UMS Concert Program, Thursday Nov. 06- Nov. 23: University Musical Society: Fall 2003 - Thursday Nov. 06 - Nov. 23--

Season: Fall 2003
University Of Michigan, Ann Arbor

ums
University Musical Society
of the University of Michigan
Fall 2003 Season
125th ums season
university musical society
University of Michigan Ann Arbor
UMS Leadership
UMSservices
UMSannals
UMSexperience 27
UMSsupport 35
Letters from the Presidents Letter from the Chair
Corporate Leaders Foundations UMS Board of Directors Senate Advisory Committee UMS Staff Teacher Advisory Committee
General Information
Tickets
Gift Certificates ?
www.ums.org j
UMS History
UMS Choral Union -m m
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
BRAVO!
Support f
UMS Advertisers '
Front Coven Miami City lallet (Philip Birmingham), Church of the Savior on Hood (Jack Kollman), Wynton Marsalis (Keith Major), Mark Rylance as Olivia in Globe Theatre's Twelfth night, lack Coven Sketch of Igor Stravinsky by Pablo Picasw. (lettmannCOHIS), loston Pops Esplanade Orchestra (Michael Lutch).
.11 DEN I.
he University of Michigan joins th 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?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. _____
Sincerely,
Mary Sue Coleman
President, University of Michigan
FROM THE UMS PRESIDENT
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 www.ums.org. 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 kenfisch@umich.edu or call me at 734.647.1174.
Very best wishes,
Kenneth C. Fischer UMS President
if +s"
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.
Sincerely,
Prue Rosenthal
Chair, UMS Board of Directors
U MS leadership
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 r
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, Kaydon 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.LC. "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 3. 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, TCFBank
"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."
FOUNDATION AND GOVERNMENT SUPPORT UMS gratefully acknowledges the support of the following foundations and government agencies.
5100,000 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
Anonymous
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
THE MOSAIC 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 Doug Rothwell Judy Dow Rumelhart Maya Savarino Cheryl L. Soper Peter Sparling James C. Stanley Karen Wolff I
(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
ADVISORY COMMITTEE
Louise Townley, Chair Raquel Agranoff, Vice
Chair Morrine Maltzman,
Secretary
Jeri Sawall, Treasurer Barbara Bach Paulett M. Banks Milli Baranowski Lois Baru Kathleen Benton Mimi Bogdasarian
Jennifer Boyce Mary Breakey Jeannine 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 Swanna Saltiel Penny Schreiber Sue Schroeder Aliza Shevrin Loretta Skewes Maryanne Telese Dody Viola Wendy Woods
UMS STAFF
Administration
Finance
Kenneth C. Fischer, President
Elizabeth E. Jahn, Assistant to the
President John B. Kennard, Jr., Director of
Administration
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
Development __________?
Susan McClanahan, Director Mary Dwyer, Manager 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 Devetopment
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
Programming
Production
Michael J. Kondziolka, Director
Emily Avers, Production
Administrative Director Jeffrey Beyersdorf, Technical
Coordinator
Jasper Gilbert, Technical Director Susan A. Hamilton, Artist Services
Coordinator Mark Jacobson, Programming
Manager Bruce Oshaben, Head Usher
Ticket Services
Nicole Paoletti, Manager Sally A. Cushing, Associate Jennifer Graf, Assistant Manager William P. Maddix, Assistant Manager
Work-Study
Jeff Barudin Nicole Blair Aubrey Lopatin Natalie Malotke Melissa McGivern Nadia Pessoa Fred Peterbark Jennie Salmon Sean Walls
Interns
Michelle Jacobs E President Emeritus '
Gail W. Rector
UMS TEACHER ADVISORY COMMITTEE
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 loan 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
services
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
assistancemm--------------------
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.
m
Parking
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 www.ums.org.
Refreshments
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
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.
going experience, Pfizer Inc is providing complimentary HallsO Mentho Lypt! cough suppressant tablets to patrons' attending UMS performances through; out our 0304 season. I
n Person
ilie UMS Ticket Office and the University Productions Ticket Office nave merged! Patrons are now able to purchase tickets for UMS events and School of Music events with just one Dnone call or visit.
a result of this transition, the walk-p window is conveniently located at le League Ticket Office, on the north ad of the Michigan League building at 11 North University Avenue. The icket Office phone number and mail-lg address remain the same.
ote New Hours
lon-Fri: 9am-5pm ? 0am-lpm
ione 734.764.2538
Jutside the 734 area code, call toll-free 800.221.1229
Internet WWW.UmS.org yFax 734.647.1171
By Mail
UMS Ticket Office
Burton Memorial Tower
881 North University Avenue
"nn Arbor, MI 48109-1011
erformance hall ticket offices open 0 minutes prior to each performance.
Returns
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the 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 734.647.1171. 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 help 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 15-25 for most performances
accessibility accommodations
no-risk reservations that are fully refundable up to 14 days before the performance
1-3 complimentary tickets for the group organizer (depending on size of group). Comp tickets are not offered for performances with no group discount.
For information, contact the UMS Group Sales Hotline at 734.763.3100 or umsgroupsales@umich.edu.
Discounted Student Tickets
Did you know Since 1990, students have pur?chased over 144,000 tickets and have saved more than $2 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 $100,000 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 ($50 for 5 punches, $100 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
UMS Gift Certificate! Available in any amount and redeemable for any of more than 80 events throughout our season, wrapped and delivered with your personal message, the UMS Gift Certificate is ideal for weddings, birthdays, Christmas, Hanukkah, Mother's and Father's Days, or even as a housewarming present when new friends move to town.
New This Year! UMS 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 www.ums.org each month!
Why should you log onto www.ums.org
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.
UMSannals
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 of Gerontius, the 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 choralunion@umich.edu 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 reworking 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.
uditonum Construction Wen camera
www.plantext.bf.umich.eduplantextprojects HillBurtonWebCam.html
Hill Auditorium Renovation Project Website i
www.umich.eduurelhillindex.html
Hill Auditorium Construction Website at;__
www.plantext.bf.umich.eduplantextproj1 Hill' '
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
Fifty 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
The historic Michigan Theater opened January 5,1928 at the peak of the vaudeville movie palace era. Designed by Maurice Finkel, the 1,710-seat theater cost around $600,000 when it was first built. 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.
urns
of the University of Michigan, Ann Arbor
Event Program Book
Thursday, November 6 through Sunday,'.
General Information
Children of all ages are welcome at UMS Family jnd 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.
St. Petersburg State Academic Capella Choir 3
Thursday, November 6, 8:00 pm St. Francis of Assisi Catholic Chu:
Chava Alberstein
Saturday, November 8, 8:00 pm Rackham Auditorium
Doudou N'Diaye Rose with Les Rosettes
Tuesday, November 11, 8:00 pm ' Michigan Theater
Charles Lloyd Quintet
Thursday, November 13, 8:00 pm Michigan Theater
Shakespeare's Globe Theatre'
Tuesday, November 18, 8:00 pm Wednesday, November 19, 8:00 pm Thursday, November 20, 8:00 pm Friday, November 21, 8:00 pm Saturday, November 22, 2:00 pm Saturday, November 22, 8:00 pm Sunday, November 23, 1:00 pm Sunday, November 23, 6:00 pm Michigan Union Ballroom
WS Educational Events through Sunday, November 23, 2003
All UMS educational activities are free and open to the public unless otherwise noted ($). Please visit www.ums.org for complete details and updates. For current information on Celebrating St. Petersburg, visitwww.umich.edustpetersburg.
St. Petersburg State Academic Capella Choir
Conducting Master Class Led by Vladislav Chernushenko, Artistic Director, St. Petersburg State Academic Capella Choir. Thursday, November 6, 12:30-2:30 pm, U-M School of Musk, Room 2058, 1100 Baits
Doudou N'Diaye Rose with Les Rosettes
Symposium: Ache] Drums and Women in the African Diaspora
A public symposium featuring members of Les Rosettes, in conversation with drummers Kahemba Kitwana and Jahra McKinney-Hakamma, music educator Carol Richardson, U-M Professor Kelly Askew, moderated by Elizabeth James, Program Associate, U-M Center for AfroAmerican and African Studies. Tuesday, November 11, 4:00-6:00 pm, Michigan League, Vandenberg Room, 911 N. University Ave.
Shakespeare's Globe Theatre
Study Club: Shakespeare's Twelfth Night
Led by Ralph Williams, Associate Chair, U-M Department of English Language and Literature. Tuesday, November 4, 7:00-9:00 pm, Ann Arbor District Library, Multi-Purpose Room, 343 S. Fifth Ave.
RoundtableInterview
A roundtable discussion featuring lead actors and artistic staff from Globe Theatre's produc?tion of Shakespeare's Twelfth Night, in conver?sation with U-M faculty Barbara Hodgdon, John Neville-Andrews, Valerie Traub, U-M graduate student Holly Dugan, and Jeffrey Masten, Professor of English and Gender Studies, Northwestern University. Wednesday, November 19, 3:00-5:00 pm, Michigan Union Ballroom
Lecture: "Boys to Men in Twelfth Nighf
Led by Jeffrey Masten, Professor of English and Gender Studies, Northwestern University. For more information, contact the U-M Institute for Research on Women and Gender at 734.764.9537 or at www.umich.eduirwg. Thursday, November 20, 12:00 noon, 3222 Angell Hall, 435 S. State St.
