
bred from a realization that the University of Michigan had no adequate proscenium-stage theater 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 built 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 the?ater." The Powers were immediately interested, realizing that state and federal government were unlikely to provide financial support for the construction of a new theater.
Opening in 1971 with the world premiere of The Grass Harp (based on the novel by Truman Capote), the Power Center achieves the seemingly contradictory combination of providing a soaring interior space with a unique level of intimacy. Architectural features include two large spiral staircases leading from the orchestra level to the balcony and the well-known mirrored glass panels on the exterior. No seat in the Power Center is more than 72 feet from the stage. The lobby of the Power Center features two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes by Pablo Picasso.
The Power Center seats approximately 1,400 people.
Rackham Auditorium
ifty years ago, chamber music concerts in Ann Arbor were a relative rarity, presented in an assortment of venues including University Hall (the precursor to Hill Auditorium), Hill Auditorium, Newberry Hall and the current home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strongly in the importance of the study of human history and human thought, died in 1933, his will established the Horace H. Rackham and Mary A. Rackham Fund, which subsequently awarded the University of Michigan the funds not only
to build the Horace H. Rackham Graduate School which houses 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 ambi?tious ever given to higher-level education, is the fact that neither of the Rackhams ever attended the University of Michigan.
Designed by architect William Kapp and architectural sculptor Corrado Parducci, Rackham Auditorium was quickly recognized as the ideal venue for chamber music. In 1941, the Musical Society presented its first chamber music festival with the Musical Art Quartet of New York performing three concerts in as many days, and the current Chamber Arts Series was born in 1963. Chamber music audiences and artists alike appreciate the intimacy, beauty and fine acoustics of the 1,129-seat auditorium, which has been the location for hundreds of chamber music concerts throughout the years.
Michigan Theater
'he historic Michigan Theater opened January 5, 1928 at the peak of the vaudeville movie palace era. Designed by Maurice Finkel, the 1,710-seat theater cost around $600,000 when it was first built. 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 addition, which also included expanded restroom facili?ties for the historic theater. The gracious facade and entry vestibule was restored in 2000 and the balcony and backstage restorations have been completed.
St. Francis of Assisi Catholic Church
In June 1950, Father Leon Kennedy was appointed pastor of a new parish in Ann Arbor. Seventeen years later ground was broken to build a permanent church building, and on March 19, 1969 John Cardinal Dearden dedi?cated the new St. Francis of Assisi Church. Father James McDougal was appointed pastor in 1997.
St. Francis of Assisi Catholic Church has grown from 248 families when it first started to more than 2,800 today. The present church seats 900 people and has ample free parking. In 1994 St. Francis purchased a splendid three manual "mechanical action" organ with 34 stops and 45 ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedication, a commitment to superb liturgical music and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the church a gathering place for the enjoyment and contemplation of sacred a cap-pella choral music and early music ensembles.
Crisler Arena
Crisler Arena, home to the Michigan Wolverine basketball teams, stands as a tribute to the great Herbert O. "Fritz" Crisler, Michigan's third all-time winning football coach. Crisler served 10 years as Michigan's football coach (1938-1947) and 27 years as athletic director (1941-1968) of the University. The arena was designed by Dan Dworksky under the architec?tural firm of K.C. Black & C.L. Dworsky and opened in 1968. While serving as a site of Big Ten Conference championship events, Crisler has also played host to popular acts such as Pearl Jam, Bill Cosby, the Grateful Dead, and even Elvis Presley during his final concert tour. In 2002, UMS presented its first concert in Crisler Arena, the Boston Pops Esplanade Orchestra Christmas Concert. The popular ensemble returns for a repeat performance on Friday, December 5.
The facility has a capacity of 13,609.
Venues continue following your program insert.
of the University of Michigan, Ann Arbor
Fall 2003
Event Program Book
General Information
Children of all ages are welcome at UMS Family and Youth Performances. Parents are encour?aged not to bring children under the age of 3 to regular, full-length UMS performances. All children should be able to sit quietly in their own seats throughout any UMS performance. Children unable to do so, along with the adult 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 prede?termined 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 "infor?mation superhighway" while you are enjoying a UMS event: electronic-beeping or chiming dig?ital watches, ringing cellular phones, beeping pagers and clicking portable computers should be turned off during performances. In case of emergency, advise your paging service of audi?torium and seat location in Ann Arbor venues, 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 or return it to your usher when leaving the venue. Thank you for your help.
Saturday, October 18 through Sunday, Novemb
Miami City Ballet
Saturday, October 18,1:00 pm (L Saturday, October 18, 8:00 pm Sunday, October 19, 2:00 pm Power Center
Vadim Repin
Sunday, October 26,6:00 pm Rackham Auditorium
Boris Godunov
Wednesday, October 29, 8:00 pm Thursday, October 30, 8:00 pm Friday, October 31, 8:00 pm Saturday, November 1, 2:00 pm Saturday, November 1, 8:00 pm ' Sunday, November 2, 2:00 pm ' U-M Sports Coliseum
Suzanne Farrell Ballet
Friday, October 31, 8:30 pm , Power Center
UMS Educational Events through Sunday, November 2, 2003
All UMS educational activities are free and open to the public unless otherwise noted ($). Please visit for complete details and updates. For current information on Celebrating St. Petersburg, visit www.umich.edustpetersburg.
Miami City Ballet
Ballet Master Class ($)
Advanced ballet technique. Led by the Ballet
Master of the Miami City Ballet.
To register, call Dance Gallery Studio at
734.747.8885. Free for members of Dance
Gallery; $15 for non-members.
Friday, October 17, 7:00-9:00 pm, Dance Gallery
Studios, 815 Wildt St.
UMS and U-M Museum of Art Family Events Join UMS and the U-M Museum of Art for a day of special family events. The day kicks off with a one-hour Family Performance by the Miami City Ballet from 1:00-2:00 pm at the Power Center. For ticket information, contact the UMS Box Office at 734.764.2538 or visit
Following the performance, drop-in activities at the U-M Museum of Art include gallery exploration activities for families, performance demonstrations and art-making projects. All activities are free. Pre-registration is required for the oil pastel drawing workshop, "St. Petersburg Mirrored in Water," led by Elena Townsend-Efimova, founder of Ann Arbor's Talking Colors Art School. Pre-Registration is required for the drawing workshop only. To register, call 734.647.0522. All children are admitted free to The Romanovs Collect: European Art From the Hermitage. Adult tickets are $8 and may be purchased through Tickets Plus (800.585.3737,, or at participat?ing Meijer stores), or in person at the Museum. Saturday, October 18, 2:00-5:00 pm, U-M Museum of Art, Apse and Galleries, 525 South State St.
UMS Artist Interview: Edward Villella, Artistic Director, Miami City Ballet Interviewed by Beth Genne, U-M Associate Professor of Dance, and Christian Matjias, U-M Assistant Professor of Dance. Handpicked by George Balanchine to revolutionize the role of men in ballet, Kennedy Center Honoree and National Arts Award winner Edward Villella has left a lasting impact on the world of dance and contemporary culture. He currently enjoys international success as the founding artistic director of the Miami City Ballet, one of America's premiere ballet institutions, and is widely recognized for his contributions to the field of classical dance and arts in education. Saturday, October 18, 6:00 pm, Michigan League, Vandenberg Room, 911 N. University Ave.
Miami City Ballet: Balanchine and Stravinsky
A preview of the afternoon's ballet repertoire,
led by Beth Genne, U-M Associate Professor of
Sunday, October 19, 1:00 pm, Michigan League,
HusseyRoom, 911 N. University Ave.
Boris Godunov
Lecture: "Boris Godunov and the 'Time of
Led by Valerie Kivelson, U-M Professor of
History. Presented by the U-M Center for
Russian and East European Studies.
Tuesday, October 21, 7:30 pm, Alumni Center,
200 Fletcher St.
Roundtable: "Boris Godunov and the World of Contemporary Russian Theater"
This roundtable will explore the contemporary world of theater-making in Russia, featuring the noted cast and crew of the new production of Boris Godunov, in conversation with U-M faculty. A UMS collaboration with the U-M Residential College and part of Celebrating St. Petersburg: 300 Years of Cultural Brilliance. Thursday, October 30, 12:00 noon-1:30 pm, East Quadrangle, Residential College Auditorium, 701 E. University Ave.
Suzanne Farrell Ballet &m
Symposium: "From the Mariinsky to Manhattan: George Balanchine and the Transformation of American Dance" A two-day public symposium featuring presen?tations on Balanchine's work and its impact in Russia and the US by internationally recognized scholars and acclaimed Balanchine-trained dancers. A UMS collaboration with the U-M Center for Russian and East European Studies and the U-M Department of Dance. For more information, visit www.umich.edustpetersburg. Friday, October 31 and Saturday, November 1, Rackham Auditorium, 915 E. Washington St.
Susan B. Ullrich
Miami City Ballet
Edward Villella, Founding Artistic Director Chief Executive Officer
Roma Sosenko, Ballet Mistress
Hayde'e Morales, Costume Designer and Director
Francisco Renno, Company Pianist and Music Librarian Mark Cole, Production Director
John D. Hall, Lighting Designer and Production Supervisor Richard Carter, Technical Advisor
Principal Dancers and Principal Soloists
Katia Carranza Iliana Lopez
Mary Carmen Catoya Michelle Merrell
Franklin Gamero Renato Penteado
Isanusi Garcia Rodriguez Deanna Seay
Carlos Guerra Luis Serrano
Mikhail Ilyin Yann Trividic
Jennifer Carlynn Kronenberg Haiyan Wu
0304 Company Representative
George Balanchine Igor Stravinsky
Saturday Evening, October 18, 2003 at 8:00 Sunday Afternoon, October 19, 2003 at 2:00 Power Center. Ann Arbor
Apollo (1928) INTERMISSION
Agon (1957)
Stravinsky Violin Concerto (1974)
10th and 11th Performances of the 125th Annual Season
13th Annual Dance Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Individual performances of the Miami City Ballet are sponsored by McKinley (Saturday evening) and Susan B. Ullrich (Sunday afternoon).
This performance is co-presented with the University of Michigan as part of a special U-MUMS partnership that furthers a mutual commitment to education, creation, and presentation in the performing arts.
Additional support provided by media sponsors Michigan Radio and Metro Times.
Special thanks to Dance Gallery Studio, Beth Genni, Christian Matjias, Ruth Slavin, U-M Center for Russian and East European Studies, U-M Department of Dance, and U-M Museum of Art for their participation in this residency.
Miami City Ballet appears by arrangement with IMG Artists, New York, NY. Large print programs are available upon request.
Soloists and Corps de Ballet
Tricia Albcrtson Irene Balague Didier Bramaz Jennifer Brie Charlene Cohen Emanuel Colina Jessica Colina Jeremy Cox Patricia Delgado Alexandre Dufaur Emilie Fouilloux Ashley Knox Kristen Kramer Joan Latham Xiaosong Li Suzanne Limbrunner Callie Manning Allynne Noelle Kenta Shimizu Marc Spielberger Andrea Spiridonakos Agnieszka Szymanska Bruce Thornton Erin Tryon Evan Unks
Apprentice Jeanette Delgado
0304 Company Representative
Music Igor Stravinsky
Choreography George Balanchine
Re-staging Re-staged after the George Balanchine Trust
Costume Execution Haydee Morales (original costume design by Karinska)
Lighting Design John Hall
"Apollon Musagcta, by arrangement with Boosey & Hawkes, Inc., publisher and copyright owner.
Apollo is both George Balanchine's first great work and his earliest surviving work. Created in 1928 in Monte Carlo for Sergei Diaghilev's Ballet Russes, it made an immediate impact on the art form and literally transformed 20th century art.
The ballet is a narrative work, which fol?lows the ancient myth of the god, Apollo. Leto, a mortal woman, is made pregnant by the god, Zeus. On the tiny island of Delos, she gives birth to Apollo, their son. At first, Apollo remains motionless in his swaddling clothes, but then spins out of his constraints, a youth who is a swirl of energy and raw power.
Enter the three Muses, beautiful young female essences who will inspire and direct his energy: Calliope, with her scroll and pen, the muse of epic poetry; Polyhymnia, muse of sacred poetry and mime, who silently dances allusions; and Terpsichore, muse of the dance, creator of pure, harmonious movement.
The three dance with Apollo, and then each dances separately for him. He watches them critically and rejects Calliope first, who exhausts herself with her efforts, and then rejects Polyhymnia, who breaks her silence and suffers shame. Finally, Terpsichore moves through her solo and entrances Apollo; at the end of her dance, he rises to stand over her with a gesture of triumph.
The young god, then left alone onstage, begins to dance. It is apparent that he now understands his role as the god of beauty and light; his movements are an expression of his
acceptance and assumption of the role. As the critic Arlene Croce observed, the opening and closing of his fists, twice occurring in this solo, represents the surging of divine power through his body. At the end, Apollo sinks to the ground, half in tribute, half in exhaustion.
Terpsichore returns to renew his energy with a touch of the divine spark. Their ensuing pas de deux, tender and romantic, is also an exploration of the principles of linear, Euclidean beauty. Together, their eyes are opened to the wonders of the world.
In the last section of the ballet, the general play of the four young people comes to a close when Apollo hears the call to assume his place among the gods on Mount Olympus. His boy?hood is over: he has learned from the Muses and is now their master, symbolized in the image of a chariot commanded by him as the women defer to his authority. The stairs that led to the tiny point where Leto gave birth to Apollo now lead straight to the abode of the gods. Apollo follows his path upward, surpass?ing those who gave him his life.
Adapted from a note by Anita Finkel.
Miami City Ballet premiere on December 12,1987 at the Mann Auditorium; Tel Aviv, Israel.
Miami City Ballet's production of Apollo was made possible by a special gift from Southeast Banking Corporation.
This performance of Apollo, a Balanchine Ballet, is present?ed by arrangement with The George Balanchine Trust and has been produced in accordance with the Balanchine Style and Balanchine Technique, Service Standards established and provided by The Trust.
Music Igor Stravinsky
Choreography George Balanchine
Suzanne Farrell
Costume Execution Hayde'e Morales (original costume design by Karinska) Lighting Design John Hall
"Agon, by arrangement with Boosey & Hawkes, Inc., publisher and copyright owner.
Choreographed in 1957, Agon was a collabora?tion between composer Igor Stravinsky and George Balanchine. Together they devised a sequence of musical numbers and dances that updated forms from the 17th century, such as the sarabande (a stately court dance), the gail-liard, and the bransle. The title is the Greek word for "contest," and through this and the work's linear, geometrical look, Balanchine's 1928 masterpiece, Apollo, is invoked. Combining two frames of historical reference -ancient Greece and baroque France -with a modern sensibility, Agon is perhaps Balanchine's most distilled synthesis of classical and modern art, and one of the most influential works of art of the 20th century.
Agon is packed with verbal and intellectual puns (though one need not know that to enjoy the ballet). For example, the work has 12 dancers who interact in both symmetrical and asymmetrical arrangements of the number 12, and the music, which is composed on the 12-tone scale, develops its own 12-sided patterns. The work, labeled "world-conquering" by dance critic Arlene Croce, is completely engrossing.