UMS
presents
St. Petersburg State Academic Capella Choir
Vladislav Chernushenko, Artistic Director and Chief Conductor
Thursday Evening, November 6, 2003 at 8:00
St. Francis of Assisi Catholic Church Ann Arbor
Sergei Rachmaninoff
All-Night Vigil (Vespers), Op. 37
Come, Let Us Worship
Bless the Lord, O My Soul
Blessed Is the Man
Gladsome Light
Lord, Now Lettest Thou
Rejoice, O Virgin
Verses before the Six Psalms
Praise the Name of the Lord
Blessed Art Thou, O Lord
Having Beheld the Resurrection
My Soul Magnifies the Lord
The Great Doxology
Today Salvation Has Come to the World
Thou Didst Rise from the Tomb
To Thee, the Victorious Leader
20th Performance
of the 125th Annual Season
Ninth Annual
Divine Expressions 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 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 Jerry Blackstone and the U-M School of Music Choral Ensembles for their participation in this residency.
The St. Petersburg State Academic Capella Choir appears by arrangement with David Eden Productions, Ltd. and H-Art Management.
Large print programs are available upon request.
All-Night Vigil (Vespers), Op. 37 -
Sergei Rachmaninoff
Born April 1, 1873 in Semyonovo, Russia I
Died March 28, 1943 in Beverly Hilb, California
Sergei Rachmaninoff, the last great Romantic poet of the piano, was a deeply spiritual person who attended Russian Orthodox services regu?larly, both before and after his emigration from Russia. He was primarily a secular composer and wrote only three major religious works: the "concerto for chorus" The Theotokos, Ever-Vigilant in Prayer (1893), The Liturgy of St. John Chrysostom (1910), and the All-Night Vigil (1915).
Unlike in the West, the idea of writing origi?nal music based on sacred chant was relatively new in Russia. It wasn't until the 1880s that the Moscow Synodal School developed what musi?cologist-editor Vladimir Morosan describes as "a first-rate choral ensemble that embodied the highest artistic and professional standards." Inspired in part by this excellent group, some of the most important composers in the country turned to sacred music for the first time. Rachmaninoff's mentor Piotr Tchaikovsky led the way with his own settings of the Liturgy (1878) and the Vigil (1882).
Several of Rachmaninoff's former class?mates at the Moscow Conservatory had become church musicians, and they helped Rachmaninoff master the intricacies of Orthodox chant and liturgy. The challenge lay in respecting the traditional melodies, their style and liturgical function while at the same time adding that elusive something called a "personal touch."
The All-Night Vigil (Vsenoshchnoye bdeniye) is sung in the Orthodox Church every Saturday night and on evenings before feast days. It com?bines what were originally two holy offices, Vespers and Matins (for this reason, the English title usually given to Rachmaninoff's work, Vespers, is not entirely accurate). Each of these offices consists of a number of psalms, hymns and canticles prescribed by the liturgy. By and large, Rachmaninoff stayed close to the liturgi-
cal requirements, but there are a few irregulari?ties; as a result, the Vigil has been performed mainly in concert and only occasionally in church.
The language of the work is Church Slavonic, an archaic form of Russian. Consistent with tradition, Rachmaninoff set the sacred words in a homophonic style that makes the text always easy to follow. The traditional melodies used belong to several different styles within Orthodox chant. Movements 2 and 15 are based on the so-called "Greek chant," a recitative style not directly connected to the Greek Orthodox Church but rather developed in this form in Russia during the 17th century. Movements 8, 9, and 12-14 are marked "znamenny chant," the old chant tradition as preserved in a special musical notation over the centuries. Movements 4 and 5 come from the so-called "Kiev chant," which, in the 17th century, introduced new variants of traditional znamenny melodies. In the remaining movements, Rachmaninoff offers what he called "counterfeits," original melodies written in the traditional style.
Textually, movements 1-3, 5, 7-8, and 11 are from the Bible -either from Psalms or, in two cases, from Luke (the two canticles known in Latin as Nunc dimittis and Magnificat). The other movements are from the Orthodox prayer book. In all movements, Rachmaninoff displays extraordinary sensitivity to the sacred words. He responded to certain key phrases with tim-bral contrasts (sopranos and altos vs. tenors and basses; solos vs. the full choir) or with choice harmonies that occasionally break up the generally prevalent pure diatonicism (white keys only) of the texture. Rachmaninoff also made generous use of the fine bassi profondi he could count on in the Synodal Choir -the bass part frequently descends to low C (and occasionally to the even lower B-flat) to magical effect.
The Ail-Night Vigil was premiered by the Synodal Choir, under the direction of Nikolai Danilin, on March 10, 1915. By then Russia was deeply embroiled in World War I, having just suffered a crushing defeat from the Germans by the Masurian Lakes. This no doubt added fur-
thcr poignancy to the reception of the music, which was enthusiastic. As one of the singers later recalled: "Despite the rule that prohibited applause at performances of sacred music, following the final chord of the Vigil the audi?ence burst into tumultuous applause. Only Rachmaninoff returned out onto the empty stage [to acknowledge the audience], returning backstage with a twig of white lilac."
Program note by Peter Laki.
__he St. Petersburg State Academic
Capella, Russia's oldest choir, has an unparalleled history among institu?tions of its kind. Initially named the Tsar's Singing Clerics, it was estab?lished in 1479 by Tsar Ivan III as the tsar's pri?vate choir, responsible for singing services in the newly constructed Cathedral of the Dormition in the Moscow Kremlin. In their time, both Ivan the Terrible and Peter the Great sang in the choir.
With the founding of the new city of St. Petersburg in 1703, the Court Choir, as it was now known, relocated to Tsar Peter's "window to Europe," and in 1717, a contingent of the ensemble accompanied Peter the Great on his travels to Poland, France, Germany, and Holland.
Empress Elizabeth, the younger daughter of Peter the Great, married a Ukrainian bass singer in the Court Choir named Alexei Razumovsky, who encouraged the Empress to bring more singers from Ukraine. In 1763, Empress Catherine the Great began inviting Western musicians to St. Petersburg to work with the Court Choir. On January 1, 1837, Mikhail Glinka, considered by many to be the first great Russian national composer, was appointed Kapellmeister of the Capella.
Following the Russian Revolution of 1917, the combined choir and orchestra gave their last concert for many years on November 8,1918, with a performance of the "Internationale" (the official anthem of Communism and Socialism) and the Mozart Requiem at the Smolny Palace.
The following years brought several changes, including the addition of female choir members and the renaming of the ensemble to the People's Academic Chorus. Many Soviet com?posers wrote numerous choral works for the ensemble during this era, however, most sacred works ceased to be performed. In 1928, the Capella made its last major tour to the West prior to World War II, traveling to Lithuania, Germany, Switzerland, and Italy. During the War, between October 1941 and July 1943 alone, the Capella gave some 500 concerts in support of the Russian war effort. Following the war, the ensemble gave many distinguished pre?mieres of works by Shostakovich, Kabalevsky, and Prokofiev under the great conductor Yevgeny Mravinsky.
The 1974 appointment of Vladislav Chernushenko as artistic director ushered in a new era of artistic advances. In 1982, Rachmaninoff's masterpiece, the Vespers, Op. 37 was performed in its entirety in the composer's homeland for the first time. Under Mr. Chernushenko, the choir began to tour abroad again, and beginning in 1976, it made a number of recordings of Russian sacred music, the first being a recording of excerpts from Tchaikovsky's Liturgy of St. John Chrysostom that sold several million copies.
Tonights performance marks the St. Petersburg State Academic Capella Choir's UMS debut.
ladislav Chernushenko's illustrious career as a conductor and educator includes leadership of two of Russia's r oldest professional musical institutions:
the St. Petersburg State Academic Capella and the Rimsky-Korsakov Conservatory of St. Petersburg. Born in 1936 in Leningrad, Mr. Chernushenko received his musical educa?tion at the Capella's Choir College and the Leningrad Conservatory, earning advanced degrees in operatic and symphonic conducting. In 1962, Mr. Chenushenko founded the Leningrad Chamber Choir, which he headed for 17 years, garnering international acclaim.
In 1974, Mr. Chernushenko was named the artistic director of the St. Petersburg State Academic Capella. Under his energetic leader?ship, the Capella regained its reputation as one of the world's finest choirs. One of his principal accomplishments was the restoration, after years of ideological suppression, of Russia's sacred musical heritage to the Capella's reper?toire. For the past fifteen years, the music of Georgi Sviridov, Russian's most prominent contemporary composer, has also occupied a special place in the choir's repertoire.
In 1979, Mr. Chernushenko became head of Russia's first conservatory, the Rimsky-Korsakov Conservatory of St. Petersburg. In addition to his duties as a conductor and administrator, he is active as a lecturer, master class clinician, and competition adjudicator, and has been bestowed with several of Russia's highest musical honors.
Tonight's performance marks Vladislav Chernushenko's UMS debut.
St. Petersburg State Academic Capella Choir --------------.....-
Vladislav Chernushenko, Artistic Director and Chief Conductor
Soprano I
Irina Andryakova Galina Gordeeva Olga Ivanova Ekaterina Micheeva Larissa Radtchenko Svctlana Semagina Anastassia Stepanova Emillia Titarenko eJjZj&L Nadezda Vasilieva jgpHH Elena Yaskunova ?'
Soprano II
Nadezda Drobyshevskaya Elizaveta Kutuzova Irina Narizhyaya Tatiana Zhiltsova
Alto I
Olga Koutouzova Tatiana Mouratova Erna Shnayder Liudmila Sokolova Inna Tchemeritskaia
Alton
Liudmila Bobrovnikova Anastassia Bogatcheva Lioudmila Kerekecha Daria Lcibova Zanna Polevtsova Janna Ponomareva Natalia Prozoumenchtchikova Anna Rostovtseva Tatiana Terekhova
Tenor I
Alexandrc Detinkine Denis Kirillov Maxim Koshcvarov Andrei Leibov Garik Maroian Artem Melikhov Oleg Trofimov Daniil Vassiliev
Tenor II
Serguei Bcrdychev Stanislav Dmitriev Viktor Korbukov Oleg Sokolov
Bass I
Nikita Andreev Yuri Bazhitov Alexandr Belyaev Nikolay Kurbatov Mikhail Leontiev Oleg Radtchenko Andrei Reimers Petr Stroukov Dmitry Tsouvarev
Bass II
Vladimir Buklaginc Ilia Derbilov Vladimir Feliaouer Anatoli Galaktionov Vladimir Miller Alexandr Ort Andrei Pavlov-Arbenin Serguei Zykov
Assistant Conductors
Lioudmila Chernushenko Jai Kyung Lee
Stage Manager Tatiana Ivanov;
US Tour Manager Angel B. Gardner
UMS
presents
St. Petersburg State m Academic Capella Choir
Vladislav Chernushenko,
Artistic Director and Chief Conductor ;
All-Night Vigil (Vespers), Op. 37
Sergei Rachmaninoff
No. 1: Come, Let Us Worship
Amin'. Priidite, poklonimsia
Tsarevi nashemu Bogu. -
Priidite, poklonimsia i pripadem Hristu Tsarevi nashemu Bogu. Priidite, poklonimsia i pripadem samomu Hristu Tsarevi i Bogu nashemu. Priidite, poklonimsia i pripadem Yemu.;
No. 2: Bless the Lord, O My Soul '
Blagoslovi, dushe moya, Ghospoda,
blagosloven yesi, Ghospodi.
Ghospodi Bozhe moy, vozvelichilsia yesi zelo.
Blagosloven yesi, Ghospodi.
vo ispovedaniye i v velelepotu obleklsia yesi."
Blagosloven yesi, Ghospodi. .?
Na gorah stanut vodi.
Divna dela Tvoya, Ghospodi.
Posrede gor proydut vod'f. i ' ?
Divna dela tvoya, Ghospodi.
Fsia premudrostiyu sotvoril yesi.
Slava Ti, Ghospodi, sotvorivshemu fsia..-. .-_
Psalm W3[ 1041:1-2, 6, 24
@@@@!
?'$1
Amen. Come, let us worship
God, our King. ?.-,
Come, let us worship and fall down before Christ, our King and our God. Come, let us worship and fall down before the very Christ, our King and our God. Come, let us worship and fall down before Him.
Bless the Lord, O my soul,
blessed art Thou, O Lord. :
O Lord my God, Thou art very great. ""
Blessed art Thou, O Lord.
Thou art clothed with honor and majesty.
Blessed art Thou, O Lord.
The waters stand upon the mountains. -
Marvelous are Thy works, O Lord. -,? ?"?-
The waters flow between the hills. . ?
Marvelous are Thy works, O Lord.
In wisdom hast Thou made all things.
Glory to Thee, O Lord, who hast created all!
No. 3: Blessed Is the Man
Blazhen muzh, izhe ne ide
na sovet nechestiv'ih. Alliluiya, alliluiya, alliluiya.
Yako vest' Ghospod' put' pravednih i put' nechestivih pogibnet. Alliluiya....
Rabotayte Ghospodevi so strahom,
i raduytesia Yemu s trepetom. Alliluiya__
Blazheni fsi nadeyushchiisia nan". Alliluiya....
Voskresni, Ghospodi, spasi mia, Bozhe moy. Alliluiya....
Ghospodne yest' spaseniye i na liudeh Tvoih blagosloveniye Tvoye. Alliluiya__
Slava Ottsu, i Sinu, i Sviatomu Duhu, i nine i prisno, i vo veki vekov. Amin'.
Alliluiya, alliluiya, alliluiya. Slava Tebe, Bozhe. Psalm 1:1, 6; 2:11, 12; 3:8, 9
No. 4: Gladsome Light
Svete tihiy sviatiya slavi,
Bessmertnago
Ottsa nebesnago, Sviatago, Blazhennago, Iisuse Hriste.
Prishedshe na zapad solntsa, videvshe svet vecherniy, poyem Ottsa, Sina i Sviatago Duha, Boga. Dostoin yesi vo fsia vremena Pet biti glasi' prepodobnTmi, Sine Bozhi'y, zhi'vot dayay, temzhe mir tia slavit. :
Blessed is the man, who walks not in
the counsel of the wicked. Alleluia, alleluia, alleluia.
For the Lord knows the way of the righteous, but the way of the wicked will perish. Alleluia....
Serve the Lord with fear
and rejoice in Him with trembling. Alleluia....
Blessed are all who take refuge in Him. Alleluia....
Arise, O Lord! Save me, O my God! Alleluia__
Salvation belongs to the Lord; and Thy blessing be upon Thy people. Alleluia....
Glory to Father, Son, and Holy Spirit,
both now and ever, and unto ages of ages. Amen.
Alleluia, alleluia, alleluia. Glory to Thee, O God!
Gladsome Light of the holy glory of the
Immortal One --
the Heavenly Father, holy and blessed -O Jesus Christ!
Now that we have come to the setting of the sun, and behold the light of evening, we praise the Father, Son, and Holy Spirit -God. Thou art worthy at every moment to be praised in hymns by reverent voices. O Son of God, Thou art the Giver of Life; therefore all the world glorifies Thee. .
No. 5: Lord, Now Lettest Thou
Nine otpushchayeshi' raba Tvoyego, Vladiko, po glagolu Tvoyemu s mirom, yako videsta ochi moi spaseniye Tvoye, yezhe yesi ugotoval pred litsem
vseh liudey,
svet vo otkroveniye yazikov, i slavu liudey Tvoih Izrailia.
St. Luke 2:29-32
No. 6: Rejoice, O Virgin
Bogoroditse Devo, raduysia, Blagodatnaya Mariye, Ghospod' s Toboyu. Blagoslovenna Ti v zhenah, i blagosloven Plod chreva Tvoyego, yako Spasa rodila yesi dush nashih.
No. 7: Verses before the Six Psalms
Slava v vishnih Bogu, i na zemli mir, 'iEfiJi
v chelovetseh blagovoleniye. Ghospodi, ustne moi otverzeshi, ' i usta moya vozvestiat hvalu Tvoyui
St. Luke 2:14; Ps. 51:15
@@@@No. 8: Praise the Name of the Lord :
i Hvalite imia Ghospodne. Alliluiya.}
Hvalite, rabi Ghospoda. Alliluiya. ] Blagosloven Ghospod' ot Siona, zhiviy vo lyerusalime. Alliluiya. Ispovedaytesia Ghospodevi, yako blag. Alliluiya, alliluiya. ....
Yako v vek milost Yego. Alliluiya. '"' Ispovedaytesia Bogu nebesnomu. ' Alliluiya, alliluiya. '
Yako v vek milost Yego. Alliluiya. i
Psalm 135:1,21; 136:1,26
?
. J
Lord, now lettest Thou Thy servant depart in peace, according to Thy word, for mine eyes have seen Thy salvation, ' which Thou hast prepared before the face of
all people --
a light to enlighten the Gentiles, and to be the glory of Thy people Israel.
IB! 1
'-A
Rejoice, O Virgin Theotokos,
Mary full of grace, the Lord is with Thee;
Blessed art Thee among women,
and blessed is the Fruit of Thy womb, :
for Thou hast borne the Savior of our souls.
@@@@Glory to God in the highest,
and on earth peace, .;
good will among men. ;'
O Lord, open Thou my lips,
and my mouth shall proclaim Thy praise
Praise the name of the Lord. Alleluia.
Praise the Lord, O you His servants. Alleluia.
Blessed be the Lord from Zion,
He who dwells in Jerusalem. Alleluia.
O give thanks unto the Lord, for He is good.
Alleluia, alleluia.
For His mercy endures forever. Alleluia. ?-??
O give thanks unto the God of Heaven. ,j
Alleluia, alleluia. -i
for His mercy endures forever. Alleluia. '
No. 9: Blessed Art Thou, O Lord
Blagosloven yesi, Ghospodi, nauchi mia opravdaniyem Tvoim.
Angel'skiy sobor udivisia,
zria Tebe v mertvih vmenivshasia,
smertnuyu zhe, Spase, krepost' razorivsha,
i s Soboyu Adama vozdvigsha,
i ot Ada fsia svobozhdsha.
Blagosloven yesi, Ghospodi, nauchi mia opravdaniyem Tvoim.
"Pochto mira s milostivnimi slezami,
0 uchenits'i, rastvoriayete" Blistayaysia vo grobe Angel,
mironositsam veshchasha: "Vidite vi grob, i urazumeyte: Spas bo voskrese ot groba."
Blagosloven yesi, Ghospodi, nauchi mia opravdaniyem Tvoim.