The heart of the work is an extended pas de deux for the leading couple, which departs from classical pas de deux form and from Balanchine's usual observance of that form. The duet is built on the sustained, prolonged intertwining of the two dancers rather than being structured as a supported adagio followed by separate varia-
tions and a coda. It scarcely offers a break as it builds in tension, offering images of a bond that is tested but not broken. Perhaps more than any other part of Agon, the dramatic pas de deux (a metaphor for the complexities of a modern marriage or love affair), has influenced other artist's ballets and the dynamics and form of choreographed relationships.
Adapted from a note by Anita Finkel.
Miami City Ballet premiere on January 26,1995 at Dade County Auditorium; Miami, FL.
This performance of Agon, a Balanchine Ballet, is presented by arrangement with The George Balanchine Trust and has been produced in accordance with the Balanchine Style and Balanchine Technique , Service Standards established and provided by the Trust.
Stravinsky Violin Concerto
Music Igor Stravinsky
Choreography George Balanchine
Bart Cook and Maria Calegari
Costume Execution Hayde'e Morales (original costume design by Karinska) Lighting Design John Hall
'Concerto for Violin and Orchestra in D Major by Igor Stravinsky.
Set to Igor Stravinsky's Concerto for Violin and Orchestra in D Major, George Balanchine origi?nally used the music to choreograph Balustrade for Ballet Russe in 1941. Thirty years later Balanchine wished to include that same piece of music for the Stravinsky Festival, but no recording of his original score existed so he created a completely new work. Stravinsky Violin Concerto is performed in practice clothes without decor like many of the ballets premiered at the Stravinsky Festival, including Duo Concertante. The first movement is in eight parts, each overlapping into the next. The second and third movements are pas de deux showing contrasting relationships between partners. The finale includes references to Russian motifs in the score.
This performance of Stravinsky Violin Concerto a Balanchine Ballet, is presented by arrangement with The George Balanchine Trust and has been produced in accordance with the Balanchine Style and Balanchine Technique, Service Standards established and provided by The Trust.
dward Villella -certainly America's most celebrated male dancer -did much to popularize the role of the male in dance through the supreme artistry
_____and virility he exhibited during his
performance career. Offstage he has been as influential, accepting the role of Founding Artistic Director of Miami City Ballet in 1985 and achieving worldwide acclaim for the com?pany in a mere decade of dance. In recognition of his achievements, President Clinton present?ed Mr. Villella with the 1997 National Medal of Arts. Also in 1997, Mr. Villella was named a Kennedy Center Honoree and was inducted into the Florida Artists Hall of Fame.
Mr. Villella is recognized nationally and internationally for his contributions to the fields of classical dance and arts education. He served as the Dorothy F. Schmidt Artist-in-Residence at Florida Atlantic University, was Heritage Chair, Arts and Cultural Criticism, at George Mason University in Virginia, and serves on the Board of Trustees of the School of American Ballet.
He has served as chairman of New York City's Commission for Cultural Affairs and has been a member of the National Endowment for the Arts' Dance Advisory Panel and the National Council on the Arts. Among the dis?tinguished honors awarded to him are the 38th Annual Capezio Dance Award; the Frances Holleman Breathitt Award for Excellence, for his outstanding contribution to the arts and to the education of young people; the National Society of Arts & Letters Award for Lifetime Achievement; the Cultural Service Award from the Brooklyn Center for the Performing Arts (1998); and the George C. Abbott Award for Outstanding Achievement in the Arts, presented by the South Florida Critics Association (1997). He has been awarded honorary degrees by nine universities including Florida Atlantic University where he served as Artist-in-Residence for three semesters, and Union College, which established the Edward Villella Fellowship in 1991.
Mr. Villella was a 19992000 Harvard Visiting Artist. The Dance Heritage Coalition also recently selected him as one of "America's Irreplaceable Dance Treasures."
Mr. Villella was born in Bayside, New York in 1936. He entered the School of American Ballet (SAB) at age 10 but interrupted his dance training to complete academic studies. A gradu?ate of the New York Maritime Academy, he obtained a BS in marine transportation, lettered in baseball, and was a championship boxer.
He returned to SAB following graduation in 1955, and in 1957 was invited to join the New York City Ballet where he was quickly promot?ed to Soloist (1958) and then to Principal Dancer (1960). Mr. Villella originated many roles in the New York City Ballet repertoire, among them Tarantella, the "Rubies" section of Jewels, and the role of Oberon in A Midsummer Night's Dream. Perhaps his most famous role was in the 1960 revival of Balanchine's 1929 masterpiece, Prodigal Son.
Mr. Villella was the first American male dancer to perform with the Royal Danish Ballet and the only American ever to be asked to dance an encore at the Bolshoi Theater in Moscow. He danced for President Kennedy's inaugural and for Presidents Johnson, Nixon, and Ford. He was producerdirector for the PBS series Dance in America for one-and-a-half years, and in 1975 won an Emmy Award for his CBS television production of Harlequinade.
Mr. Villella has a son, Rodney, and two daughters, Lauren and Crista Francesca. He and his wife, Linda, a former Olympic figure skater, reside in Miami Beach.
The University of Pittsburgh Press reissued Edward Villella's 1992 autobiography, Prodigal Son: Dancing for Balanchine in a World of Pain and Magic, written with Larry Kaplan, in March 1998.
o choreographer is more deserving of the title "the father of American ballet" than the great master, George Balanchine. In late 1933, an invitation from Lincoln Kirstein brought Balanchine to the US after a career as dancer, ballet master, and choreographer that took him from St. Petersburg's Vaganova Imperial Ballet School and Mariinsky Theatre (Kirov Ballet) in Russia to the major cultural capitals of Europe. Kirstein had been impressed by Balanchine's company, Les Ballets, in Paris, and proposed that Balanchine come to the US to hrln hirri establish an American ballet company.
The first result of the Balanchine-Kirstein collaboration was the School of American Ballet, founded in early 1934, an institution that continues to exist today. Students of the school performed Balanchine's first ballet in the US as
a workshop. In 1935, Kirstcin and Balanchine set up a touring company of dancers from the school called The American Ballet. The same year brought an invitation from the Metropolitan Opera for The American Ballet to become its resident ballet company and for Balanchine to become the Met's ballet master.
Although Balanchine enjoyed much success critically and popularly with the Met, he left in early 1938 to teach at the school and to work in musical theater and in film. He and Kirstein assembled the American Ballet Caravan, which made a tour of Latin American countries featur?ing such new Balanchine ballets as Concerto Barocco and Ballet Imperial. From 1944 to 1946, Balanchine helped revitalize the Ballet Russe de Monte Carlo by becoming artistic director. For them, he created Raymonda and La Soiinanibula. Balanchine collaborated again with Kirstein in 1946 to form Ballet Society, a company that introduced New York audiences over the next two years to such new Balanchine works as The Four Temperaments (1946) and Stravinsky's Renard (1947) and Orpheus (1948). In October
of 1948, Morton Baum, the chairman of the City Center finance committee, was so impressed by a Ballet Society performance that he negotiated to have the company join the City Center municipal complex (home to the New York City Opera) as the New York City Ballet. Balanchine's work now had a permanent home.
The son of a composer, Balanchine gained knowledge of music early in life that far exceeds that of most choreographers. At the age of five, he began studying piano and enrolled in the Conservatory of Music and graduated in 1921 from the Imperial Ballet School in St. Petersburg. His extensive musical training made it possible for him to communicate with Stravinsky, and it enabled him to reduce orchestral scores on the piano and to translate music into dance. Balanchine defended his technique of de-emphasizing the plot in his ballets by saying:
A ballet may contain a story, but the visual spectacle, not the story, is the essential element...It is the illusion created which convinces the audience, much as it is with the work of a magician. If the illusion fails, the ballet fails, no matter how well a program note tells the audience that it has succeeded.
He will always be remembered for the calm and generous way in which he worked with his dancers. In 1978, George Balanchine was among the first group of artists to receive the Kennedy Center Honors. Balanchine died in 1983 at the age of 79.
he Miami City Ballet, led by found?ing Artistic Director Edward Villella, is among the largest and most celebrated dance companies in the US. The Miami _ City Ballet (MCB) dancers have appeared in over 104 US cities and venues including the Kennedy Center, the 1996 Olympic Arts Festival in Atlanta, Wolf Trap Farm Park, Orange County Performing Arts Center, New Jersey Performing Arts Center, and the Brooklyn Center for the Performing Arts. North American
festival appearances include the Saratoga Performing Arts Center, Jacob's Pillow Dance Festival, Spoleto Festival USA, DanceAspen, the Chautauqua Festival, and Ravinia. Internationally, MCB has performed in Europe, South and Central America, and Israel, including the 1994 and 1995 Edinburgh International Festivals, the 1990 Lyon Biennale Internationale de la Danse, the Festival Internacional de Cultura Paiz, and a two-week engagement at Torino Danza 2000 in Italy. Last March, MCB was invited as one of six companies participating in the Kennedy Center's International Ballet Festival with the Bolshoi, Kirov, Royal Ballet, Royal Danish Ballet, Adam Cooper and Company, and American Ballet Theatre.
The company's repertoire includes 73 ballets, including 12 world premieres. MCB is best known for interpreting George Balanchine's masterworks, most notably Prodigal Son, Apollo, Agon, and the full-length Jewels, and for pioneer?ing the works of contemporary choreographers such as Paul Taylor and Twyla Tharp. MCB was the seventh and final major American dance company to receive a Kennedy Center Ballet Commission, for which choreographer Lynne Taylor-Corbett created Mystery of the Dancing Princesses, which premiered at the Kennedy Center in April 1995.
In January 2000, Miami City Ballet inaugu?rated its own Miami Beach headquarters, achieved through a capital campaign begun in 1997. The 63,000-square-foot facility houses eight rehearsal studios (two of which combine to create a 200-seat theater), classrooms, the company's wardrobe department and costume shop, and a fully equipped therapy room. The building is a design of the award-winning architect Bernardo Fort-Brescia of ARQ, and now houses the Miami City Ballet School, which opened in Miami Beach in 1993 to train students for professional careers in ballet. The school, which is headed by Linda Carbonetto Villella, has an enrollment of 400 students and operates under the philosophy that a talented child should never be turned away due to financial circumstances. The MCB regularly presents a full season of performances through-
out South Florida's Broward, Miami-Dade, Palm Beach counties, including Balanchine's acclaimed The Nutcracker. Additionally, MCB performs on Florida's west coast as the resident ballet com?pany at the Naples Philharmonic Center.
This weekend's performances mark the Miami City Ballet's third and fourth appearances under UMS auspices. The company made their UMS debut in April 1992.
An arts management executive for the past 19 years, Executive Director Pamela Gardiner brings to her position a background in law, business, academic administration and the arts. Ms. Gardiner, an attorney, has worked with Artistic Director Edward Villella since 1984. At the multi-arts festival, Madison Festival of the Lakes, where Mr. Villella served as the Artistic Director, she served as the Executive Director from 1984-1988. During her tenure with the festival, she produced two major festivals, a mini-festival, and visual and literary arts events. Ms. Gardiner joined Miami City Ballet in 1988, at the beginning of the company's third season. She also served as an Assistant Dean of Student Academic Affairs in the College of Letters and Science at the University of Wisconsin. Ms. Gardiner holds a BA in English Literature from the University of Wisconsin, an MA in English and Comparative Literature from Columbia University and a JD from Case Western Reserve University. Since 1993, she has served on the Executive Committee of the Performing Arts Foundation of Greater Miami. She is the Vice-Chairman of the City of Miami Beach's Production Industry Council on which she has served since 1998. She is a member of the Florida, Wisconsin and Ohio Bars and of the Entertainment, Arts and Sports Law Section of the Florida Bar Association.
A former soloist with New York City Ballet, Ballet Mistress Roma Sosenko works closely with Miami City Ballet dancers rehearsing them for each performance. Previously, she taught at Miami City Ballet School and was the
children's Ballet Mistress for MCB's production )f George Balanchine's The Nutcracker. During ler career as a dancer, Ms. Sosenko danced roles n Jerome Robbins' The Four Seasons, The Goldberg Variations, and Interplay and George Salanchine's Ballo Delia Regina, Symphony in C, "Maconne, Coppelia, Jewels, and Scotch Symphony. he has been seen on PBS in several productions ncluding Balanchine's L'Enfant et les Sortileges, A Lincoln Center Special: A Tribute to George Balanchine and Jerome Robbins' Live From Studio SH, and also performed the role of Columbine in the film of George Balanchine's The Nutcracker, produced by Electra Entertainment. Ms. Sosenko has also appeared in Ruth Page's Tle Merry Widow.
Resident Costume Designer Haydee Morales was born in Puerto Rico and raised in New York City. Her professional career has enveloped both design and production for dance, Broadway, opera, and film. Ms. Morales acquired her the?atrical training at Barbara Matera Costume Shop in New York.
For Broadway, her production work includes Chorus Line, Annie, Broadway Babies, Tap Dance Kid, and The King and I, while her film production work includes The Wiz and The Champ. For the opera stage, her production work includes Ken Russell's Madame Butterfly for the Spoleto Festival USA and Giancarlo Menotti's Goya (with Placido Domingo) for the Washington Opera.
Ms. Morales' first love is dance, and she has worked on productions for the New York City Ballet, Pennsylvania Ballet, The Robert Joffrey Ballet, Ballet Jazz du Montreal, Erick Hawkins Dance Company, and the Alvin Ailey American Dance Theatre. She also worked on a number of American Ballet Theatre productions includ?ing Mikhail Baryshnikov's Don Quijote.
She joined Miami City Ballet in 1986. Since then, Ms. Morales has designed and overseen countless productions including George Balanchine's The Nutcracker and Edward Villella's full-length ballets The Neighborhood Ballroom and Gismonti Brasil. Additionally, she has worked on Lynne-Taylor Corbett's MCB Kennedy Center Commission and premiere,
The Mystery of the Dancing Princesses. Ms. Morales has also recreated costumes from the original designs of Balanchine's Prodigal Son, Jewels, Western Symphony, Who Cares, Theme and Variations, and Stars and Stripes. On the 10th anniversary of Miami City Ballet, Ms. Morales was honored with a retrospective of her work, a one-woman show at the Rita Gombinsky Gallery in Miami Beach.
Company Pianist and Music Librarian Francisco Renno is the two-time winner of the Brazilian National Competition and winner of the 1981 Washington International Competition. He holds diplomas from the Brazilian Conserv?atory of Music, Banff School of Fine Arts, and Indiana University. He has appeared as soloist with the Brazilian Symphony Orchestra, the Brazilian National Symphony Orchestra, the National Symphony Orchestra of Venezuela, the Longmont Symphony Orchestra, and the Kansas City Camerata. Mr. Renno has given solo and chamber music recitals throughout South America and on radio and television. In the US he has performed at Carnegie Recital Hall, The Phillips Collection (Washington, DC), and in several concert series around the country, many of which were broadcast on National Public Radio.
Mr. Renn6 was company pianist from the inception of the Kansas City Ballet in 1981 prior to joining Miami City Ballet in 1999. He recent?ly composed the original music to Edward VillcUa's The Waltz--Our Lady of Oblivion.
Production Director Mark Cole received his MFA degree from the University of Minnesota. He has worked on the Broadway production of Cats, the Off-Broadway productions of Steve Martin's Picasso at the Lapin Agile and Yoko Ono's New York Rock, and on the national tour of How to Succeed in Business Without Really Trying starring Ralph Macchio. This is his sixth season with Miami City Ballet. Mr. Cole has production-managed for MCB Les Patineurs, Slaughter on Tenth Avenue, Giselle, Coppelia, and The Neighborhood Ballroom.