Zelo rano mironositsi techahu ko grobu Tvoyemu ndayushchiya, no predsta k nim Angel, i reche: "Ridaniya vremia presta, ne plachite, ;
voskreseniye zhe .;
Apostolom rts'ite."
Blagosloven yesi, Ghospodi, :
nauchi mia opravdaniyem Tvoim.
Mironositsi zheni s miri prishedshi'ya ko grobu Tvoyemu, Spase, ridahu. Angel zhe k nim reche, glagolia: "Chto s mertvimi zhivago pomishliayete Yako Bog bo voskrese ot groba!"
Slava Ottsu, i Sinu,
i Sviatomu Duhu. ?
Poklonimsia Ottsu, i Yego Sinovi, . .
i Sviatomu Duhu, j
Sviatey Troitse vo yedinom sushchestve' s Serafim'i zovushche: ;
"Sviat, sviat, sviat, yesi Ghospodi!" "
1 nine, i prisno, i vo veki vekov. Amin'.
Zhiznodavtsa
rozhdsh'i,
greha, Devo, Adama izbavila yesi. Radost' zhe Yeve v pechali mesto podala yesi;: padshiya zhe ot zhizni, k sey napravi, ' "" iz Tebe voplotiviysia Bog i Chelovek. -rs.
Alliluiya, alliluiya, alliluiya, slava Tebe, Bozhe!"
Blessed art Thou, O Lord, teach me Thy statutes.
The angelic host was filled with awe, '..-..
when it saw Thee among the dead. By destroying the power of death, O Savior, Thou didst raise Adam, ,
and save all men from hell!
Blessed art Thou, O Lord, ?'
teach me Thy statutes.
"Why do you women ' mingle myrrh with your tears"
cried the radiant angel in the tomb .-.
to the myrrhbearers. "-Behold the tomb and understand!
The Savior is risen from the dead!" '-.
Blessed art Thou, O Lord, teach me Thy statutes.
Very early in the morning -;
the myrrhbearers ran with sorrow to Thy tomb, but an Angel came to them and said: "The time for sorrow has come to an end! 4a Do not weep, but announce the resurrection ? to the apostles!" ;
Blessed art Thou, O Lord,
teach me Thy statutes. ?
The myrrhbearers were sorrowful ,.,... .?
as they neared Thy tomb, ;
but the Angel said to them:
"Why do you number the living among the dead
Since He is God, He is risen from the tomb!"-4
Glory to the Father and to the Son ??
and to the Holy Spirit.
We worship the Father, and His Son,
and the Holy Spirit: ,
the Holy Trinity, one in essence! We cry with the Seraphim: "Holy, Holy, Holy art Thou, O Lord!" Vr.--
Both now and ever, and unto ages of ages. Amen.
Since Thou didst give birth to the Giver of Life,
O Virgin,
Thou didst deliver Adam from his sin! Thou gavest joy to Eve instead of sadness! The God-man who was born of Thee 4
has restored to life those who had fallen from it!
Alleluia, alleluia, alleluia! Glory to Thee, O God!
No. 10: Having Beheld the Resurrection
Voskreseniye Hristovo videvshe, poklonimsia Sviatomu Ghospodu Iisusu, yedinomu Bezgreshnomu. Krestu Tvoyemu pokloniayemsia, Hriste, i sviatoye voskreseniye Tvoye poyem i slavim: Ti bo yesi Bog nash, razve Tebe
inogo ne znayem, imia Tvoye imenuyem. Priidite fsi vernii,
poklonimsia sviatomu Hristovu voskreseniyu: se bo priide krestom radost fsemu miru, fsegda blagosloviashche Ghospoda, poyem voskreseniye Yego: raspiatiye bo preterpev, smertiyu smert' razrushi.
No. 11: My Soul Magnifies the Lord
Velichit dusha moya Ghospoda,
i vozradovasia duh moy o Boze Spase moyem.
Refrain:
Chestneyshuyu Heruvim ;
i slavneyshuyu bez sravneniya Serafini, "-?' bez istleniya Boga Slova rozhdshuyu, sushchuyu Bogoroditsu Tia velichayem.
Yako prizre na smireniye rab'i Svoyeya, "?-. se bo otni'ne ublazhat j
mia fsi rodi. Refrain.
Yako sotvori nine velichiye Sil'niy,
i sviato imia Yego,
i milost' Yego v rodi rodov boyashchimsia Yego.
Refrain.
Nizlozhi sil'niya so prestol, ;
i voznese smirenniya,
alchushchiya ispolni blag,
i bogatiashchiyasia otpusti tshchi. ;
Refrain. ,_ '
Vospriyat Izrailia, otroka Svoyego,' pomianuti milosti, '''J-
yakozhe glagola ko ottseni nashini, Avraamu i semeni yego dazhe do veka. ! Refrain. '
St. Luke, 1:46-55 i "
Having beheld the resurrection of Christ,
let us worship the holy Lord Jesus,
the only Sinless One.
We venerate Thy Cross, O Christ,
and we hymn and glorify Thy holy resurrection,
for Thou art our God, and we know no
other than Thee; we call on Thy name. Come, all you faithful, let us venerate Christ's holy resurrection. For, behold, through the cross joy has come into all the world. Ever blessing the Lord, ?:'?.
let us praise His resurrection, :
for by enduring the cross for us, vj He has destroyed death by death.
My soul magnifies the Lord,
and my spirit rejoices in God my Savior.
Refrain:
More honorable than the Cherubim ' '
and more glorious beyond compare than the Seraphim,
without corruption
Thou gavest birth to God the Word,
For He has regarded the low estate of His handmaiden. For behold, henceforth all generations will
call me blessed. Refrain.
For He who is mighty has done great things for me, and holy is His name, and His mercy is on those
who fear Him from generation to generation__
Refrain &
He has put down the mighty from their thrones,
and has exalted those of low degree; ,
He has filled the hungry with
good things, and the rich He has sent empty away.
Refrain .
He has helped His servant Israel,
.11 1WIH.111U1OUU. vi "U invivj,
as He spoke to our fathers,
to Abraham and to his posterity forever
Refrain. ,'
No. 12: The Great Doxology
Slava v vishnih Bogu, i na zemli mir, v chelovetseh blagovoleniye. Hvalim Tia, blagoslovim Tia, klaniayem Ti sia, slavoslovim Tia, blagodarim Tia, velikiya radi slavi Tvoyeya. Ghospodi, Tsariu nebesn'iy, Bozhe Otche Fsederzhiteliu. Ghospodi, Sine yedinorodniy, Iisuse Hriste, i SviatTy Dushe. Ghospodi Bozhe, Agnche Bozhi'y, Sine Otech', vzemliay greh mira,
nnmiluv nas: jRSRSf" '"rj"1
vzemliay grehi mira, '''
? priimi molitvu nashu. ----? fSediay odesnuyu Ottsa, ..pomiluy nas.
;. Yako Ti yesi yedin sviat,
Ti yesi yedin Ghospod', Iisus Hristos,
v slavu Boga Ottsa. Amin'. {!
Na fsiak den' blagoslovliu Tia
i vos'hvaliu Imia Tvoye vo veki i v vek veka.""" Spodobi, Ghospodi, v den' sey
? bez greha sohranitisia nam.
? Blagosloven yesi, Ghospodi, Bozhe otets nashih, '.' i hval'no i proslavleno Imia ??? '? Tvoye vo veki. Amin'. ., ,.-.
? Budi, Ghospodi, milost' Tvoya na nas,' '. yakozhe upovahom na Tia. ?0$i0j$
Blagosloven yesi, Ghospodi, ?
nauchi mia opravdaniyem Tvoim. i Ghospodi, pribezhishche bil yesi nam ] j, v rod i rod. ;
I Az reh: Ghospodi, pomiluy mia, i i'. istseli dushu moyu, yako sogreshih Tebe. " Ghospodi, k Tebe pribegoh, 'f nauchi mia tvoriti voliu Tvoyu, .',"""" ' ? yako Ti yesi Bog moy, i
f' yako u Tebe istochnik zhivota; vo svete Tvoyem uzrim svet. '{', Probavi milost' Tvoyu vedushchim Tia. i
t' Sviatiy Bozhe, Sviatiy Krepkiy,
?Sviatiy Bessmertniy, pomiluy nas. ;
Glory to God in the highest, and on earth peace,
Good will toward men. ,-------
We praise Thee, we bless Thee, ?
we worship Thee, we glorify Thee,
we give thanks to Thee for Thy great glory.
O Lord, Heavenly King,
God the Father almighty.
O Lord, the only begotten Son, -
Jesus Christ and the Holy Spirit.
O Lord God, Lamb of God, Son of the Father,":
who takest away the sin of the world ??'
have mercy on us.
Thou who takest away the sin of the worli receive our prayer. Thou who sittest at the right hand of the Father, have mercy on us. For Thou alone art holy, Thou alone art the Lord, Jesus Christ, to the glory of God the Father. Amen. Every day I will bless Thee and praise Thy name forever and ever Vouchsafe, O Lord, i
to keep us this day without sin. Blessed art Thou, O Lord, God of our fathers,r' and praised and glorified is
Thy name forever. Amen. ? '????=
Let Thy mercy, O Lord, be upon us, 1 as we have set our hope on Thee. : Blessed art Thou, O Lord, .5
teach me Thy statutes. j Lord, Thou has been our refuge " from generation to generation.I said: Lord, have mercy on me, heal my soul, for I have sinned against Thee. v. Lord, I flee to Thee, ;
teach me to do Thy will, ;
for Thou art my God; ? ? ?-for with Thee is the fountain of life,; and in Thy light we shall see light. Continue Thy mercy on those who know Thee.