Lighting Designer and Production Supervisor John D. Hall joined Miami City Ballet in 1995 and is responsible for coordinating lighting and scenic design elements for the company. Some of his lighting design highlights with MCB include Slaughter on 10th Avenue, Giselle, Coppelia, and Edward Villella's The Neighborhood Ballroom. A graduate of North Carolina State University, his training also includes Actor's Theatre of Louisville and Jennifer Tipton's Light and Movement workshop at Jacob's Pillow.
Technical Advisor Richard Carter came to Miami City Ballet in 1991 with 40 years of international experience in the field. Mr. Carter possesses talent as both a creative artist and arts administrator. A San Francisco native and pre?mier danseur for San Francisco Ballet during the late '50s, Mr. Carter created principal roles for almost all of Lew Christensen's ballets. In 1961, he founded the San Diego Ballet, choreo?graphing more than 25 ballets as its artistic director. Subsequently, he served as ballet mas?ter, choreographer, and technical director for the San Francisco Ballet. He was artistic admin?istrator at Pennsylvania Ballet and production manager at Pacific Northwest Ballet before returning to the San Francisco Ballet as techni?cal director, a position he held from 1980 to 1990. In 1969, he created and chaired the dance division at California Western University in San Diego, then the only accredited dance program within a university fine arts program. At MCB he directed all technical and production aspects of ballet operations. He continues to serve as a consultant to the company.
Staff for Miami City Ballet
Pamela N. Gardiner, Executive Director Mark B. Rosenblum, General Manager E.L. "Pete" Upham, Director of Marketing
and Communications
Nicolle Noel Ugarriza, Communications Coordinator Douglas Wahlgren, Company Manager John Safranek, Director of Finance and Human Resources
Kathleen Warr, Stage Manager
Sean Michael Deceunick, Sound Engineer
Kenneth Harris, Production CarpenterAssistant
Production Director Edward Curington, Property Master William Schwendel, Production Electrician Frederick Schwendel, Assistant Electrician Brian Harris, Carpenter Ricardo Asturias, Wardrobe Master Maria Morales, Costume Artist Graciela Giraldo, Draper and Pattern Technician Amelia Paille, Seamstress Ana Maria Romero, Seamstress Gladys Sanabria, Seamstress Martha Venegas, Seamstress
Special thanks to Toby Lerner Ansin, founder of Miami City Ballet.
Also, special thanks to Miami City Ballet's Season Honorees:
Ella Fontanals Cisneros
Mariela Cisneros
Claudia Cisneros Macaya
Margaret and Mike Eidson
Evelyn R. Gilbert "In Memoriam"
R. Kirk Landon
Gerri and Bennett LeBow
Lisa and Donald ). Pliner
Ophelia and Juan Js Roca
Fronsene Sonderling "In Memoriam"
Carl and Sheila Wohl Syrop
The Ethel and W. George Kennedy
Family Foundation, Inc. Lynn Wolfson
Tour Booking: IMG Artists
This program is sponsored in part by the state of Florida, Department of State, Division of Cultural Affairs, and the Florida Arts Council. Funding for this event is provided in part by the Broward County Board of County Commissioners, the Broward Cultural Affairs Council, and the Greater Fort Lauderdale Convention and Visitors Bureau. With the support of Miami-Dade County Cultural Affairs Council and the Miami-Dade County Board of County Commissioners. With the support of the Mayor and City Commission of the City of Miami Beach and the Miami Beach Cultural Arts Council. With the support of the Miami-Dade County Tourist Development Council, Mayor and Board of Comissioners. Palm Beach County, Florida, "The Best of Everything," a Tourist Development Council-funded project. This project is supported in part by a grant from the National Endowment for the Arts.
Michael Allemang
Kathleen G. Charla
Vadim Repin
Alexander Korsantia, Piano
Sunday Evening, October 26, 2003 at 6:00 Rackham Auditorium Ann Arbor
WolfgangAmadeus Mozart Sonata for Violin and Piano in e minor, K. 304
Tempo di Menuetto
Sergei Prokofiev
Sonata No. 2 in D Major, Op. 94a
Scherzo, Allegro scherzando
Allegro con brio
Eugene Ysaye
Richard Strauss
Sonata for Unaccompanied Violin in d minor, Op. 27, No. 3 Sonata for Violin and Piano in E-flat Major, Op. 18
Allegro ma non troppo Improvisation: Andante cantabile Finale: Andante -Allegro
12th Performance of the 125th Annual Season
Forty-First Annual Chamber Arts 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 supported by Michael Allemang and Dr. Kathleen G. Charla.
This performance is co-presented with the University of Michigan as part of a special U-MUMS partnership that furthers a mutual commitment to education, creation, and presentation in the performing arts.
Additional support provided by media sponsors WGTE 91.3 FM and Michigan Radio.
Vadim Repin appears by arrangement with IMG Artists, New York, NY.
Large print programs are available upon request.
Sonata for Violin and Piano in e minor, K. 304
Wolfgang Amadeus Mozart Born January 27, 1756 in Salzburg Died December 5, 1791 in Vienna
In 1778, the Parisian publisher Jean-Georges Sieber brought out six sonatas for violin and piano by a 22-year-old foreigner named Wolfgang Mozart, calling them Op. 1 -apparently unaware that Mozart had been a published composer for 14 years at that point. His "real" Op. 1, published, ironically, in the same city, had consisted of two sonatas for harpsichord and violin by the eight-year-old prodigy, followed by 16 more works for the same forces, printed as Op. 2-4, in Paris, London, and Amsterdam. But the French were not particularly eager to find out a great deal about Mozart when he stayed in their midst for about six months in 1778. He had arrived at the end of March, accompanied by his mother, looking for employment and other professional opportunities. He made numerous contacts among the music-loving Parisian aristocracy, but none of them proved fruitful in the long run. His Symphony in D Major (known as the "Paris" Symphony) was performed once at the "Concerts spirituels," but the performance had no immediate conse?quences. The Concerto for Flute and Harp was commissioned by the Count of Guines, but the Count never paid what he had promised. Mozart's stay in Paris, frustrating and humiliat?ing from the start, was to end with a tragedy: his mother fell seriously ill during the early summer and died on July 3, 1778.
Two works from the Paris period seem to be particularly marked by the hardships endured: the Piano Sonata in a minor (K. 310), and the Sonata for Violin and Piano in e minor (K. 304). In both works, the use of the minor mode sig?nals emotional turmoil and a dramatic intensity not found in the rest of Mozart's Parisian output.
The first movement of the e-minor sonata is, in the words of one commentator, "one of the most dramatic Mozart ever wrote." It begins rather unusually with the violin and the piano playing the opening theme in unison, without
any underlying harmonies. It is a theme of a strikingly wide melodic range and rare expressive power. As in most classical sonata movements in the minor mode, the music soon modulates into the brighter major, but Mozart occasionally touches on the minor mode even during the major sections to prolong the darker, dramatic mood. The brief development section uses con?trapuntal imitation in a most poignant way, and the recapitulation begins with a surprise: the previous unison is replaced by the violin playing the melody against a striking rhythmic accompani?ment, repeatedly interrupted by rests, in the piano.
The second and last movement, marked "Tempo di Menuetto," is based on a descending bass line that evokes the memory of the famous "lament" figure from the Baroque era. The middle section's bittersweet suspension disso?nances, on the other hand, seem to anticipate Romanticism: the melodic contour and the har?monies are very similar to the last of Schubert's Moments musicaux. After this Trio in E Major, the wistful e-minor minuet returns, completi with a coda where the melody becomes frag?mented, punctuated by frequent rests, until a few energetic bars provide the final closure.
The e-minor sonata and its companions in Mozart's second "Op. 1" are very different from the early works for harpsichord and violin. In the childhood sonatas, the keyboard clearly pre?dominates and the violin parts are almost negli?gible. In the sonatas of 1778, the two instruments are much closer to being equal in importance. It was in these works that Mozart laid the founda?tions of the classical violin sonata as practiced by himself in later years as well as by Beethoven after him.
Sonata No. 2 in D Major, Op. 94a
Sergei Prokofiev
Born April 27, 1891 in Sontsovka, Ukraine
Died March 5,1953 in Nikolina Gora, near Moscow
The four movements of the present sonata, origi?nally for flute and piano, radiate feelings of calm and serenity. One would never guess that it was written under extremely harsh circumstances.
After the Nazi invasion of the Soviet Union in June 1941, Prokofiev -along with many other leading Russian artists -was evacuated from Moscow to areas far away from front lines. The composer and Mira Mendelson (who would later become his second wife) traveled thousands of miles, going first to Nalchik, a small town in the Caucasus mountains, then to Tbilisi, Georgia, from there to Alma-Ata, Kazakhstan, and finally to the city of Perm (then called Molotov) in the Ural mountains. They did not return to Moscow until 1943, after spending two years in temporary quarters.
Undaunted by these external circum?stances, Prokofiev composed ceaselessly during the entire period, working on such major proj?ects as the opera War and Peace (not to be com?pleted until 1952), the ballet Cinderella, and the film score for Ivan the Terrible. The flute sonata, begun in Alma-Ata and finished in Perm, was written as a kind of respite between these mon?umental scores, "perhaps inappropriate at the moment, but pleasant," as he told his close friend, the composer Nikolai Miaskovsky.
The sonata received its premiere in Moscow on December 7, 1943, after Prokofiev's return to the capital. Sviatoslav Richter was joined by the flutist Kharkovsky in that performance. Prokofiev arranged the flute part for violin dur?ing the following months; this version was introduced by David Oistrakh and Lev Oborin on June 17, 1944. In this form, the work was billed as Sonata for Violin and Piano No. 2. Prokofiev's first violin sonata (in f minor, Op. 80) was not completed until 1946. Yet it was the composer's habit to assign titles and opus numbers to his works as soon as he began writ?ing them; this explains the discrepancy in the numbering.
In the four movements of the D-Major sonata, Prokofiev scrupulously respected all the textbook rules of classical composition. This was a conscious decision on the part of the composer, who strove to create an easily acces?sible and tuneful work that would present no problems for the listener. The classical forms used, such a sonata and sonata-rondo, cause the work's melodies to return according to certain
pre-established patterns, creating a clear struc?ture that fulfills the listener's expectations.
Of course, Prokofiev would not be Prokofiev if he hadn't been able to fill out the strict classi?cal mold with his unmistakably personal style. He constantly perplexes and charms the listener by starting out with a perfectly classical major key, only to jump from there, without the slightest warning, to harmonies as far from that sonority as possible. Then, at the drop of a hat, he is back in the starting key again, as though he had never left it. This rather quixotic way of changing keys is one of the hallmarks of Prokofiev's idiom, and each of the sonata's four movements provides numerous examples. To some extent, this work looks back to such earlier Prokofiev works as the Violin Concerto No. 1 and the Classical Symphony (both from 1917, and both in D Major), while some of the melodies seem related to those which appear in Prokofiev's next major work, the Symphony No. 5, written in the summer of 1944.
Sonata for Unaccompanied Violin in d minor, Op. 27, No. 3
Eugene Ysaye
Born July 16, 1858 in Liege, Belgium
Died May 12, 1931 in Brussels
Eugene Ysaye is remembered first and foremost as perhaps the greatest violinist of the late 19th and early 20th centuries. He was a highly influ?ential teacher and the dedicatee of such classics of string literature as Cesar Franck's Sonata, Ernest Chausson's Poeme and Claude Debussy's String Quartet, which he premiered with his colleagues of the Ysaye Quartet. Yet he was also a composer in his own right, and if not many of his works are heard with any great frequency today, the six remarkable solo sonatas for vio?lin, written late in his life, have earned a firm place in the repertoire. And rightly so: these are much more than virtuoso showpieces written by a great performer for his own instrument. These sonatas are among the most technically challenging works ever written for the violin,
but they arc also full of originality in their structure and their harmonic idiom.
Each of the sonatas is dedicated to a differ?ent violinist colleague of Ysaye's; Sonata No. 3 pays tribute to George Enescu, the great Romanian violinist-composer. This one-move?ment work, subtitled "Ballade," opens with a recitative-like slow passage all in double-stops, not unlike the beginning of the violin part in Chausson's Poeme, though much more adven?turous in its handling of tonality. Then the music takes a different turn altogether, assum?ing a character of a free fantasy on a dance rhythm in 38 time. The melody soon dissolves in a breathtaking cascade of figurations as the sonata continues, combining virtuosity and expressivity all the way to its startling conclusion.
Sonata for Violin and Piano in E-flat Major, Op. 18
Richard Strauss
Born June 11, 1864 in Munich, Germany
Died September 8,1949 in Garmisch-Partenkirchen
The Sonata for Violin and Piano dates from the period in Richard Strauss's life when he was making his historic transition from the Brahmsian universe of "absolute" music into the New German world of programmatic com?position. The 23-year-old composer was about to abandon the classical chamber genres, to which he had made several remarkable contri?butions in previous years, and set his sights on Lisztian symphonic poem and Wagnerian opera, to which he would devote most of his ' energies in the following decades. The Violin Sonata is a transitional work, written in a con?ventional form but informed by an entirely new musical aesthetic. Everything in this work seems to function on a symphonic rather than on a chamber-music scale, starting with the very first piano motive whose angular rhythms foreshadow Don Juan. Some of the later melodies have a definite operatic sweep to them. Sonata form, with its requisite contrast?ing themes, development, and recapitulation,
nominally still holds sway in the opening "Allegro ma non troppo." Yet the music's pas?sion overflows the structural bonds of the form and creates a movement that seems to be defined less by classical considerations than by large cycles of dramatic outbursts and moments of lyrical reflection.
The second movement, "Improvisation," is a beautiful "song without words" that is some?times performed separately from the rest of the sonata. The highly ornate cantabile movement includes a passionate middle section, followed by the return of the initial theme in an even more richly embellished rendering.
A somber piano introduction opens the third-movement "Finale," erupting in a brilliant allegro that takes the level of virtuosity required of both players to dizzying heights. The sequence of wide-spanned melodies and breakneck figu?rations is occasionally interrupted by lighter, scherzo-like episodes. As a final surprise, Strauss introduces an extensive coda in a new time signature (a faster 68 as opposed to the earlier 34). This section is almost a separate movement in its own right, ending the sonata on a climactic point of maximum excitement.
Program notes by Peter Laki.
riery passion with impeccable technique, poetry, and sensitivity are Vadim Repin's I trademarks. A critic wrote recently, "It is a delectable experience to enjoy Vadim Repin's violinistic abilities. He is one of the few violinists who can master the most dangerous challenges with an almost provoca?tive serenity."
Born in Siberia in 1971, he started to play violin at the age of five; six months later he had his first stage performance. At age 11 he won the gold medal in all age categories in the Wienawski Competition. That same year he gave his recital debuts in Moscow and St Petersburg. In 1985, at age 14, he made his performance debuts in Tokyo, Munich, Berlin, and Helsinki; a year later in Carnegie Hall;
and at age 17 won the coveted Queen Elisabeth Concours in Brussels.
Mr. Repin has appeared with the Berlin Philharmonic, the Boston Symphony, the Cleveland Orchestra, La Scala Milan, the Los Angeles and New York Philharmonic Orchestras, the Orchestre de Paris, the Royal Concertgebouw, San Francisco Symphony, the Orchestre de la Suisse Romande, and the St. Petersburg Philharmonic, and has performed under the baton of leading conductors such as Boulez, Chailly, Dutoit, Eschenbach, Gergiev, Jansons, Levine, Luisi, Marriner, Masur, Mehta, Nagano, Rattle, Rostropovich, Rozhdestvensky, Temirkanov, and Zinman.
Chamber music partners have included Martha Argerich, Yuri Bashmet, Mischa Maisky, and Mikhail Pletnev. A recording of the Tchaikovsky and Myaskovsky concerti with the Marinskij Orchestra and Valery Gergiev has recently been added to his prize-winning discography.
Mr. Repin performs on the magnificent Stradivarius "Ruby" 1708 by kind permission of the Stradivarius Society of Chicago.
This evening's recital marks Vadim Repin's UMS debut.
lexander Korsantia gained audience's 1 critical acclaim for his versatility, power
and unique sincerity of his playing. Today Mr. Korsantia can be heard
on the stages of the world's major concert halls including Avery Fisher Hall and Carnegie Hall in New York, Orchestra Hall and Ravinia Pavillion in Chicago, in Leipzig, the Concertgebouw in Amsterdam, Metropolitan Hall in Tokyo, Mann Auditorium in Tel Aviv, Rudolfinum in Budapest, and the Mariinsky Theatre in St. Petersburg collaborating with conductors including Valery Gergiev, Christoph Eschenbach, Paavo Jarvi, Zdenek Macal, and Gianandrea Noseda.
Born in Tbilisi, Georgia, Mr. Korsantia began music studies at the age of five with his mother, professor of piano at the Tbilisi State Conservatory. Recognized as a child prodigy, he won First Prize at the Trans-Caucasian Music Competition in Armenia at the age of 16. In 1988 he took First Prize at the International Piano Competition in Sydney, Australia, where he was also awarded two special concerto prizes. In 1993 he made an extensive tour of Japan in recital and as soloist with the Kirov Orchestra conducted by Valery Gergiev.
In March 1999 Mr. Korsantia established a new music series at the Performing Arts Center
in Tel Aviv entitled "Korsantia and Friends" which has since garnered wide acclaim. Recent engagements include con?certs at the White Nights Festival in St. Petersburg with Kirov Orchestra, fol?lowed by performances in Jerusalem and Tel Aviv. In September 2001,
after 10 years of professorship at Indiana University, Mr. Korsantia and his family settled in Vancouver, Canada to join the faculty of the University of British Columbia.
Mr. Korsantia is signed as a Steinway Artist.
This evenings recital marks Alexander Korsantia's UMS debut.
UMS presents
In association with David Eden Productions, Ltd., the Chekhov International Theatre Festival's
A Tragedy by Alexander Pushkin Declan Donnellan, Director Nick Ormerod, Designer
Wednesday Evening, October 29, 2003 at 8:00 Thursday Evening, October 30, 2003 at 8:00 Friday Evening, October 31, 2003 at 8:00 Saturday Afternoon, November 1, 2003 at 2:00 Saturday Evening, November 1, 2003 at 8:00 Sunday Afternoon, November 2, 2003 at 2:00 U-M Sports Coliseum Ann Arbor
This performance is approximately 2 hours, 10 minutes in length, and does not contain an intermission.
Performed in Russian with English supertitles.
13th, 14th, 15th, 16th, 17th, and 18th Performances of the 125th Annual Season
Fourth Annual Theater Series
The photographing or sound recording of this concert or possession of any device for such photo?graphing or sound record?ing is prohibited.
This performance is co-presented with the University of Michigan as part of a special U-MUMS partnership that furthers a mutual commitment to education, creation, and presentation in the performing arts.
Additional support provided by media sponsor Michigan Radio.
Special thanks to Kate Mendeloff, Leslie Stainton, U-M Center for Russian and East European Studies, and U-M Residential College for their partic?ipation in this residency.
Co-produced by The International Anton Chekhov Festival, The Avignon Theatre Festival with the support of the European Association "Theorem," The Brighton Festival, and La Filature, Mulhouse, France.
Additional support was received from The British Council, Moscow; The British Embassy, Moscow; The Ministry of Culture of the Russian Federation; and The Culture Committee of the Moscow Government.
Large print programs are available upon request.
The Herbert S. Amster Fund presents the Fourth Annual Theater Series.
In order of appearance
Prince Vorotynsky
Prince Vasily Shuisky 1
Schelkalov, the Dima-scribe 'i
Boris Godunov, the Russian Czar
Pimen, the monk
Grigori Otrepyev, a young monk
Father Superior
Owner of the tavern
FatherVarlaam . ,v .v.v
Father Misail jplSs!sj
Chief Bailiff
Pushkin ?'=
Czarevna Xenia, Boris' daughter
Czarevitch Feodor, Boris' son
Semyon Godunov
Catholic priest
Gavrila Pushkin, Pushkin's nephew
Prince Kurbsky
Karela, the Cossack
Khrushchev, the Russian boy
Yuri Mnishek, the Polish nobleman
Marina Mnishek, Yuri Mnishek's daughter
Basmanov, army leader
Nikolka, the God's fod
Russian prisoner
Ilia llin
Avangard Leontiev Alexey Zuev Alexander Feklistov Igor Yasulovich Evgeny Mironov Oleg Vavilov Mikhail Zhigalov Marina Golub Alexander llin Alexander Lenkov Mikhail Zhigalov Dmitry Dyuzhev Igor Yasulovich Elena Zakharova Sasha Kostrichkin Dmitry Shcherbina Mikhail Zhigalov Alexey Zuev Dmitry Scherbina Dmitry Dyuzhev Alexander llin Sasha Kostrichkin Lev Krasovitskiy Oleg Vavilov Irina Grineva Mikhail Zhigalov Alexander Lenkov Ilia llin
Chekhov International Theatre Festival, Producer
Valery Shadrin, General Director
Olga Subbotina, Assistant Director
Dina Dodina, Declan Donnellan's Interpreter
Maxim Gudkin, Music Director
Judith Greenwood, Lighting Designer
Andrei Shchukin, Movement Director
Irina Filippova, Choreographer
Natalia Vedeneeva, Designer's Assistant
Ekaterina Cheremina, Stage Manager
Olga Sharapova, Manager Vladimir Kizeev, Technical Director Sergey Timchenko, Lightinf Valery Antonov, Sound Anna Kolesnikova, Supertitles Tatiana Abdullaeva, Make-up Natalia Vedeneeva, Costumes Georgy Siprashvili, Stagehand
Before the play begins: Upon the death of Ivan the Terrible, first Tsar of Russia, in 1584, the throne passes to Ivan's simple-minded son Feodor. But Ivan's brother-in-law Boris Godunov effectively reigns. In 1591, Ivan's son from his seventh marriage, the young tsarevitch Dmitri, is murdered, and Godunov is implicated. It is believed Godunov killed Dmitri so as to ease his own path to the Russian throne on Feodor's death.
The play: In the year 1598, the Russian people plead with Boris Godunov to accept the crown. At first he refuses, but eventually Godunov yields to popular pressure and becomes Tsar.
In 1603, a restless young monk, Gregory, learns that had the assassinated tsarevitch Dmitri lived, he would be Gregory's age. Gregory resolves to seize the Russian throne by posing as Dmitri. Princes Shuiski and Pushkin plot to use this opportunity to overthrow Boris Godunov.
Gregory-Dmitri flees his monastery, falls in love with the beautiful and ambitious Marina, daughter of a Polish nobleman, and reveals his true identity to her. Marina elects to ignore this fact and pledges to give herself to Gregory-Dmitri on the condition that he march to Moscow and proclaim himself Tsar.
The rumor spreads that the Tsarevitch is not dead. Troops loyal to the false Gregory-Dmitri defeat the armies of Tsar Boris Godunov, but Gregory-Dmitri's supporters are brutally repressed, and his soldiers ultimately suffer defeat. Godunov nonetheless fears popular agitation. Months later, victim of a stroke, Godunov informs his young son Feodor II that Gregory-Dmitri is an impostor, and he advises Feodor to appoint Prince Shuiski first counselor and Basmanov chief of the army. Basmanov sides with the false Dmitri, however. Godunov's heirs are assassinated by men loyal to the impostor.
Appalled, the Russian people remain silent and refuse to acclaim the new Tsar Dmitri Ivanovich, who now reigns with his Tsaritza Marina.
After the play ends: As Tsarcvich Dmitri, Gregory makes a clever ruler. But he is murdered in 1606 in a plot. Prince Shuiski becomes tsar. In 1610, another impostor appears. Marina acknowledges the new impostor and bears him a son. Following the death of the second impos?tor, Marina dies in prison. In 1613, the first Romanov takes power; the Romanovs continue to rule Russia until 1918.
orn in England in 1953 of Irish parents, Declan Donnellan studied English and law at Cambridge University and was called to the Bar at the Middle Temple in 1979. But theater issued a higher calling, and in 1981, with designer Nick Ormerod, Mr. Donnellan founded Cheek by Jowl, a trailblazing theater company that has performed throughout the world.
Mr. Donnellan has introduced British audi?ences to major and unperformed European classics, including works by Racine, Ostrovsky, Lope de Vega, and Lessing. He has also directed his share of works by Shakespeare, both for the National Theatre of Finland and for Britain's New Shakespeare Company and Royal Shakes?peare Company. From 1989 to 1997, he served as associate director of the Royal National Theatre. In 1997, Mr. Donnellan became the first British director to stage a work with the
Maly Theatre Company in St. Petersburg. His unorthodox 1998 production of Corneille's Le Cid at the Avignon Festival, produced with an all-French company, earned rave reviews and a return engagement at the festival -this time to present Pushkin's Boris Godunov with a Russian cast.
Two years ago, Mr. Donnellan directed the premiere of Tony Kushner's HomebodyKabul at the New York Theatre Workshop.
The recipient of awards in New York, Paris, Moscow, and London -where he won the Olivier Award for "Outstanding Achievement" -Mr. Donnellan is the author of a text on act?ing, The Actor and the Target (Theatre Commu?nications Group, 2002). He's currently at work on a new Bolshoi Ballet production of Prokofiev's Romeo and Juliet.
Nick Ormerod, Designer, read law at Cambridge University and trained in theater design at Wimbledon School of Art. With Declan Donnellan, he co-founded and was joint Artistic Director of Cheek by Jowl; the company has performed all over the world including the Bouffes du Nord in Paris and the Brooklyn Academy of Music in New York. Mr. Ormerod has designed all but one of their productions. Mr. Ormerod's other work includes Fuente Overjune, Peer Gynt, Sweeney Todd and Angels in America at the Royal National Theatres; The Rise and Fall of the City ofMahagomy for the English National Opera; Martin Guerre at the Prince Edward Theatre, and The Winter's Tale for the Maly Drama Theatre, St. Petersburg; Hayfever at the Savoy Theatre, There are Crimes and Crimes at the Leicester Haymarket Theatre, and The School for Scandal for the Royal Shakespeare Company, Stratford and at the Barbican, London. In 2000 he designed Troilus
and Cressida for the Burgtheater, Vienna and Bon's Godunov, Pushkin's verse drama in Moscow. He has recently designed Falstaff for the Osterfestspiele in Salzburg.
In 1992 he received an Olivier Award nomi?nation for "Designer of the Year."
Widely hailed as Russia's greatest poet and the founder of modern Russian literature, Alexander Pushkin (1799-1837) began his literary career at age 15 with a verse epistle, "To My Friend, the Poet." In his remaining years, he explored nearly every literary genre, long and short, verse and prose, lyric and narrative, analytical and episto?lary. Nearly every notable Russian composer and many European ones based works on Pushkin's writings.
The Moscow-born son of nobility, Alexander Sergcyevich Pushkin attended the elite Imperial Lyceum, outside St. Petersburg, and after graduation took a position inside the city in the foreign office. There, he indulged in the delights of the capital -opera, theater, gambling, drinking, women -and began writ?ing overtly political verse calling for the rule of law and a limit to autocracy.
But Pushkin did not linger long in St. Petersburg. Thanks to his outspoken politics, government officials exiled him in 1820 to a remote southern province, where he became involved with a branch of the Decembrists, a group of aristocrats who in 1825 staged an unsuccessful revolt against the autocracy. He continued writing poetry, lyric as well as narra?tive, much of the latter Byronic. In 1823, Pushkin began work on his magnum opus, the verse novel Eugene Onegin, which would take him the better part of a decade to complete.
Bon's Godunov is Pushkin's only full-length play. Shakespearean are the work's crowd
scenes; its lightning alternation of comedy and tragedy, verse and prose; its elimination of the unities of time and place; and its themes, chief among them money, corruption, sex, blood, and betrayal.
Ultimately, Tsar Nicholas I released Pushkin from exile and allowed him to live wherever he chose. Pushkin settled in St. Petersburg. He continued to look to history for inspiration in his writing. In February 1831, Pushkin, 31, married 19-year-old Natalia Goncharova, an impoverished Muscovite.
By early 1837, it was clear to Pushkin that Natalia was having a love affair with a French emigre, Baron Georges d'Anthes-Heeckeren. Pushkin challenged d'Anthes to a duel. The two fought on January 27, 1837. Pushkin suffered lethal wounds and died two days later. To avoid unmanageable crowds at his funeral, authorities issued tickets.
Play synopsis and Alexander Pushkin biography by Leslie Stainton.
Alexander Feklistov (Boris Godunov) gradu?ated from the Moscow Arts Theatre Drama School in 1982. His work saw him as Arbenin in Lermontov's Masquerade, Kochkarev in Gogol's The Marriage, Bashmachkin in the one man play of the same name based on Gogol's novellas, Nizhinsky's alter ego in Nizhinsky, and Bredly Pirson in Iris Murdock's Black Prince. Mr. Feklistov became nationally renown after appearing in The Emigrants, Love in the Crimea and his role as Claudius in Peter Stein's Hamlet. He is also well known for his film work, includ?ing Plumbum or the Dangerous Games, Intimate Circle, Stalin, A Strike at the Empire, and Envy of the Gods.
Evgeny Mironov (Grigori Otrepyev) is one of Russia's most famous film and theater stars. He graduated from the Moscow Arts Theatre Drama School in 1990, and went on to work it the Oleg Tabakov Studio Theatre. He is cur?rently engaged at Moscow Art Theatre. He per?forms as Aduev in Goncharov's An Ordinary
History, Bumbarash in Passions for Bumbarash, Ivan Karamazov in The Karamazovs and Hell (for which he was awarded a national prize), and Maratov in Radzinsky's The Last Night of the Last Czar. He also played in Peter Stein's productions of Hamlet and The Oresteia. Mr. Mironov is also an extremely well known film actor, and has played, among others roles, Sasha in Love, Kolya in The Moslem, Misha in Burned by the Sun, Hlestakov in The Government Inspector, and Captain Alekhin in In August 1944.
The Chekhov International Theatre Festival, Producer, is one of the world's major theater forums. The first Festival was held in Moscow in the fall of 1992 and its program fea?tured 11 productions from Russia including three stagings of The Cherry Orchard by P. Stein, O. Creica and A. Cerban.