Holy God, Holy Mighty, Holy Immortal, have mercy on us. . jj "
Slava Ottsu, i Si'nu,
i Sviatomu Duhu,
i nine i prisno, i vo veki vekov. Amin. Sviatiy Bessmertn'iy, pomiluy nas.
Sviatiy Bozhe, Sviatiy Krepkiy, Sviatiy Bessmertn'iy, pomiluy nas.
Dnes' spaseniye miru bi'st, poyem Voskresshemu iz groba i NachaPniku zhi'zni nasheya; razrushiv bo smertiyu smert', pobedu dade nam i veliyu milost'.
No. 14: Thou Didst Rise from the Tomb
Voskres iz groba i uzi r
asterzal yesi Ada, razrushil yesi osuzhdeniye smerti,
Ghospodi,
fsia ot setey vraga izbaviviy, yavivi'y zhe Sebe Apostolom Tvoim, poslal yesi ya na propoved', i temi mir Tvoy
podal yesi, Yedine Mnogomilostive.
No. 15: To Thee, the Victorious Leader
Vzbrannoy voyevode pobeditel'naya,
yako izbavl'shesia ot zlih,
blagodarstvennaya vospisuyem Ti
rabi Tvoi, Bogoroditse:
no yako imushchaya derzhavu nepobedimuyu,
ot fsiakih nas bed svobodi,
da zovem Ti:
"Raduysia, Nevesto nenevestnaya!'
Glory to the Father, and to the Son,
and to the Holy Spirit, both now and ever and unto ages of ages. Arrien. Holy Immortal, have mercy on us.
Holy God, Holy Mighty, Holy Immortal, ?: have mercy on us.
Today salvation has come to the world.
Let us sing to Him who rose from the dead,.
the Author of our life. jj_
Having destroyed death by death,
He has given us the victory and great mercy.
Thou didst rise from the tomb and burst
the bonds of Hades! Thou didst destroy the condemnation of death,
O Lord, y
releasing all from the snares of the enemy! -' -? Thou didst show Thyself to Thine Apostles, and didst send them forth to proclaim Thee; i and through them didst grant Thy peace
to the world, M
O Thou Who art plenteous in mercy! M
To Thee, the victorious Leader of triumphant hosts,
we Thy servants, delivered from evil,
offer hymns of thanksgiving,
O Theotokos!
Since Thou dost possess invincible might, JBitfe
set us free from all calamities,
so that we may cry to Thee:
"Rejoice, O unwedded Bride!" '?'''"'
Prue and Ami Rosenthal
present
Chava Alberstein
Chava Alberstein, Vocals and Acoustic Guitar Oved Efrat, Acoustic Guitar Avi Agababa, Percussion
Saturday Evening, November 8, 2003 at 8:00 Rackham Auditorium Ann Arbor
Tonight's program will be announced by the artists from the stage.
21st Performance of the 125th Annual Season
Ninth Annual World 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 Prue and Ami Rosenthal. Additional support provided by media sponsor Detroit Jewish News.
Special thanks to Jeffrey Y. Levin and the Jewish Federation of Washtenaw County for their participation in this residency.
Chava Alberstein appears by arrangement with Aviv Productions, Inc.
Large print programs are available upon request.
hava Alberstein is undoubtedly Israel's most accomplished singer, ' named the most important female musician in the country's history by Israel's largest daily newspaper. Of her nearly 50 recordings released since the late 1960s, a dozen of the records have gone gold, six platinum, and one triple platinum. Ms. Alberstein is Israel; her development as an artist mirrors Israel's development as a country; her growing pains are Israel's growing pains. Ms. Alberstein and Israel are even the same age (both recently turned 50) and they both share a tiny but powerful stature.
But Ms. Alberstein sees herself as much a singer of the world as just a singer of her beloved country. "Even though I have lived in Israel nearly my entire life, I am constantly questioning my place in the world," says Ms. Alberstein. "Maybe this searching comes from being an artist, maybe it comes from being a Jew. I'm not really sure."
This bittersweet tension between the national and the universal is evident in all of her record?ings. They range from tender love songs to defi?ant songs about peace and oppression. There are prayerful songs celebrating the beauty of the human form and more melancholy songs about loss, poverty, and solitude.
Ms. Alberstein recently released The Well, an album of Yiddish poems she transformed into folk songs, with the renowned klezmer group the Klezmatics. "In Israel, you would be hard-pressed to find anyone today composing and singing in Yiddish," said Klezmatics lead singer Lorin Sklamberg. "Some people still see Yiddish as the language of soft Jews who can't protect themselves. But Chava understands the joy and depth of the language." i
Yiddish was the mother-tongue of Ms. Alberstein's family in the small town of Szczecin, Poland, where Chava was born. Her family moved to Israel when she was only four-years old, but Ms. Alberstein says she has never totally lost the feeling of being a stranger.
"No matter where I am, even if it's in my own country, I feel like a bit of a guest," she said. "People can appreciate this today, because they move around so much. Every country you go to in the world is filled with so-called 'for?eigners.'"
Ms. Alberstein has released more than 40 albums in Hebrew, six of which have been awarded the Kinor David prize, Israel's equiva?lent of the US Grammy. She has also released seven albums in Yiddish and an English album of standards ranging from Gershwin to Lennon and McCartney.
This evening's performance marks Chava Alberstein's UMS debut.
presents
Doudou N'Diaye Rose
with
Les Rosettes
Doudou N'Diaye Rose, Artistic Director
Tuesday Evening, November 11, 2003 at 8:00 Michigan Theater Ann Arbor
Baifall
Les Rosettes
INTERMISSION
Saouroubas
Sabar
Finale
All music composed by Doudou N'Diaye Rose.
22nd Performance of the 125th Annual Season
Ninth Annual World 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 presentation is supported by the Heartland Arts Fund, a program of Arts Midwest funded by the National Endowment for the Arts with additional contributions from General Mills Foundation, Land O'Lakes Foundation, Sprint Corporation, and Michigan Council for Arts and Cultural Affairs.
Additional support provided by media sponsors WEMU and Metro Times.
Special thanks to the African American Arts and Culture Society, Nzinga Aye, Black Folk Arts, Inc., Glenda Dickerson, Latifa Diop, Hakamma Vocal and Percussion Ensemble, Beth James, Kahemba Kirwana, Mame Marie, Jahra McKinney-Hakamma, Ibrahima Niang, Carol Richardson, Mary Weed, U-M Center for AfroAmerican and African Studies, and U-M Center for World Performance Studies for their participation in this residency.
Doudou N'Diaye Rose and Les Rosettes appear by arrangement with Columbia Artists Management, LLC.
Large print programs are available upon request.
Baifall
This piece includes 35 musicians on stage and features the Kliine instrument as well as the M'Balax -the rhythm section played by the Lamb and the Meung Meung.
Les Rosettes
Doudou N'Diaye Rose founded this company of female percussion artists 30 years ago. The piece enlists 20 musicians on stage and features a call-and-response directed by Doudou N'Diaye Rose. Instruments used are Sabars and the M'Balax rhythm section (featuring Lamb and Meung Meung).
Saouroubas
This piece includes 35 musicians on stage including a ladies' chorus. The movement features the following instruments: Saouroubas, Assicots, and Bougarabous.
Sabar
The Sabars is Doudou N'Diaye Rose's most famous instrument. This piece features Mr. Rose with his entire ensemble.
Finale
With 35 musicians on stage, this piece features the Sabars, Meung Meung, Lamb, N'Der, Gorom Babass, Saouroubas, Khine, Assicots, and Bougarabous.
nder the direction of Doudou N'Diaye Rose, the Drummers of West Africa are not only the most renowned drum ensemble of West Africa but are one of the most revered percussion ensembles in the world. The Drummers, all members of Mr. Rose's family, have toured the capitals of Europe and South America to critical acclaim and were recently the opening attraction of the 50th Annual Cannes Film Festival.
Doudou N'Diaye Rose, the chief drum major of Dakar, Senegal, is a living legend. Although his family did not want him to pursue music, he was fascinated as a child by the magic of the
drum. Over the years he learned all of the finer points of percussion, becoming the greatest drummer of his country. Both a guardian of tradition and an untiring innovator, this virtu?oso percussionist is also a true conductor, just as the great conductors of symphony orchestras.
Mr. Rose has undertaken an enormous amount of research, met the greatest poet-musicians of West Africa, and has meticulously catalogued the innumerable rhythms that punctuate the life and ceremonies of Senegalese society. He knows the power of traditional rhythms and respects the strict conditions under which they should be interpreted. However, he also experiments with new instru?mental techniques, has considerably enlarged the size of the groups that he conducts (up to 100 drummers), and composes works of power and virtuosity. Mr. Rose has also introduced his daughters and granddaughters to the art of per?cussion and formed a group of female drum?mers, Les Rosettes, a revolutionary concept at the time of their formation. Les Rosettes have become revered instrumentalists in their own right, appearing on stages across Europe.