The second annual Festival took place in Moscow between March and July 1996 and featured 38 productions from 18 countries. Russian audiences saw the productions of such outstanding directors as P. Brook and G. Strehler, and new works of P. Stein, R. Sturua, D. Donnellan, E. Nyacrosius, M. Tumanishvili, and M. Maren. The Festival received significant attention and Moscow was heralded as one of the theater capitals of the world.
The third annual Chekhov International Theatre Festival in 1998 was dedicated to the centenary of the Moscow Art Theatre and its productions were attended by over 100,000 patrons. Its program featured 51 productions from 19 countries. The Chekhov Festival had become an important cultural and public event of international attention.
This year marked the fifth annual Festival and earned international distinction in its cele?bration of the great theatrical art of Europe and Asia.
For David Eden Productions:
Chris Buckley, US Production Supervisor
Stonie Darling, Visa Coordinator
Erica Charpentier, Administrative Coordinator
a n d
Pfizer Global Research and Development
Suzanne Farrell Ballet
Suzanne Farrell, Artistic Director
George Balanchine Piotr Ilyich Tchaikovsky
Friday Evening, October 31, 2003 at 8:30 Power Center Ann Arbor
Mozartiana (1981)
BalanchineTchaikovsky Tempo di Valse, from The Nutcracker (1954)
BalanchineTchaikovsky Tschaikovsky Pas de Deux (1960)
BalanchineTchaikovsky Serenade (1935)
Title spelling as used by George Balanchine
19th Performance of the 125th Annual Season
13th Annual Dance Series
The photographing or sound recording of this concert or possession of any device for sucli photo?graphing or sound record?ing is prohibited.
This performance is sponsored by Pfizer Global Research and Development, Ann Arbor Laboratories.
Special thanks to Dr. David Canter of Pfizer Global Research and Development, Ann Arbor Laboratories for his generous support of the University Musical Society.
This performance is co-presented with the University of Michigan as part of a special U-MUMS partnership that furthers a mutual commit?ment to education, creation, and presentation in the performing arts.
Additional support provided by media sponsor Michigan Radio.
Special thanks to U-M Center for Russian and East European Studies and U-M Residential College for their participation in this residency.
The Suzanne Farrell Ballet is a project of The John F. Kennedy Center for the Performing Arts.
The Suzanne Farrell Ballet appears by arrangement with Columbia Artists Management, LLC.
Large print programs are available upon request.
Ballet Company
Jennifer Fournier Chan Hon Goh Natalia Magnicaballi
April Ball Frances Katzen Shannon Parsley Bonnie Pickard
Erin Ackert Gina Artese Amy Brandt Amy Cole Kristen Gallagher Elisabeth Holowchuk Katelyn Prominski Lisa Reneau Mariaelena Ruiz
Celeste Gucanac Parise Sellitti
Peter Boal Runqiao Du
Momchil Mladenov Jared Redick Alexander Ritter
Cheryl Sladkin Meaghan Spedden Lydia Walker Bill Biondolino Ryan Kelly Benjamin Lester Eric Ragan Stephen Straub Alfiero Supan
IlonaWall Alexandra Wasell
Design and Production Team
Holly Hynes, Costume Designer
J. Russell Sandifer, Lighting Designer
Michael T. Sasser, Company Manager
Bill Dolive, Production Stage Manager
John H. Finen III, Technical DirectorLighting Supervisor
Karen Storms, Stage Manager
Deanna Berg, Assistant Costume Designer
Melanie S. Armer, Assistant Technical Director
Declan Whittaker, Wardrobe Supervisor
Choreography Costume Design Lighting Design
Piotr Ilyich Tchaikovsky Suite No. 4, Op. 61
George Balanchine
Holly Hynes
J. Russell Sandifer
Mozartiana, which opened the 1981 Tchaikovsky Festival, was Balanchine's second ballet set to the composer's homage to Mozart and is one of the last ballets the choreographer created before his death in April 1983. Its classical choreogra?phy opens with a "Preghiera" (Prayer), followed by a "Gigue," "Minuet," "Theme and Variations," and a "Finale". In the opening movement, the ballerina is accompanied by four young girls. They are followed by the male soloist, who dances a sprightly "Gigue." Four women enter and dance a stately "Minuet." The ballerina returns accompanied by the male principal for a classical pas de deux to a set of variations. They are joined by the entire cast for the finale.
Mozartiana premiere on June 4,1981, New York State Theater; New York, New York.
The Suzanne Farrell Ballet premiere on October 18, 2003 at Florida State University; Tallahassee, Florida.
Tempo di Valse, from The Nutcracker
Choreography Costume Design
Costume Construction
Piotr Ilyich Tchaikovsky The Nutcracker (excerpt)
George Balanchine Holly Hynes Crystal Thompson
Lighting Design
J. Russell Sandifer
Tempo di Valse premiere on February 2, 1954, City Center of Music and Drama; New York, New York.
The Suzanne Farrell Ballet premiere on October 18,2003 at Florida State University; Tallahassee, Florida.
Tschaikovsky Pas de Deux
Choreography Costume Design Lighting Design
Piotr Ilyich Tchaikovsky
Swan Lake, Op. 20, Act III (excerpt "lost music")
George Balanchine
Holly Hynes
J. Russell Sandifer
George Balanchine's tour deforce duet, pre?miered by Violette Verdy and Conrad Ludlow in 1960, features eight-and-a-half minutes of the choreographer's signature traits: his surprises, his complexities, his challenging quirks and combinations. At times it would seem more a flight plan or superset, while the dazzle of it suggests the best of Broadway. Balanchine called it "a display piece, based on the music and the maximum gifts of virtuoso performers."
The music was composed for the third act pas de deux of the Moscow production of Swan Lake, but was subsequently discarded by chore?ographer Marius Petipa. The score lay hidden in the Bolshoi Theatre's archives for almost a century. When Mr. Balanchine learned of its existence, he asked that it be sent to him in New York.
In 1964, four years after its New York pre?miere, Violette Verdy and Edward Villella per?formed Tschaikovsky Pas De Deux on NBC's Bell Telephone Hour, a highlight of the early years of live television.
Adapted from a note by Madeline Pober.
Title spelling as used by George Balanchine
Tschaikovsky Pas de Deux premiere on May 29,1960, City Center of Music and Drama; New York, New York.
The Suzanne Farrell Ballet premiere on October 18, 2003 at Florida State University; Tallahassee, Florida.
Choreography Costume Design Lighting Design
Piotr Ilyich Tchaikovsky
Serenade for Strings in C Major, Op. 48
George Balanchine
Holly Hynes
J. Russell Sandifer
The evocative nature of Tchaikovsky's Serenade for Strings in C Major leads many to see a story in this ballet, but it is actually without a plot. Cleaving only to George Balanchine's reading of the music's four movements, it offers a rare lesson in how a series of expedient classroom solutions can be transformed by a master into a dreamlike work of art.
An evening class in stage technique was the setting for the creation of Serenade, its swirling movements and elegant patterns depending, very simply, upon who showed up in class that night. In 1934, he had just arrived in America and opened the School of American Ballet with Lincoln Kirstein and Edward M. M. Warburg; Serenade was the first dance he invented in the US. The ballet was presented by the students at the Warburg estate in White Plains, NY, in June of that year.
Balanchine's classicism at its purest fuses with his commitment to the 19th-century artis?tic spirit in this "complete and achieved work" (a Lincoln Kirstein accolade).
Serenade is danced without interruption. The first movement, "Piece in the Form of a Sonatina: Andante non troppo, Allegro" begins with girls in formation. They seamlessly break and re-form into kaleidoscopic patterns, emu?lating the turns and leaps of one among them. Ultimately, they form a dynamic circle marked by big, graceful syncopations.
Into that group is added a late-arriving girl who awaits the approach of a boy. As that cou?ple leads the company in a waltz, dancers begin to exit, until only five remain.
"Temma Russo: Andante, Allegro con spirito" opens with the same five girls seated, delicately motioning, then rising to dance again. A boy rushes in and dances with one, who falls and is left sitting alone, her head buried in her arms.
Lastly, in "Elegy," a boy is led onstage and to the fallen ballerina. After he helps her rise, all three dancers link in sculptural forms until -compelled to decide between the two -he chooses his guide. The final image is an arrest?ing one, as the "fallen" dancer is carried off in a dramatic grand procession.
Adapted from a note by Anita Finkel.
Mr. Balanchine originally choreographed this ballet for students of the School of American Ballet on June 10, 1934, at Felix Warburg's estate, White Plains, New York.
Serenade premiere on March 1, 1935, Adelphi Theater; New York, New York.
The Suzanne Farrell Ballet premiere on October 18, 2003 at Florida State University; Tallahassee, Florida. ?
The performances of Mozartiana, Tempo di Valse, from The Nutcracker, Tschaikovsky Pas de Deux, and Serenade, Balanchinc Ballets, are presented by arrangement with The George Balanchine Trust and have been produced in accor?dance with the Balanchine Style and Balanchine Technique Service standards established and provided by the Trust.
___or the Kennedy Center's 25th
Anniversary in 1995, Suzanne Farrell ? gathered a group of international and national dancers for a triumphant week of Balanchine in the Opera House. The Suzanne Farrell Ballet became a full-fledged company at The Kennedy Center in the fall of 2000 with its debut during the Kennedy Center's Balanchine Celebration. I Suzanne Farrell was one of George 'Balanchine's most celebrated muses and remains a legendary figure in the ballet world. She is a repetiteur for the George Balanchine Trust, the independent organization founded after the choreographer's death by the heirs to his ballets to oversee their worldwide licensing and produc?tion. Since 1988 she has staged Balanchine's works for companies all over the world.
Ms. Farrell joined Balanchine's New York City Ballet in the fall of 1961 after a year as a Ford Foundation scholarship student at the School of American Ballet. Her unique combi-I nation of musical, physical, and dramatic gifts quickly ignited Balanchine's imagination. By the mid-1960s, she was not only Balanchine's most prominent ballerina, she was a symbol of the era, and remains so to this day. She restated and re-scaled such Balanchine masterpieces as Apollo, Concerto Barocco, and Symphony in C.
Balanchine went on to invent new works for her --Diamonds, for example, and Chaconne and Mozartiana -in which the limits of ballerina technique were expanded to a degree not seen before or since. By the time she retired from the stage in 1989, Ms. Farrell had achieved a career that is without precedent or parallel in the his?tory of ballet. During her 28 years on the stage, she danced a repertory of more than 100 bal?lets, nearly a third of which were composed expressly for her by Balanchine and other cho?reographers including Jerome Robbins and Maurice Bejart. Her numerous performances with Balanchine's company (more than 2000), her world tours, and her appearances in televi?sion and movies have made her one of the most recognizable and highly esteemed artists of her generation.
Since the fall of 2000, Ms. Farrell has been a tenured professor of dance at Florida State University in Tallahassee, Florida. In addition to her work for the Balanchine Trust, she has served in a variety of cultural and philanthropic organizations such as the New York State Council on the Arts, the Arthritis Foundation, the Professional Children's School, and the Princess Grace Foundation. Summit Books published her autobiography, Holding On to the Air, in 1990, and Suzanne Farrell Elusive Muse (directed by Anne Belle and Deborah Dickson) was an Academy Award nominee for "Best Documentary Film" in 1997.
Please refer to page 11 in your program book for a complete biography of choreographer George Balanchine.
n 1993 and 1994, in order to fulfill a mission to enhance the arts education of America's young people, the Education Department of The John F. Kennedy Center for the Performing Arts offered two series of ballet master classes for students from metropolitan Washington and Baltimore with the legendary Suzanne Farrell. This series provided intermediateto advanced-level ballet students the opportunity to study with one of the greatest ballerinas of the 20th century. Due to the uniqueness of Ms. Farrell's place in the ballet world and the quality of her teaching, the Kennedy Center enlarged the program to a national level in 1995. This intensive three-week program, Exploring Ballet with Suzanne Farrell, takes place each summer and has just completed its 11th session.
In the fall of 1999, Ms. Farrell took cues from the masters of ballet with whom she danced, admired, and inspired to present The John F. Kennedy Center for the Performing Arts special production Suzanne Farrell Stages the Masters of 20th Century Ballet. The works of George Balanchine, Jerome Robbins, and Maurice Bejart took on a new life with Ms. Farrell and the grace of the company she selected for a five-week east-coast tour. In the fall of 2000, the Suzanne Farrell Ballet, now a full-fledged company and an ongoing project of the Kennedy Center, made its debut during the Kennedy Center's Balanchine Celebration per?forming Divertimento No. 15.
Following the current Fall 2003 US tour that will, for the first time, take the company to the West Coast, the company will open the Kennedy Center's 0304 ballet season with a full week of performances in the Eisenhower Theater.
Tonight's performance marks the Suzanne Farrell Ballet's UMS debut.
Costume Designer Holly Hynes has been the resident designer of the Suzanne Farrell Ballet since its inception in 1999. Her association with Ms. Farrell began in 1985 when she joined the New York City Ballet, where she is currently Director of Costumes. Ms. Hynes has over 80 ballets to her credit both in the US and abroad. She began as a theater designer, receiving acclaim on Broadway, but soon after found her niche in the world of ballet. Besides being a designer, Ms. Hynes is the costume consultant for the George Balanchine Trust and the Jerome Robbins Trust.
Lighting Designer J. Russell Sandifer is an
Associate Chair in Design and Production for the Department of Dance at Florida State University. He is excited to be returning for his second season with the Suzanne Farrell Ballet. Mr. Sandifer has also designed lighting for sev?eral works for the Urban Bush Woman dance company and has almost 20 years experience with the Seaside Music Theater.
The John F. Kennedy Center for the Performing Arts, Producer, now in its 31st season of performances, is the national center for the performing arts and a living presidential memorial. The Center produces and presents the greatest national and international per?formers and is universally regarded as a leader in arts education. It has produced and commis?sioned more than 100 works in opera, dance, nusic, and theatrical work (including three Pulitzer Prize winners). The Center and its irtistic affiliate, the National Symphony Orchestra, have also commissioned dozens of lew ballets, operas, and musical works. The Center reaches millions of people every year through its television programs including the Emmyand Peabody Award-winning Kennedy Center Honors, broadcast annually on CBS; The Kennedy Center Mark Twain Prize, to be aired an PBS; and Kennedy Center Presents, a series of rograms also broadcast on the PBS network. n recent years the Kennedy Center has dramat-cally expanded its educational programs to each young people, teachers, and families hroughout the nation. Each year, more than six nillion people take part in innovative and :ffective educational programs initiated by the Center. These programs have become models or communities across the country, unlocking he doors to learning for young people, foster-ng creativity, teaching discipline, improving ielf-esteem, and challenging students to think n new ways.
Support for the Suzanne Farrell Ballet is provided by the Cordelia Corporation, Mr. Ted P. Shen, Ms. Maxine Groffsky, and Mr. Winthrop Knowlton, Mr. Jack Reed, and Mr. And Mrs. James D. Wolfensohn.
The Kennedy Center
James A. Johnson, Chairman0 Michael M. Kaiser, President
Artistic Programming , Jason Palmquist Kristen Brogdon " Cristina Leventis
Production :'-'" ?-'"--?' '
Mickey Berra
Neil FleiteU
Deirdre Kelly Lavrakas .
Paul Bilyeu Erin Dowdy
Costumes executed by Barbara Matera, Ltd. Rehearsed at the New 42nd Street Studios.

'enues, continued from page 24
MU Convocation Center
n exciting new era in EMU athletics was set in motion in the fall of 1998 with the opening of the $29.6-million Convocation Center. The Barton-Malow Company along yah the architectural firm Rossetti Associates f BirminghamThe Argos Group began con-truction on the campus facility in 1996. [Tie Convocation Center opened its doors n December 9, 1998 with a seating capacity )f 9,510 for center-stage entertainment events. JMS has presented special dance parties at the 5MU Convocation Center every April since 1998, and this year's popular concert features Drchestra Baobab on Saturday, April 17.
Michigan Union Ballroom
he Michigan Union Ballroom is a new venue to UMS in its 125th season, specifically lected for seven performances by Shakespeare's lobe Theatre of Twelfth Night. The Michigan Jnion Ballroom recreates the intimate ambiance if the Globe Theatre in London. The Michigan Jnion celebrates its 100th anniversary this season.
Nichols Arboretum '
In 1998, UMS presented performance artists Eiko and Koma in two special performances that took place (literally!) in the Huron River. This year, UMS is pleased to return to Nichols Arboretum for a special season opening event by U Theatre: Drummers of Taiwan.
Pease Auditorium
" ease Auditorium is a classic concert hall on the campus of Eastern Michigan University. It is located on College Place at the intersection of West Cross Street in Ypsilanti.
Originally built in 1914, Pease Auditorium has been renovated three times: in the late 1950s, in 1960 to accommodate installation of an AeolianSkinner organ and most recently in 1995 when complete interior refurbishing was completed and an addition was constructed. The auditorium also was made completely barrier free.
Pease Auditorium can seat up to 1,541 concertgoers.
U-M Sports Coliseum
Located on the corner of Fifth Avenue and Hill Street, the Sports Coliseum is primarily used for the Intramural Program and the Club Sports Program. The Sports Coliseum, a converted ice rink, is a 36,000 sq. ft. multi?purpose facility used for rentals, expos, and shows and is also home to the UM Men's Varsity Gymnastics Team.
UMS presents its first performances in the Sports Coliseum, a critically-acclaimed pro?duction of Pushkin's Bon's Godunov, featuring star actors from some of Moscow's best theater companies and television series. The produc?tion design features a 50-foot catwalk with the audience seated on either side. UMS and the production team from Russia visited several potential sites for the production and selected this venue. Audience members will be seated in chairs on risers on either side of the stage.
Burton Memorial Tower
een from miles away, Burton Memorial Tower is one of the most well-known University of Michigan and Ann Arbor land?marks. Completed in 1935 and designed by Albert Kahn, the 10-story tower is built of Indiana limestone with a height of 212 feet. UMS administrative offices returned to our familiar home at Burton Memorial Tower in August 2001, following a year of significant renovations to the University landmark.
This current season marks the third year of the merger of the UMS Ticket Office and the University Productions Ticket Office. Due to this new partnership, the UMS walk-up ticket window is now conveniently located at the Michigan League Ticket Office, on the north end of the Michigan League building at 911 North University Avenue. The UMS Ticket Office phone number and mailing address remains the same.
UMS experience
19th isrrse
Tues 16
Fri-Sat 19-20
September 2003
U Theatre Drummers of Taiwan: Season Opening Event U Theatre Drummers of Taiwan: The Sound of Ocean
Sat-Sun 1-2
Thur 6
Sat 8
Tues 11
Thur 13
Tues-Sun 18-23
Fri 5 Sat-Sun 6-7
St. Petersburg String Quartet
Kirov Orchestra of the Mariinsky Theatre
Michigan Chamber Players (free admission)
La Venexiana
Wynton Marsalis Quintet
Miami City Ballet One-Hour Family Performance
Miami City Ballet: BalanchineStravinsky
Vadim Repin, violin
Pushkin's Bon's Godimov
Suzanne Farrell Ballet: BalanchineTchaikovsky
Pushkin's Boris Godunov
St. Petersburg Academic Capella Choir
Chava Alberstein
Doudou N'Diaye Rose and Les Rosettes
Charles Lloyd Quintet
Shakespeare's Globe Theatre: Twelfth Night
Boston Pops Esplanade Orchestra Christmas Concert Handel's Messiah
lease note that a complete F listing of all UMS Educa; tional programs is conveniently located within the concert pro?gram section of your program book and is posted on the UMS website at
January 2004 m
Sat 17 Hill Auditorium Celebration ?T
Sun 18 Orchestre Revolutionnaire et Romantique and
The Monteverdi Choir
Mon 19 Jazz Divas Summit: Dianne Reeves, Dee Dee Bridgewater &
Regina Carter
Fri 30 Emerson String Quartet ft3@JESpSS
Sat 31 Simon Shaheen and Qantara
Sun 8 Michigan Chamber Players (free admission)
Thar 12 Hilary Hahn, violin
Sflf 14 Canadian Brass Valentine's Day Concert
TW-Saf 19-21 Children of Uganda
Fn 20 Cecilia Bartoli, mezzo-soprano and
Orchestra of the Age of Enlightenment
Thur-Sun 4-7 Guthrie Theater: Othello
Fn-Sflf 12-13 Merce Cunningham Dance Company
Sun 14 Kronos Quartet
Fri 19 Ornette Coleman
Snf 20 Israel Philharmonic
Sun 21 Takacs Quartet
Thur 25 The Tallis Scholars
Saf 27 Jazz at Lincoln Center's Afro-Latin Jazz Orchestra
Thur 1 Lang Lang, piano
Fn-Saf 2-3 Lyon Opera Ballet: Philippe Decoufle's Tricodex
Sat 3 Lyon Opera Ballet One-Hour Family Performance
Tnr 8 William Bolcom's Songs of Innocence and of Experience
77r 15 Alfred Brendel, piano
Fri 16 Girls Choir of Harlem
Sflf 17 Orchestra Baobab Senegalese Dance Party
Sun 18 Shoghaken Ensemble
Tmr 22 Karita Mattila, soprano
Fr 23 Rossetti String Quartet with Jean-Yves Thibaudet, piano
Sat 24 Caetano Veloso
Sflf 15 Ford Honors Program: Artist to be Announced
onsidcred one of the top performing arts educational programs in the country, UMS strives to illuminate the performing arts through education and community engagement, offering audiences a multitude of opportunities to make con?nections and deepen their understanding of the arts.
UMS Community Education Program
The following activities enlighten and inform audiences about the artists, art forms, ideas, and cultures presented by UMS. Details about specific 0304 educational activities will be announced one month prior to the event. For more information about adult education or community events, please visit the website at, e-mail, or call 734.647.6712. Join the UMS E-Mail Club for regular reminders about educational events.
Artist Interviews
These in-depth interviews engage the leading art-makers of our time in conversations about their body of work, their upcoming perform?ance, and the process of creating work for the world stage.
Master Classes
Master classes are unique opportunities to see, hear, and feel the creation of an art form. Through participation andor observation, individuals gain insight into the process of art making and training.
Study Clubs
Led by local experts and educators, UMS Study Clubs offer audiences the opportunity to gain deeper understanding of a particular text, artist, or art form. The study clubs are designed to give the audience a greater appreciation of a specific subject matter within the context of the performance prior to attending the show.
PREPs and Lectures
Pre-performance talks (PREPs) and lectures prepare audiences for upcoming performances.
Meet the Artists
Immediately following many performances, UMS engages the artist and audience in conver?sation about the themes and meanings within the performance, as well as the creative process.
Immersions -------------
A series of events focused on a theme, culture, art form, or artist that may include master classes, films, panels and community engage?ment events. 0304 Immersions will include "St. Petersburg 300," Simon Shaheen and Qantara, and the Merce Cunningham Dance Company.
Many artists remain in Michigan beyond their performances for short periods to deepen the connection to communities throughout the region. Artists teach, create, and meet with community groups, university units, and schools while in residence. For the 0304 season, major residencies include Simon Shaheen, Children of Uganda, Merce Cunningham, and Ornette Coleman.
MS has a special commitment to educat?ing the next generation. A number of
__ programs are offered for K-12 students,
educators, and families to further develop understanding and exposure to the arts. For ?'' information about the Youth, Teen, and Family Education Program, visit the website at j, e-mail, a or call 734.615.0122.
Youth Performance Series
Designed to enhance the K-12 curriculum, UMS Youth Performances cover the full spec?trum of world-class dance, music, and theater. Schools attending youth performances receive UMS's nationally recognized study materials that connect the performance to the classroom curriculum. The 0304 Youth Performance Series features:
U Theatre: The Sound of Ocean
Doudou N'Diaye Rose and Les Rosettes
Regina Carter and Quartet
Simon Shaheen and Qantara
Children of Uganda
Guthrie Theater: Shakespeare's Othello
Girls Choir of Harlem
Educators who wish to be added to the youth performance mailing list should call 734.615.0122 or e-mail,
Primary supporters of the Youth Education Program are:
K complete listing of Education Program iupporters are listed online at
Teacher Workshop Series
As part of UMS's ongoing effort to incorporate the arts into the classroom, local and national arts educators lead in-depth teacher workshops designed to increase educators' facility to teach through and about the arts. UMS is in partner?ship with the Ann Arbor Public Schools as part of the Kennedy Center's Partners in Education Program. This year's Kennedy Center workshop series will feature a return engagement by noted workshop leader Sean Layne, who will lead two
Preparing for Collaboration: Theater Games and Activities that Promote Team-Building and Foster Creative and Critical Thinking
Moments in Time: Bringing Timelines to Life Through Drama
Workshops focusing on UMS Youth Performances are:
Celebrating St. Petersburg led by UMS, U-M Museum of Art, U-M Center for Russian and Eastern European Studies, and Wild Swan Theater
Introduction to West African Percussion led by Carol P. Richardson
Understanding the Arab World and Arab Americans led by Deana Rabiah, ACCESS
Arts Advocacy: You Make the Difference led by Lynda Berg
Music of the Arab World: An Introduction led by Simon Shaheen
Behind the Scenes: Children of Uganda led by Alexis Hefley and Frank Katoola
For information or to register for a workshop, please call 734.615.0122 or e-mail
Special Discounts for Teachers and Students to Public Performances
UMS offers group discounts to schools attend?ing evening and weekend performances not offered through our Youth Education Program. Please call the Group Sales Coordinator at 734.763.3100 for more information.
UMS Teen Ticket
UMS offers area teens the opportunity to ' attend performances at significantly reduced prices. For more information on how to access this program, call 734.615.0122 or e-mail
The Kennedy Center Partnership
UMS and the Ann Arbor Public Schools are ? members of the Kennedy Center Partners in Education Program. Selected because of its demonstrated commitment to the improve-! ment of education in and through the arts, the partnership team participates in collaborative efforts to make the arts integral to education and creates professional development opportu?nities for educators.
Family Programming and Ann Arbor Family Days
These one-hour or full-length performances and activities are designed especially for children and families. UMS provides child-friendly, informa?tional materials prior to family performances.
Miami City Ballet
Boston Pops Esplanade Orchestra
Wild Swan Theater's The Firebird
Children of Uganda
Lyon Opera Ballet
Ann Arbor Family Day -Saturday, April 3, 2004. Many Ann Arbor organizations are joining together to offer families a day of performances, master classes, workshops, and demonstrations. Watch for more information on Ann Arbor Family Days in January 2004.
Volunteers Needed
The UMS Advisory Committee provides important volunteer assistance and financial support for these exceptional educational pro?grams. Please call 734.936.6837 for information about volunteering for UMS Education and Audience Development events.
Restaurant & Lodging Packages
For complete information on UMS's Restaurant & Lodging Packages, please visit us online at
UMS Preferred Restaurant and Business Program
Join us in thanking these fine area restaurants and businesses for their generous support of UMS:
Amadeus Restaurant
122 East Washington -
Blue Nile Restaurant
221 East Washington -
The Earle Restaurant
121 West Washington -
Great Harvest Bread
2220 South Main 996.8890
La Dolce Vita
322 South Main 669.9977
Paesano's Restaurant
3411 Washtenaw 971.0484
Real Seafood Company
341 South Main -
Red Hawk Bar & Grill
316 South State 994.4004
110 East Washington -
Sweetwaters Cafe
123 West Washington -
Weber's Restaurant
3050 Jackson 665.3636
216 South State-994.7777
UMS Preferred Businesses Format Framing and Gallery 1123 Broadway 996.9446 King's Keyboard House 2333 East Stadium -
Parrish Fine Framing and Art
9 Nickels Arcade 761.8253
Schlanderer & Sons
208 South Main 662.0306
UMS Delirious Experiences
Back by popular demand, friends of UMS are offering a unique donation by hosting a variety of dining events to raise funds for our nationally recognized educational programs. Thanks to the generosity of the hosts, all proceeds from these delightful dinners go to support these important activities. Treat yourself, give a gift of tickets, or come alone and meet new people! For more information or to receive a brochure, call 734.936.6837 or visit UMS online at
MS volunteers are an integral part of the success of our organization. There are many areas in which volunteers can lend their expertise and enthusiasm. We would like to welcome you to the UMS family and involve you in our exciting programming and activities. We rely on volunteers for a vast array of activi?ties, including staffing the education residency activities, assisting in artist services and mailings, escorting students for our popular youth per?formances and a host of other projects. Call 734.936.6837 to request more information.
he 46-member UMS Advisory Committee serves an important role within UMS. From ushering for our popular Youth Performances to coordinating annual fundraising events, such as the Ford Honors Program gala and "Delicious Experiences" dinners, to marketing Bravo!, UMS's award-winning cookbook, the Committee brings vital volunteer assistance and financial support to our ever-expanding educational programs. If you would like to become involved with this dynamic group, please call 734.647.8009.
When you advertise in the UMS program book you gain season-long visibility among ticket-buyers while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descrip?tions that are so important to performance experience. Call 734.647.4020 to learn how your business can benefit from advertising in the UMS program book.
As a UMS corporate sponsor, your organization comes to the attention of an educated, diverse and growing segment of not only Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treas?ures, 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, call 734.647.1176.
Internships & College Work-Study
Internships with UMS provide experience in performing arts administration, marketing, ticket sales, programming, production and arts education. Semesterand year-long unpaid internships are available in many of UMS's departments. For more information, please call 734.615.1444.
Students working for UMS as part of th College Work-Study program gain valuable ; experience in all facets of arts management including concert promotion and marketing, ticket sales, fundraising, arts education, arts programming 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 734.615.1444. "
Without the dedicated service of UMS's Usher Corps, our events would not run as smoothly as they do. Ushers serve the essential functions of assisting patrons with seating, distributing pro?gram books and providing 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 or; winter. Ushers are responsible for working at every UMS performance in a specific venue for the entire concert season. J
If you would like information about 4 becoming a UMS volunteer usher, call the UMS usher hotline at 734.913.9696 or e-mail IHBIIM.
____s nationally recognL
artistic and educational programs--would not be possible without the generous support of the community. UMS gratefully acknowledges the following individ?uals, businesses, foundations and government agencies -and those who wish to remain anonymous-and extends its deepest gratitude for their support. This list includes current donors as of August 1,2003. Every effort has been made to ensure its accuracy. Please call 734.647.1175 with any errors or omissions.