For the last 15 years, Mr. Rose has experienced international attention and admiration. He has traveled internationally performing and collab?orating with artists including the Rolling Stones, Peter Gabriel, and the late Miles Davis and Dizzy Gillespie. All forms of music interest him, and he continues to hold the opinion that natu?ral rhythms and tempos are intrinsically found in composed music regardless of genre.
Doudou N'Diaye Rose also loves to meet the public and share his expertise. He leads percus?sion workshops in Japan, France, Africa, and the US, where he brought his company for an extensive tour in 2000. He goes to schools and suburbs to spread his love of rhythm, of music, and of meeting and sharing with people, always acting as a true cultural ambassador for his country and an icon of his art form.
Tonight's performance marks Doudou N'Diaye Rose's second appearance under UMS auspices. Mr. Rose made his UMS debut in February 2000. Tonight's performance also marks Les Rosettes's UMS debut.
UMS presents
Charles Lloyd Quintet
Charles Lloyd, Tenor Saxophone, Flute, Taragato
Geri Allen, Piano
John Abercrombie, Guitar
Robert Hurst, Bass
Eric Harland, Drums
Thursday Evening, November 13, 2003 at 8:00 Michigan Theater Ann Arbor
Tonight's program will be announced by the artists from the stage.
23rd Performance of the 125th Annual Season
Tenth Annual Jazz Series
The photographing or sound recording of this concert or possession of any device for such photo?graphing or sound record?ing is prohibited.
Presented with support from JazzNet, a program of the Nonprofit Finance Fund, funded by the Doris Duke Charitable Foundation and the National Endowment for the Arts.
Additional support provided by media sponsors WEMU, WDET, and Metro Times.
The Steinway piano used in this evening's performance is made possible by Hammell Music, Inc., Livonia, Michigan.
The Charles Lloyd Quintet appears by arrangement with Maurice Montoya Music Agency.
Large print programs are available upon request.
redited by many musicians with antici?pating the popularity of "world music" as early as the late 1950s, Charles Lloyd describes his music as having "danced on many shores." From the moment he first came to prominence, Mr. Lloyd began to take audiences on journeys that traversed enormous distances. His compositions have punctuated the post-bop period, embraced the traditional music of a host of world cultures, and ciphered the psychedelic 1960s with avant-garde improvisation.
Mr. Lloyd was born in Memphis in 1938 of African, Cherokee, Mongolian, and Irish descent. He was given his first saxophone at the age of nine and grew up riveted to radio broad?casts by Charlie Parker, Coleman Hawkins, Billie Holiday, and Duke Ellington. As a teenag?er Mr. Lloyd performed with saxophonist George Coleman and was a sideman for blues greats Johnny Ace, Howlin' Wolf, and B.B. King.
Mr. Lloyd moved to Los Angeles in 1956 to earn his Master's degree in music at USC. While his days were spent in academia, he spent nights in LA's jazz clubs playing with Ornette Coleman, Billy Higgins, Charlie Haden, Bobby Hutcherson, and other leading West Coast jazz artists.
In 1960 Mr. Lloyd became music director of Chico Hamilton's group, and in 1965 he formed his own quartet, a brilliant ensemble that intro?duced pianist Keith Jarrett, drummer Jack Dejohnette, and bassist Cecil McBee. The resulting album, Forest Flower (1966), made history as one of the first jazz recordings to sell one million copies, and the album became a stunning crossover success that appealed to a popular mass market and gained heavy airplay on FM radio. The Quartet was the first jazz group to appear at the famed Fillmore Auditorium in San Francisco.
The Quartet was invited to tour the world in 1967 and its performances in the Eastern Bloc nations of Europe often marked the first time audiences had heard an American jazz group live. At the peak of the Cold War in 1967, Mr. Lloyd made headlines once again, when the Quartet became the first jazz group from the
US to play in the USSR by invitation of the Soviet people rather than through government sponsorship.
In 1989, seven years after he had made his last album, Charles Lloyd returned to the studio to record for ECM Records. The project marked the beginning of a new wave of his composi?tions and recordings. The death of Mr. Lloyd's long time friend and musical collaborator, drummer Billy Higgins, in May 2001, marked the end of an era in his musical journey. Hyperion With Higgins was released later in the year as a poignant reminder of the unique rela?tionship between these two men. In the spring of 2004 ECM will release the last recording that Charles Lloyd made with Billy Higgins three months before Mr. Higgins died. It will be accompanied by a DVD documentary of the meeting between these two men.
Tonight's performance marks Charles Lloyd and the Charles Lloyd Quintet's UMS debuts.
orn 1944 in Port Chester, NY, John Abercrombie grew up in Greenwich, Connecticut, and began playing the guitar at the age of fourteen.
__ An offer to tour with organist
Johnny Hammond led to going on the road for weeks at a time, playing such spots as Count Basic's Lounge and the Club Baron in Harlem. In 1969, following graduation from Boston's Berklee College of Music, Mr. Abercrombie decided to head south in hopes of breaking into the New York music scene. In the next few years he developed into one of New York's most in-demand session musicians. He recorded with Gil Evans, Gato Barbieri, and Barry Miles, and became a regular musician in Chico Hamilton's group.
It was as the guitarist in Billy Cobham's band that John Abercrombie first began attracting widespread attention among the general public. Shortly thereafter, at the Montreux Festival, Mr. Abercrombie ran into ECM Records' Manfred Eicher who invited him to record an album for the record label. Gateway was released in November, 1975; it marked the first collabora?tive effort of Mr. Abercrombie with Jack Dejohnette and bassist Dave Holland.
Mr. Abercrombie's affinity for jazz standards complements his role as an active clinician and teacher. While preparing for a Harvard lecture, where he surveyed the history of jazz guitar, he explained, "When I'm playing tunes like 'Autumn Leaves' or 'Stella By Starlight,' as much as I've played those tunes over the years, I still enjoy playing them. And because I know them so well, I'm very free with them. I'm just as free with them as when I'm playing no chords at all. That, to me, is free jazz."
John Abercrombie possesses a unique voice as a jazz guitarist combining evolving technolo?gies with a tradition well represented by jazz standards.
Tonight's performance marks John Abercrombie's UMS debut.
eralded as "one of the most original and in-demand musicians of her generation" by Jazz Times and "the most versatile jazz musicians to emerge in the past decade" by Atlantic Monthly, pianist Geri Allen is a true standout of her generation.
Geri Allen was born in Detroit on June 12, 1957. She was studying piano by age seven and went on to study at the Jazz Development Workshop under the tutelage of trumpeter Marcus Belgrave, drummer Roy Brooks and pianist Harold McKinney. She also attended Detroit's famous magnet music school, Cass Technical High School. After receiving a BA from Howard University, Ms. Allen went on to earn a Masters in Ethnomusicology from the University of Pittsburgh.
In the early-1980s, Ms. Allen quickly became an influential player on the New York jazz scene. In 1994, she recorded with hip-hopfunk bassist, Me'shell Ndgeocello, and the following year was crowned with a Lady of Soul award for "Jazz Album of the Year" at the first Soul Train Awards. In 1996, she graced the big screen, playing the role of pianist Mary Lou Williams in the Robert Altman film, Kansas City. A for?mer member of the Black Rock Coalition, she was the first woman to receive Denmark's pres?tigious JAZZPAR Prize, and participated in Ornette Coleman's long anticipated Sound Museum. Soon afterwards, Ms. Allen composed a piece commissioned by choreographer Donald Byrd entitled Jazz Train.
Geri Allen first performed with Charles Lloyd at Lincoln Center in 1996 as part of a benefit concert for master drummer Billy Higgins. Over the years that followed she occasionally performed with Mr. Lloyd for special events. After the events of 911 he asked her to join him for his acclaimed recording Lift Every Voice.
Tonight's performance marks Geri Allen's UMS debut.
ric Harland seems destined for great?ness. At the age of 25 his accomplish?ments include performances and recordings with a long list of "who's who" in the world of jazz including Terence Blanchard, Joe Henderson, Greg Osby, Ravi Coltrane, Betty Carter, Stefon Harris, Jason Moran, and McCoy Tyner. In 1998 he appeared on Downbeat Reader's Poll in the "Best New Talent" category. iH
Mr. Harland left his hometown of Houston, Texas, to attend the Manhattan School of Music. It wasn't long before word of his talent and sen?sitivity on the drums spread, and in 1995 he recorded with guitarist Rodney Jones. In 1996 he toured with Greg Osby, which lead to his working with Betty Carter and Jazz Ahead until her death in 1998. At that time an invitation arrived to join Terence Blanchard's group. During this period he recorded three albums with Mr. Blanchard and participated on the soundtracks for Original Sin, Bamboozle, Summer of Sam, Glitter, Jim Brown, and Bojangles.
During the summer of 2002 he toured with McCoy Tyner's band, and is on Mr. Tyner's current release Land of the Giants.
In the fall of 2002 Charles Lloyd asked Eric Harland to join his band.
Tonight's performance marks Eric Harland's UMS debut.
obert Hurst is a highly respected and well-recognized composer, bassist, educator, and recording artist. His cultivation into a membership of talented musicians from around the world was fostered by lengthy tours and Grammy Award-winning recordings featuring Charles Lloyd, Wynton Marsalis, Dave Brubeck, Terence Blanchard, Tony Williams, Branford Marsalis, Nicholas Payton, Sting, and the legendary Pharoah Sanders.
Mr. Hurst has won four Grammy Awards as well as international critical acclaim for his musicianship. Mr. Hurst has also enjoyed
directing, arranging, and composing for NBC's The Tonight Show with Jay Leno for nearly a decade. He has scored original music for several films, including The Wood, an MTV Paramount Production; performed music for Ocean's Eleven; and scored music for Brown Sugar, by Fox Films.
Mr. Hurst has been involved with the Education of Jazz and Jazz History beginning at a very young age. During the 1980s, he was awarded a Presidential Scholarship from President Ronald Reagan. Mr. Hurst was recent?ly appointed to the Board of Directors of the John Coltrane Foundation.
In addition to recording, Mr. Hurst conducts master classes for several institutions of higher learning including the Thelonius Monk Institute of Jazz at USC, The Juilliard School, and the Stanford Jazz Workshop and Festival, and teaches as a faculty member at California 5 State University, Northridge, CA. 1
Robert Hurst and his family reside in the I New York and Los Angeles areas.
Tonight's performance marks Robert Hurst's UMS debut. "
UMS
and
Pfizer Global Research
and Development
present
In association with 2Luck Concepts, the Shakespeare's Globe
Twelfth Night
(or What You Will)
A Play by William Shakespeare
Mark Rylance, Artistic Director for the Globe
Greg Ripley-Duggan, Executive Producer for the Globe
Tuesday Evening, November 18, 2003 at 8:00 Wednesday Evening, November 19, 2003 at 8:00 Thursday Evening, November 20, 2003 at 8:00 Friday Evening, November 21, 2003 at 8:00 Saturday Afternoon, November 22, 2003 at 2:00 Saturday Evening, November 22, 2003 at 8:00 Sunday Afternoon, November 23, 2003 at 1:00 Sunday Evening, November 23, 2003 at 6:00 Michigan Union Ballroom Ann Arbor
This performance contains one 20-minute intermission.
24th, 25th, 26th, 27th, 28th, 29th, 30th and 31st 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 pho?tographing or sound recording is prohibited.
Special thanks to Ian Bund and to all the friends of Herbert S. Amster, who made this theater season possible.
These performances are 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.
The performances of Shakespeare's Globe Theatre are 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.
Presented with support from the Wallace Foundation.
Additional support for Tuesday evening's performance is provided by Robert and Pearson Macek.
Additional support for Saturday evening's performance is provided by Sue Schroeder, Loretta Skewes, and Dody Viola.
Additional support provided by media sponsor Michigan Radio.
Special thanks to Holly Dugan, Barbara Hodgdon, Jeff Masten, John Neville-Andrews, and Valerie Traub, U-M Department of Theatre and Drama; U-M Institute for Research on Women and Gender; and Washtenaw Community College for their involvement in this residency.
Presented in association with the Michigan Union's 100th Anniversary Celebration.
Shakespeare's Globe Theatre tour is made possible by Virgin Atlantic. Large print programs are available upon request.
The Herbert S. Amster Fund presents the Fourth Annual Theater Series.
The Globe Theatre
Tim Carroll, Master of Play
Jenny Tiramani, Master of Clothing, Properties, and Hangings
Claire van Kampen, Master of Theater Music
Sian Williams, Master of Dance
Keith McGowan, Master of Historical Music, Research, and Arrangements
Stan Pressner, Master of Light
Giles Block, Master of the Words Glynn MacDonald, Master of Movement Stewart Pearce, Master of Voice
Sid Charlton, Company Manager Richard Howey, Globe Production Manager Tony Schondel, US Production Manager
Siobhan Bracke, Casting Director
Richard Kornberg and Associates, Press Relations
Professional Management and Resources, General Management
Duke Orsinio
FabianSea Captain CurioOfficer
ValentinePriestOfficer
Sir Andrew Aguecheek
Liam Brennan Patrick Brennan Michael Brown James Garnon Richard Glaves Peter Hamilton Dyer Terry McGinity Rhys Meredith Mark Rylance Peter Shorey Bill Stewart Timothy Walker Albie Woodington
Musicians
Musical Director
Keith McGowan, Rauschpfeife, Curtal, Recorder, Hautboy, Flute
Andrej Jovanic, Theorbo, Percussion
Sharon Lindo, Rauschpfeife, Curtal, Recorder, Hautboy, Violin Nicholas Perry, Rauschpfeife, Curtal, Recorder, Hautboy, Lizard Keith Thompson, Rauschpfeife, Curtal, Recorder, Hautboy, Flute Tom Hammond, Sackbut, Recorder, Trumpet
Synopsis
elicving her twin brother Sebastian to have drowned during a shipwreck, which she survived, the young Viola [ is stranded on the mysterious coast _ of Illyria. Disguised as the page Cesario, Viola enters the service of the Duke Orsino, who is madly in love with the Countess Olivia. When delivering a love-letter on Orsino's behalf, Viola is horrified when the Countess falls helplessly in love with her, dis?guised as she is as a boy and going by the name of "Cesario." The confusion deepens as we real?ize that Sebastian has also survived, and is at large in a hostile land, quarrelling with his mar?itime savior, Antonio. As Viola secretly harbors a growing affection for Orsino, elsewhere in Olivia's dwellings the "twelfth night" festivities after Christmas are being enjoyed to the full by the Countess's roguish cousin, Sir Toby Belch.
With a surfeit of cakes, ale and uproarious misdemeanors, Belch and his friends -Olivia's hapless suitor Sir Andrew Aguecheek, her "allowed fool" Feste, and gentlewoman Maria -incur the wrath of the steward Malvolio. Appalled at Malvolio's puritanical disapproval, the pranksters plot their revenge by writing him a letter, purporting to come from Olivia, and cryptically confessing undying love for her loyal steward. As a token that her affections are returned, Malvolio, utterly love-struck by the news, is implored to attend his lady smiling, and sport?ing a set of cross garters and yellow stockings.
Upon Malvolio's appearing in this manner, Olivia assumes her steward is mad. Pretending to heed her fears, Belch inflicts the ultimate indignity by binding him up and locking him in a "dark room," attended by Feste disguised as the raving preacher "Sir Topas."
Meanwhile, Sir Andrew too is falling foul of Sir Toby's high jinks. With the help of Fabian, another of his motley associates, Belch con?trives for Aguecheek to confront Viola in a duel for Olivia's affections. As the duel begins, an uncomprehending Antonio draws his sword on Sir Andrew in defense of his co-combatant
Viola, whom he mistakes for his friend Sebastian. Seeking to exact revenge on Viola for his injuries, Sir Andrew gets more than he and a drunken Belch bargained for when they mistakenly inflict vengeance on Sebastian. Interrupting the scuffle, Olivia unknowingly takes the hand of Sebastian, assuming him to be Cesario....
he Globe Theatre is a faithful recon?struction of the open-air playhouse built in 1599, where Shakespeare worked and in which many of his greatest plays were performed. The first theater burned down in 1613. A second theater was built on the same site, but this was pulled down in 1642 and never rebuilt.
The project to reconstruct the Globe was initiated by the Chicago-born actor and direc?tor Sam Wanamaker, who spent decades raising both funds and public interest in Shakespeare's most celebrated theater. The Globe is now one of the best-loved attractions in London and occupies a place at the center of a range of exciting artistic and educational activities.
The theater season runs from May to September at the Globe, with productions of Shakespeare, his contemporaries, and modern authors. The Globe has also welcomed compa?nies from overseas to share the impact Shakespeare's plays have had worldwide.
Each year the Globe Theatre Company rediscovers the dynamic relationship between the audience and the actor in this unique build?ing. It has also taken productions to Middle Temple Hall, the finest Elizabethan interior in London and where the first recorded perform?ance of Twelfth Night took place in 1602. This production was revived as the 400th anniversary production of the play in 2002.
Shakespeare's Globe Exhibition provides an engaging and informed introduction to the theater of Shakespeare's time and the London in which he lived and worked. In the vast UnderGlobe beneath the theater, every aspect of Shakespeare's work is brought imaginatively to life using a combination of modern technology
and traditional crafts. Against the historical background of Elizabethan Bankside -the playground of Elizabethan London -the roles of actor, musician, and audience are explored. A visit to the exhibition usually includes a guided tour of today's working theater.
Globe Education shares discoveries made at the Globe with students, teachers and members of the public of all ages and nationalities through a range of on-site workshops, distance learning programs and seasonal events. Every year, more than 50,000 students take part in educational activities, many of them tailor-made to the specific needs of the group, from primary school to postgraduate level. Each year, Shakespeare's Globe provides approximately ten distinct educational programs for universities throughout the US.
This production marks the Globe Theatres UMS debut.
Biographies
Liam Brennan Duke Orsino
Theater: Seasons and productions with 7:84 Theatre Co., The Traverse, Glasgow Citizens, The Royal Lyceum, Perth Rep, Dundee Rep, The Byre St Andrews, Borderline Theatre, Cumbernauld Theatre, The Brunton Theatre Musselburgh, Salisbury Playhouse, Sheffield Crucible, Durham Theatre Co., Calypso Productions Dublin. Recent work includes title roles in Macbeth and Hamlet (Brunton Theatre); Michael Collins in God Save Ireland (Wiseguise); Matthew Reid in King Of The Fields (Traverse).