UMS is PROUD to be
Ann Arbor Area Convention & Visitors Bureau
ArtServe Michigan
Association of Performing Arts Presenters Chamber Music America
International Society for the Performing Arts
Michigan Association of Community Arts Agencies
National Center for Nonprofit Boards State Street Association
$25,000 or more Mrs. Gardner Ackley Hattie McOmber Randall and Mary Pittman Philip and Kathleen Power
Carl and Isabelle Brauer
Ronnie and Sheila Cresswell
Robert and Pearson Macek
Tom and Debby McMullen
Mrs. Robert E. Meredith
M. Haskell and Jan Barney Newman
Gilbert Omenn and Martha Darling
Prudence and Amnon Rosenthal
Ann and Clayton Wilhite
$7,500-$9,999 Maurice and Linda Binkow Don and Judy Dow Rumelhart Ed and Natalie Surovell
$5,000-$7,499 Michael Allemang Herb and Carol Amster Ralph Conger Douglas D. Crary
Mr. Michael J. and Dr. Joan S. Crawford Beverley and Gerson Geltner Sue and Carl Gingles , David and Phyllis Herzig Toni M. Hoover John and Patricia Huntington Leo and Kathy Legatski Dr. and Mrs. Richard H. Lineback Paul and Ruth McCracken
Charlotte McGeoch -----------"'
Charles H. Nave
John and Dot Reed
Loretta M. Skewes
James and Nancy Stanley
Susan B. Ullrich
Dody Viola ;
F.ssel and Menakka Bailey
Kathy Benton and Robert Brown
Barbara Everitt Bryant
Dr. Kathleen G. Charla
Dave and Pat Clyde
Katharine and Jon Cosovich
Mr. and Mrs. George W. Ford
Betty-Ann and Daniel Gilliland
Drs. Sid Gilman and Carol Harbour
Debbie and Norman Herbert
Shirley Y. and Thomas E. Kauper
Robert and Gloria Kerry
Lois and lack Stegeman
Lois A. Theis
Marina and Robert Whitman
Marion T. Wirick and lames N. Morgan
Bob and Martha Ause
Raymond and lanet Bernreuter
Edward and Mary Cady
Thomas and Marilou Capo
Maurice and Margo Cohen
Mary Sue and Kenneth Coleman
Al Dodds
Jim and Patsy Donahey
Mr. and Mrs. Thomas C. Evans
Ken and Penny Fischer
Ilene H. Forsyth
Michael and Sara Frank
Linda and Richard Greene
Carl and Charlene Herstein
lanet Woods Hoobler m------"'
Keki and Alice Irani . ,
David and Sally Kennedy
Connie and Tom Kinnear
Henry Martin and Paula Lederman
Marc and Jill Lippman
Natalie Matovinovic ::
Judy and Roger Maugh ____
Susan McClanahan and -??
Bill Zimmerman Eleanor and Peter Pollack Jim and Bonnie Reece Barbara A. Anderson and
John H. Romani Sue Schroeder Helen and George Siedel Steve and Cynny Spencer Don and Toni Walker B. Joseph and Mary White
Dr. and Mrs. Gerald Abran Jim and Barbara Adams Bernard and Raquel Agranoff Michael and Suzan Alexander Dr. and Mrs. David G. Anderson Rebecca Gepner Annis and Michael Annis
Jonathan W. T. Ayers --
Lesli and Christopher Ballard ;___
Dr. and Mrs. Robert Bartlett Astrid B. Beck and David Noel Freedman Ralph P. Beebe Patrick and Maureen Belden Harry and Betty Benford Ruth Ann and Stuart J. Bergstcin Suzanne A. and Frederick I. Beutler Dr. and Mrs. Ronald Bogdasarian Elizabeth and Giles G. Bole Sue and Bob Bonfield Charles and Linda Borgsdorf Laurence and Grace Boxer Dale and Nancy Briggs William and Sandra Broucek leannine and Robert Buchanan Sue and Noel Buckner Lawrence and Valerie Bullcn Laurie Burns
Mr. and Mrs. Richard J. Burstein Letitia J. Byrd Amy and Jim Byrne Betty Byrne
Barbara and Albert Cain Michael and Patricia Campbell Carolyn M. Carty and Thomas H. Haug lean and Kenneth Casey Janet and Bill Cassebaum Anne Chase James S. Chen Don and Bctts Chisholm Janice A. Clark
Mr. and Mrs. John Alden Clark Leon and Heidi Cohan Hubert and Ellen Cohen Nan and Bill Conlin Jane Wilson Coon and A. Rees Midgley, Jr. Anne and Howard Cooper Susan and Arnold Coran Paul N. Courant and Marta A. Manildi George and Connie Cress Kathleen J. Crispell and Thomas S. Porter Richard J. Cunningham Roderick and Man' Ann Daanc Peter and Susan Darrow Pauline and Jay J. De Lay Lloyd and Genie Dethloff Steve and Lori Director Andrzej and Cynthia Dlugosz Molly Dobson Jack and Alice Dobson Elizabeth A. Doman John Drydcn and Diana Raimi Dr. and Mrs. Theodore E. Dushane Joan and Emil Engel Bob and Chris Euritt Eric Fearon and Kathy Cho David and Jo-Anna Featherman Dede and Oscar Feldman Yi-tsi M. and Albert Feuerwerker Bob and Sally Fleming John and Esther Floyd Marilyn G. Gallatin Bernard and Enid Galler Thomas and Barbara Gelehrtcr Beverly Gcrshowitz William and Ruth Gilkey Alvia G. Golden and Carroll Smith-Rosenberg
Elizabeth Necdham Graham
Susan Smith Gray and Robert Gray
Dr. John and Rcncc M. Greden
Jeffrey B. Green
John and Helen Griffith
Carl and Julia Guldberg
Martin D. and Connie D. Harris
Julian and Diane Hoff
Robert M. and Joan F. Howe
Drs. Linda Samuelson and Joel Howell
Dr. H. David and Dolores Humes
Susan and Martin Hunvitz
Stuart and Maureen Isaac
Timothy and Jo Wiese Johnson
Robert L. and Beatrice H. Kahn
Herbert Katz
Richard and Sylvia Kaufman
James and Patricia Kennedy
Dick and Pat King
Diane Kirkpatrick
Carolyn and Jim Knake
Joseph and Marilynn Kokoszka
Michael and Phyllis Korybalski
Samuel and Marilyn Krimm
Amy Sheon and Marvin Krislov
Bud and Justine Kulka
Barbara and Michael Kusisto
Mil M. Latta and David S. Bach
Laurie and Robert LaZebnik
Peter Lee and Clara Hwang
Donald J. and Carolyn Dana Lewis
Carolyn and Paul Lichter
Dr. and Mrs. Allen and Evie Lichter
Daniel Little and Bernadette Lintz
Lawrence and Rebecca Lohr
Leslie and Susan Loomans
Mark and Jennifer LoPatin
Richard and Stephanie Lord
Lawrence N. Lup, DDS
John and Cheryl MacKrcll
Catherine and Edwin L. Marcus
Nancy and Philip Margolis
Sally and Bill Martin
Chandler and Mary Matthew
Carole Mayer
loseph McCune and Georgiana Sanders
Rebecca McGowan and Michael B. Staebler
Ted and Barbara Meadows
Henry D. Messer Carl A. House
Andy and Candice Mitchell
Therese M. Molloy
Lester and Jeanne Monts
Alan and Sheila Morgan
Jane and Kenneth Moriarty
lulia S. Morris
Melinda and Bob Morris
Brian and Jacqueline Morton
Eva L. Mueller
Martin Nculiep and Patricia Pancioli
Donna Parmelec and William Nolting
Marylen and Harold Obcrman
Dr. and Mrs. Frederick C. O'Dcll
Robert and Elizabeth Oneal
Constance and David Osier
Mitchel Osman, MD and
Nancy Timmerman William C. Parkinson Dory and John D. Paul Margaret and lack Petcrsen Elaine and Bertram Pitt
Richard and Mary Price Donald H. Regan and
Elizabeth Axclson Ray and Ginny Reilly Bernard E. and
Sandra Reisman Duane and Katie Renkcn Kenneth J. Robinson Mr. and Mrs. Irving Rose Doug and Sharon Rothwell Dr. Nathaniel H. Rowe Craig and Jan Ruff Dr. and Mrs. Frank Rugani Alan and Swanna Saltiel lohn and Reda Santinga Maya Savarino David and Marcia Schmidt Meeyung and
Charles R. Schmitter Mrs. Richard C. Schneider Rosalie and David
Schottenfeld Steve and Jill Schwartz lohn J. H. Schwarz Erik and Carol Sen lanet and Michael Shatusky Carl P. Simon and Bobbi Low Frances U. and
Scott K. Simonds Lloyd and Ted St. Antoine Victor and Marlene Stoeffler Dr. and Mrs. Stanley Strasius Virginia G. Tainsh Jim Toy
Jack and Marilyn van der Velde Elly Wagner Florence S. Wagner Willes and Kathleen Weber Elisc Veisbach Dr. Steven W. Werns Marcy and Scott Westerman Roy and JoAn Wetzel Harry C. White and
Esther R. Redmount Max Wicha and Sheila Crowley Dr. and Mrs. Max Wisgerhof II Robert and Betty Wurtz Paul Yhouse Edwin and Signe Young Gerald B. and
Mary Kate Zelenock
Dr. and Mrs. Robert G. Aldrich Anastasios Alexiou Christine Webb Alvey David and Katie Andrea Dr. and Mrs. Rudi Ansbacher Janet and Arnold Aronoff Robert L. Baird Paulett Banks M. A. Baranowski Norman E. Barnett Mason and Helen Barr L. S. Berlin Philip C. Berry lohn Blankley and Maureen Folcy Donald and Roberta Blitz
Tom and Cathie Bloem Jane Bloom, MD and William L. Bloom Mr. and Mrs. Richard Boyce Dr. and Mrs. Ralph Bozell Joel Bregman and
Elaine Pomcranz June and Donald R. Brown Morton B. and Raya Brown Trudy and Jonathan Bulkley Edwin and Judith Carlson Bruce and Jean Carlson Jim and Priscilla Carlson Jack and Wendy Carman Marshall and Janice Carr ', Tsun and Siu Ying Chang ] Dr. Kyung and Young Cho Alice S. Cohen Charles and Kathleen Davenport Marnee and John DeVine Lorenzo DiCarlo and
Sally Stegcman DiCarlo Jack and Betty Edman Judge and Mrs. S. J. Eld Patricia Enns Elly and Harvey Falit John W. Farah DDS PhD Claudine Farrand and
Daniel Mocrman Irene Fast
Dr. and Mrs. John A. Faulkner Sidney and Jean Fine Carol Fincrman Clare M. Fingerle Herschel Fink
Mrs. Gerald J. Fischer (Beth B.) John and Karen Fischer Ray and Patricia Fitzgerald Dr. Ronald Freedman Harriet and Daniel Fusfcld Otto and Lourdes E. Gago Professor and
Mrs. David M. Gates Drs. Steve Geiringer and
Karen Bantel Paul and Anne Glendon Jack and Kathleen Glezen William and Sally Goshorn Cozette Grabb
Dr. and Mrs. Lazar . Greenfield Seymour D. Greenstone Ken and Margaret Guire Don P. Haefner and
Cynthia J. Stewart Mr. and Mrs. Elmer F. Hamel Clifford and Alice Hart Sivana Heller J. Lawrence and
Jacqueline Stearns Hcnkel Kathy and Rudi Hcntschel Herb and Dee Hildebrandt Mrs. W.A. Hiltncr Sun-Chien and Betty Hsiao Mrs. V. C. Hubbs Ann D. Hungcrman Thomas and Kathryn Huntzickcr Eileen and Saul Hymans Jean Jacobson Rebecca S. lahn Wallic and Janet Jcffri Jim and Dale Jerome Herbert and Jane M. Kaufer Emily Kennedy Dr. David E. and
Heidi Castleman Klein
Hermine R. Klingler
Philip and Kathryn KJintworth
Charles and Linda Koopmann
Dr. and Mrs. Melvyn Korobkin
Bert and Catherine La Du
Ted and Wendy Lawrence
Mr. John K. Lawrence
Mr. and Mrs. Fernando S. Leon
lacqueline H. Lewis
E. Daniel and Kay Long
Brigittc and Paul Maassen
Marilyn Mason
Michael G. McGuire
Bernice and Herman Merte
Myrna and Newell Miller
Edward Nelson
Eulalie Nohrden
Marysia Ostafln and
George Smillie Wallace and Barbara Prince Mrs. Gardner C. Quarton Mrs. Joseph S. Radom Jeanne Raisler and Ion Cohn Ms. Claudia Rast Ms. Rossi Ray-Taylor Molly Resnik and John Martin Maria and Rusty Restuccia Jay and Machree Robinson Dr. Susan M. Rose Mrs. Doris E. Rowan James and Adrienne Rudolph Paul and Penny Schrciber Terry Shade
Howard and Aliza Shevrin George and Gladys Shirley Pat Shure
Robert and Elaine Sims Irma J. Sklenar Herbert Sloan
Donald C. and Jean M. Smith Gus and Andrea Stager Curt and Gus Stager James C. Steward Prof. Louis J. and
Glennis M. Stout Ellen and Jeoffrcy K. Stross Charlotte B. Sundelson Bob and Betsy Teeter Paul and Jane Thielking Elizabeth H. Thieme Dr. and Mrs. Merlin C. Townley Joan Lowenstein and
lonathan Trobe leff and Lisa Tulin-Silver Dr. Sheryl S. Ulin and Dr.
Lynn T. Schachinger Joyce A. Urba and
David J. Kinsella Charlotte Van Curler Harvey and Robin Wax Lawrence A. Weis Robert O. and
Darragh H. Weisman Raoul Weisman and
Ann Friedman Angela and Lyndon Welch Reverend Francis E. Williams Lawrence and Mary Wise David and April Wright Mayer and Joan Zald
Jesus and Benjamin Acosta-Hughes
Michael and Marilyn Agin
Robert Ainsworth
Helen and David Amino"
Douglas B. Anderson
Harlene and Henry Appclman
Jack and (ill Arnold
Jeff and Deborah Ash
Mr. and Mrs. Arthur J. Ashc, HI
Dwight T. Ashley
Dan and Monica Atkins
Linda Bennett and Bob Bagramian
Lisa and Jim Baker
Reg and Pat Baker
Barbara and Daniel Balbach
Gary and Cheryl Balint
Ms. Ruth Bardenstcin
John R. Bareham
David and Monika Barera
Lois and David Baru
Lourdes Bastos Hansen
Tom and Judith Batay-Csorba
Francis J. and Lindsay Batcman
Gary Beckman and Karla Taylor
Professor and
Mrs. Erling Blondal Bengtsson Dr. and Mrs. Ronald M. Benson Dr. Rosemary R. Berardi James A. Bergman and
Penelope Hommel Steven ]. Bernstein Dan and Irene Biber Jack Billi and Shcryi Hirsch Roger and Polly Bookwaiter Victoria C. Botek and
William M. Edwards Paul and Anna Bradley William R. Brashear David and Sharon Brooks Dr. Frances E. Bull Susan and Oliver Cameron Valeric and Brent Carey Jeannette and Robert Carr Dr. and Mrs. Joseph C. Cerny Dr. Kathleen G. Charla Kwang and Soon Cho Reginald and Beverly Ciokajlo Brian and Cheryl Clarkson Harvey Colbert Wayne and Melinda Colquitt Malcolm and Juanita Cox Clifford and Laura Craig Merle and Mary Ann Crawford Peter C. and Lindy M. Cubba Mary R. and John G. Curtis Sunil and Merial Das Art and Lyn Powrie Davidge John and lean Dcbbink Elena and Nicholas Delbanco Elizabeth Dexter Judy and Steve Dobson Thomas and Esther Donahue Cecilia and Allan Dreyfuss Elizabeth Duel) Martin and Rosalie Edwards Charles and Julia Eisendrath Dr. Alan S. Eiscr Sol and Judith Elkin Janel Fain Phil and Phyllis Fellin
Dr. James F. Filgas Susan Filipiak
Swing City Dance Studio Beth Fischer
Gerald B. and Catherine L Fischer C. Peter and Bcv A. Fi L -
Dennis Flynn
Howard and Margaret Fox
Paula L. Bockcnstedt and
David A. Fox Jason I. Fox Betsy Foxman and
Michael Bochnke Lynn A. Freeland Richard and Joann Frcethy Dr. Leon and Marcia Friedman Mr. and Mrs. William Fulton Thomas J. Garbaty Deborah and Henry Gerst Elmer G. Gilbert and
Lois M.Verbrugge Maureen and David Ginsburg Irwin Goldstein and Martha Mayo Enid M. Gosling lames W. and Maria J. Gousseff Michael L Gowing Maryanna and
Dr. William H. Graves III Bob Green
Bill and Louise Gregory Raymond and Daphne M. Grew Werner H. Grilk Susan and John Halloran Yoshiko Hamano Tom Hammond Robert and Sonia Harris Paul Hysen and Jeanne Harrison Naomi Gottlieb Harrison and
Theodore Harrison DDS Icanninc and Gary Hayden Henry R. and Lucia Heinold Rose and John Henderson Dr. and Mrs. Keith S. Henley Louise Hodgson
Mr. and Mrs. William B. Holmes Dr. Ronald and Ann Holz Dave and Susan Horvath lane H. Hughes Marilyn C. Hunting Robert B. Ingling David Jahn
Kent and Mary Johnson Paul and Olga Johnson Ellen C. Johnson Arthur A. Kaselemas ;
James A. Kelly and
Mariam C. Noland Frank and Patricia Kennedy Donald F. and Mary A. Kiel Rhca Kish
Paul and Dana Kissner Sieve and Shira Klein Laura Klem Jean and Arnold Klugc Thomas and Ruth Knol) John Koselka
Bert and Geraldine Kruse Mrs. David A. Lanius Mr. and Mrs. Henry M. Lapcza Neal and Anne Laurance Beth and George LaVoie Cyril and Ruth Leder John and Theresa Lee Jim and Cathy Leonard Sue Leong
Myron and Bobbie Levine Ken and Jane Lieberthal Rod and Robin Little Vi-Chengand Hsi-Yen Liu Naomi E. Lohr Ronald Longhofer and
Norma McKcnna Florence LoPatin Carl J. Lutkehaus Edward and Barbara Lynn Pamela J. MacKintosh Melvin and Jean Manis Junes E. and Barbara Martin
Jenifer Martin Margaret E. McCarthy Ernest and Adcle McCarus Margaret and Harris McClamroch lames M. Beck and
Robert J. McGranaghan Nancy A. and Robert E. Meader t--j Merikoski
rge R. and Brigittc Merz Shirley and Bil! Meyers Mr. and Mrs. Eugene Miller Edward and Barbara Mills Kathryn and Bertley Moberg ! Mr. and Mrs. William Mocller Olga Ann Moir
William G. and Edith O. Moller, Jr. Thomas and Hedi Mulford Gavin Eadie and Barbara Murphy Gerry and Joanne Navarre Frederick C. Neidhardt and
Germaine Chipault James G. Nelson and
(Catherine M. Johnson Richard and Susan Nisbctt Laura Nitzberg and Thomas Carli Maury Okun and Tina Topalian Drs. Sujit and Uma Pandit William and Hedda Panzer Nicole Paoletti Donna D. Park Karen M. Park Joyce Phillips
Mr. and Mrs. Frederick R. Pickard Wayne Pickvet and Bruce Barrett Roy and Winnifred Pierce Donald and Evonne Plantinga Bill and Diana Pratt Larry and Ann Preuss Leland and Elizabeth Quackenbush Jim and leva Rasmusscn Anthony L. Reffells and
aine A. Bennett Constance O. Rinehart Gay and George Rosenwald Mr. Haskell Rothstein Ina and Terry Sandalow Michael and Kimm Sarosi Mike Savitski
Dr. Stephen J. and Kim R. Saxe Frank J. Schauerte Mary A. Schieve Sue Schroeder Jean and Thomas Shope Hollis and Martha A. Showalter Alida and Gene Silverman Scott and Joan Singer John and Anne Griffin Sloan Tim and Marie Slottow Carl and Jari Smith AJene Smith Dr. Elaine R. Soller Hugh and Anne Solomon Arthur and Elizabeth Solomon James A. Somcrs Yoram and Eliana Sorokin Tom Sparks Jeffrey D. Spindler Allen and Mary Spivey Judy and Paul Spradlin Burnctte Staebler Gary and Diane Stahle James L. Stoddard Brian and Lee Talbot Eva and Sam Taylor Edwin J. Thomas Bettc M. Thompson Nigel and Jane Thompson Claire and Jerry Turcotte Mr. James R. Van Bochove Hugo and Karla Vandcrsypen Marie Vogt Harue and Tsuguyasu Wada
Bruce and Raven Wallace
Charles R. and Barbara H. Wallgrcn
Carol Weber
)ohn Weber
Deborah Webster and Georfe Mill
Iris and Fred Whitehouse
Leslie Clare Whitfield
Professor Steven Whiting
Nancy Wiernik
Cynthia and Roy Wilbanks
Anne Marie and Robert J. Willis
Lois Wilson-Crabtree
Beverly and Hadley Wine
Charles Witke and Aileen Gatten
Charlotte A. Wolfe
Al and Alma Wooll
Frances A. Wright
Don and Charlotte Wychc
Richard Yarmain
MaryGrace and Tom York
Corporate Fund
$100,000 and above Ford Motor Company Fund Forest Health Services
Corporation University of Michigan Pfizer Global Research and
Development: Ann Arbor
$20,000-$49,999 Bank of Ann Arbor Borders Group, Inc. DaimlerChrysler Foundation Kaydon Corporation KeyBank TIAA-CREF
$10,000-$19,999 Bank One
Brauer Investment Company CFI Group
Comerica Incorporated DTE Energy Foundation McKinley Associates Sesi Lincoln Mercury Volvo Mazda
$5,000-$9,999 Ann Arbor Automotive Butzel Long Attorneys Crowne Plaza Edward Surovell Realtors Elastizell Corporation of
MASCO Charitable Trust Miller Canfield Paddock and
Stone P.L.C. National City Bank TCF Bank Thomas B. McMullen
Blue Nile
Bosart Financial Group
Chase Manhattan Mortgage
Joseph Curtin Studios
Lewis Jewelers
Quinn EvansArchitects
Republic Bancorp
United Bank & Trust
ABN AMRO Mortgage Group,
Adult Learning Institute Aysc's Courtyard Cafe Ann Arbor Builders Ann Arbor Commerce Bank Bed & Breakfast on Campus Burns Park Consulting Clark Professional Pharmacy Coffee Express Comcast
Edward Brothers, Inc. Garris, Garris, Garris & Garris,
Malloy Incorporated Michigan Critical Care
Consultants Rosebud Solutions Seaway Financial
AgencyWayne Milewski SeloShevel Gallery Swedish Women's Educational
Foundation & Government Support
UMS gratefully acknowl?edges the support of the following foundations and government agencies:
$100,000 and above Association of Performing
Arts Presenters Arts
Partners Program Doris Duke Charitable
Foundation The Ford Foundation JazzNet Michigan Council for Arts
and Cultural Affairs The Power Foundation The Wallace Foundation
.iment Support, com.
Community Foundation for
Southeastern Michigan National Endowment for
the Arts The Whitney Fund
$10,000-$49,999 Continental Harmony New England Foundation for the Arts
$l,000-$9,999 Akers Foundation Arts Midwest Heartland Arts Fund The Lebensfcld Foundation Maxine and Stuart Frankel
Mid-America Arts Alliance The Molloy Foundation Montague Foundation THE MOSAIC FOUNDATION
(of R. and P. Heydon) Sarns Ann Arbor Fund The Sneed Foundation, Inc. Vibrant of Ann Arbor
Tribute Gifts
Contributions have been received in honor andor ? memory of the following individuals:
H. Gardner Acklcy Herb and Carol Amster Maurice Binkow Tom and Laura Binkow T. Earl Douglass Alice Kelsey Dunn David Eklund Kenneth C. Fischer Dr. Bcvcrley B. Geltner Michael Gowing Werner Grilk Elizabeth E. Kennedy Ted Kennedy. Jr. Dr. Gloria Kerry Alexandra Lofstrom Joyce Malm Frederick N. McOmbcr Phil and Kathy Power Gwen and Emerson Powric Prof. Robert Putnam Ruth Putnam Mrs. Gail Rector StcfTi Reiss Prue Rosemhal Margaret E. Rothstein Eric H. Roihstcin Prof. Wolfgang Stolper Diana Stone Peters
Pelcr C. Tainsh ! Isaac Thomas Francis V. Viola III Horace Warren Donald Whiting Pclcr Holdemcss Woods Barbara E. Young Elizabeth Yhouse '
Burton Tower Society
The Burton Tower Society recognizes and honors those very special friends who have included UMS in their estate plans. UMS is grateful for this important support, which will continue the great traditions of artistic excellence, educational opportunities and community partnerships in future years.
Carol and Herb Amstcr
Dr. and Mrs. David G.
Mr. Neil P. Anderson Catherine S. Arcure Mr. Hilbert Beyer Elizabeth Bishop Mr. and Mrs. Pal E. Borondy Barbara Evcritt Bryant Pat and George Chatas Mr. and Mrs. )ohn Alden
Douglas D. Crary H. Michael and
Judith L. Endrcs Bcvcrlcy and Gerson Geltner John and Martha Hicks Mr. and Mrs. Richard Ives Marilyn Jeffs Thomas C. and
Constance M. Kinnear Charlotte McGeoch Michael G. McGuirc Dr. Eva Mueller Len and Nancy Niehoff Dr. and
Mrs. Frederick C. O'Dell Mr. and Mrs. Dennis Powers Mr. and Mrs. Michael Radock Mr. and Mrs. Jack VV. Ricketts Mr. and
Mrs. Willard L. Rodgers Prudence and
Amnon Rosenthal Mr. Haskell Rothstein Irma J. Skclnar Herbert Sloan Art and Elizabeth Solomon Roy and JoAn Wetzel Mr. and
Mrs. Ronald G. Zollars
Endowed Funds
The future success of the University Musical Society is secured in part by income from UMS's endowment. UMS extends its deepest appreciation to the many donors who have established andor contributed to the following funds.
H. Gardner Acklcy
Endowment Fund Amstcr Designated Fund Catherine S. Arcure _..
Endowment Fund ?
Choral Union Fund Hal and Ann Davis
Endowment Fund Ottmar Ebcrbach Funds Epstein Endowment Fund JazzNet Endowment Fund William R. Kinney
Endowment Fund NEA Matching Fund " '
Palmer Endowment Fund Mary R. Romig-dcYoung
Music Appreciation Fund Charles A. Sink Memorial
Fund Catherine S. ArcureHerbert
E. Sloan Endowment Fund University Musical Society
Endowment Fund
In-Kind Gifts
A-l Rentals, Inc.
Raquel and Bernard Agranoff
Ann Arbor Automotive Ann Arbor Art Center
Arbor Brewing Co. Ashley Mews
Avanti Hair Designers
The Back Alley Gourmet ; Barnes Ace Hardware ;
Lois and David Baru j
Baxters Wine Shop
Kathleen Beck [
Bella Ciao Trattoria Kathy Bcnton and Bob Brown
Bodywise Therapeutic Massage Mimi and Ron Bogdasarian
Borders Book and Music
. r. . r i (da
Susan Bozell
Tana Breiner
Barbara Evcritt Bryant
By the Pound
Cafe Marie j
Margot Campos
Cappellos Hair Salon '
rn9(-k a Pit
Bill and Nan Conlin
M.C. Conroy Hugh and Elly Cooper Cousins Heritage Inn Roderick and Mary Ann Daane D'Amato's Italian Restaurant
Robert Derkacz
The Display Group
Dough Boys Bakery
The Earle
Easlover Natural Nail Care
Katherinc and Damian Farrel!
Ken and Penny Fischer
Food Art
Sara Frank
The Gandy Dancer
Beverley and Gerson Geltner
Great Harvest Bi "
Linda and Richa
Nina Hauscr
John's Pack & Ship
Steve and Mercy Kaslc
Cindy Kellerman
Kerrytown Bistro
Kilwin's Chocolate Shoppe
King's Keyboard House
Kinko's Copies
Laky's Salon
Ray Lance
George and Beth Lavoie
Leopold Bros. Of Ann Arbor
Richard LeSueur
Carl Lutkehaus
Doni Lystra
Mainstreet Ventures
Ernest and Jeanne Merlanti
John Metzger
Michigan Car Services, Inc. and
Airport Sedan, LTD Moe Sport Shops Inc. Robert and Melinda Morris Joanne Navarre Nicola's Books, Little Professor
Book Co.
Pfizer Global Research and Development: Ann Arbor
Preview Properties
Produce Station
Randy Parrish Fine Framing
Red Hawk Bar & Grill
Regrets Only
Rightside Cellar
Ritz Camera One Hour Photo
Don and Judy Dow Rumclhart
Salon Vertigo
Rosalyn Sarvar '
Maya Savarino
Penny and Paul Schreih
Shaman Drum Bookshop
Lorctta Skewcs : "
Dr. Elaine R. Soller
Two Sisters Gourmet
Van Bo-----
Whole Foods Weber's Restaurant Zanzibar
14 Ann Arbor Symphony
Orchestra 14 Automated Resource
Management, Inc. 14 Bank of Ann Arbor 20 Bodman, Longley and
Dahling, LLP 26 Butzel Long 16 Chelsea Musical
Celebrations 20 Comerica, Inc. 26 Dance Gallery Studio 40 Edward Surovell
40 Forest Health Services 20 Format Framing 28 Glacier Hills 19 Herman Thompson
Therapeutic Massage 42 Howard Cooper, Inc. 42 IATSE Local 395 42 Jules Furniture 38 Kerrytown Marketplace 46 Key Bank
16 King's Keyboard 28 Littlefield t Sons
Furniture Service FC Michigan Public Media BC Michigan Theater 28 Mundus and Mundus 32 Performance Network 28 Red Hawk Bar and
Grill 32 Rudolf Steiner School
of Ann Arbor 32 Sweetwaters Cafe' 18 The Earle Uptown 48 The Forward Group 18 Ufer&Co. 36 U-M Museum of Art 18 Washtenaw
Woodwrights 38 WDET 46 WEMU 48 WGTE 44 WKAR 28 Zanzibar

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