Globe: Bolingbroke in Richard II, Edward in Edward II, Count Orsino in Twelfth Night, The Golden Ass, Macduff in Macbeth. TV: High Road, Machair, Bad Boys, Taggart, Strathblair II, and Gas Attack, winner of the Michael Powell Award for "Best Film." Radio: Numerous plays and short stories for the BBC, most recently the title role in Rob Roy.
Patrick Brennan
Antonio
Theater: Outside Edge (New Vic, Staffs); Macbeth, Don Juan (West Yorkshire Playhouse); Fire Eaters (Actors Centre); The Tempest (Derby Playhouse); Light Shining in Buckinghamshire, Schism in England, Entertaining Strangers, Anthony and Cleopatra, King Lear (Royal National Theatre); King Lear, Richard III, The Taming of the Shrew (Ludlow Festival); Song for a Forgotten City (Y Cwmni); Fire Raisers, Casement (Moving Theatre); Glengarry Glenross, Absurd Person Singular (Wolsey Theatre, Ipswich); I Am Joseph Stalin (White Bear, Kennington); Under Milk Wood (Theatre Royal, Bristol); Worlds Apart (Theatre Royal, Stratford East); Twelfth Night (Thorndike, Leatherhead); The Merchant of Venice (Sherman, Cardiff); Threepenny Opera (Hijinx, Cardiff); The Hairy Ape (Bolton Octagon); Best Years of our Lives (Made in Wales, Cardiff); A Clockwork Orange, Romeo and Juliet, Hamlet (RSC); Crimes of the Heart (Phoenix, Leicester); King Lear, Some Kind of Hero (Nottingham Playhouse); Silicon Alley (Nottingham Roundabout).
Globe: Richard II, Edward II, Twelfth Night at Middle Temple Hall, and Macbeth. TV: Cadfael, Wing and Prayer II, The Bill, Midsommer Murders, Every Cloud, Nightshift, Holby City, Order out of Chaos, Brothers and Members, In the Company of Strangers, State of Play.
Radio: Numerous broadcasts for BBC 3, 4 and BBC Radio Wales.
Michael Brown
Viola
Training: LAM DA.
Globe: Queen Isabel in Richard II, Edward II,
Viola in Twelfth Night, and The Golden Ass all at
Shakespeare's Globe.
TV: McCready & Daughter, Doctors, The Vice.
James Garnon :
FabianSea Captain
Training: RADA, graduated 2001. $
Theater: The Tempest, The Winter's Tale, Pericles
(RSC Round House and RST); A Midsummer
Night's Dream, The Blue Room, Les Liaisons
Dangereuses (Theatre Royal, York).
Globe: Dido, Queen of Carthage (Shakespeare's
Globe).
TV: Without Motive.
Richard Glaves
CurioOfficer
Training: Guildhall School of Music and Drama. Theater: Habitat (Royal Exchange, Manchester); The Accrington Pals (Minerva, Chichester); The Clandestine Marriage (Watermill, Newbury); Spike (Nuffield, Southampton); The Boy who Left Home (The Lyric, Hammersmith and UK Tour); A Midsummer Night's Dream (Neuss Shakespeare Festival, Germany); Harvest (Southwark Playhouse). Globe: Richard II, Edward II.
Peter Hamilton Dyer
Feste
Theater: Epicoene in The Silent Woman, A Midsummer Night's Dream (both RSC); The Bacchae (Shared Experience); Luther in The Daughter-in-Law (Haymarket, Basingstoke), The Idiot (The Playground); Miss Julie, Macbeth (Nuffield, Southampton); St Joan (Birmingham Rep); Emma (Cambridge Theatre Co); Mansfield Park (Sheffield Crucible); Richard II, The Moonstone (both Royal Exchange); A Twitch on the Thread (Coventry); The Caretaker, David Copperfield (Dundee Rep); A Christmas Carol (Chichester); Oedipus Rex (Leicester Haymarket). Globe: Twelfth Night at Middle Temple Hall, King Lear.
TV: Doctors, Table Twelve, Eastenders, Doctor Who, People Like Other People.
Terry McGinity
ValentinePriestOfficer Theater: Wind in the Willows (Birmingham Rep.); Romeo and Juliet (Tour); Hamlet (AlmeidaNew York); Julius Caesar (ESC); Don Carlos (Lyric Studio); The Crucible (Sheffield Crucible); Measure for Measure and The Real Don Juan (Oxford Stage Co.); Metamorphosis, The Trial, Fall of the House of Usher, Hamlet (with Steven Berkoff). Globe: Richard II, Edward II, Macbeth, The Tempest, The Two Noble Kinsmen, Augustine's Oak, The Comedy of Errors, Cymbeline (Globe New York Tour).
TV: Strange, Bad Blood, Seekers, Othello, Timon of Athens, Hamlet, All's Well That Ends Well, All the World's a Stage, Casualty, Thin Air, Trelawny of the Wells, Person to Person, Professionals. Film: All Men Are Mortal, Barry Lyndon.
Rhys Meredith gfMtWM:
Sebastian
Training: RADA.
Theater: Wild Duck, Pericles, The Odyssey,
What s In Alaska, The Insatiate Countess, The
Provoked Wife, Saturday Sunday Monday,
Engaged, Hobson's Choice, A Midsummer Night's
Dream (RADA); Mister Paul (Old Red Lion).
Globe: Twelfth Night at Middle Temple Hall.
TV: Manhunt, Fun At The Funeral Parlour,
Charles II, State of Play, Henry VIII.
Radio: Agatha Christie's They Do It With Mirrors,
In a Glass Darkly.
Film: Chasing Sheep.
Mark Rylance (Olivia) was born in England and raised in America. In 1977 the Platteville Summer Shakespeare Festival, of Platteville, Wisconsin, gave him his first paid job as an actor. The following year he returned to England to train at The Royal Academy of Dramatic Art. In 1980, The Citizen's Theatre, Glasgow, Scotland, gave him his first job in Britain. He joined the RSC in 1982, and returned again in 1988 to play Hamlet and Romeo, at which time he was made an associate actor. Having formed his own cooperative the?ater company of actors in 1984, The London
Theatre of Imagination (renamed Phoebus Cart in 1989), and a tour of The Tempest around sacred sites such as English stone circles, brought him to the foundations of the Globe Theatre. In 1991, Sam Wanamaker agreed to have The Tempest performed on the concrete foundations of the Globe site and invited Mr. Rylance to join the Artistic Directorate of the Globe. The Royal National Theatre, The Royal Court Theatre, The Royal Opera House, and The Donmar Warehouse are among the many theaters he has worked for in England. In the US, Mr. Rylance has played Hamlet at the Pittsburgh Public Theatre and at The American Repertory Theatre in Cambridge. For Theatre for a New Audience in New York City, he has played Henry V and Touchstone. The Globe chose him to be the first Artistic Director in 1995. In addition to Walt Whitman, Bob Dylan, Ficino, and Robert Bly, Mr. Rylance would like to acknowledge the help of Rudolf Steiner with voice, and Sir Francis Bacon with philosophy and humor. Mr. Rylance is a friend of the Francis Bacon Research Trust, and Chairman of the Shakespearean Authorship Trust. His film and television work includes Wallenberg: Lost Hero, Angels and Insects, Intimacy, The Institute Bcnjamcnta, Hearts of Fire, The Grass Arena, Love Lies Bleeding, Loving, and Leonardo da Vinci, a drama documentary. He is married to Claire van Kampen and loves his two daughters.
Peter Shorey
Maria
Theater: Privates on Parade (New Vic Theatre, Newcastle-under-Lyme); The Dove (Warehouse Theatre, Croydon); The Importance of Being Earnest, Alice's Adventures in Wonderland (The Dukes Playhouse, Lancaster); Noises Off, Richard III, Kiss of the Spiderwoman, and writer and Dame in eight pantomimes (all Mercury Theatre, Colchester); Bedroom Farce, Macbeth, Chorus of Disapproval, To Kill A Mockingbird (Theatre Royal, York); Someone Who'll Watch Over Me (Salisbury Playhouse); Love at a Loss (Wild Iris at Battersea Arts Centre); The Baby (Wild Iris at The Bush); Anthony & Cleopatra, Hobson's Choice, Grapes of Wrath, Nervous
Women, The Wizard ofOz (Birmingham Repertory Theatre); Compromised Immunity, Paradise Now & Then (Gay Sweatshop at the Drill Hall, London); A Midsummer Night's Dream, Whose Life Is It Anyway, Serious Money, Chorus of Disapproval, Witness for the Prosecution, Thark (Northcott Theatre, Exeter); Kiss of the Spiderwoman, Of Mice and Men, It's A Lovely Day Tomorrow (Belgrade Theatre, Coventry); The Government Inspector, Magicalympical Games (Nottingham Playhouse); The Dresser (Torch Theatre, Milford Haven); three years with the Nottingham Playhouse Roundabout Company; founding member of the Level Theatre, Cleveland.
Globe: Richard II, Edward II, Twelfth Night, The Golden Ass.
TV: Mr. Codger, Black & White & Red All Over, Compromised Immunity, Minder (as Hacksaw Harry), The Bill, Extremely Dangerous, Patagonia. Film: The Crying Game.
Bill Stewart
Sir Toby Belch
Theater: Handling Bach, City Wives Confederacy (Greenwich Theatre); Rough Crossing (Royal Lyceum, Edinburgh); The Green Parakeet (Greenwich Studio Theatre); The Grapes of Wrath (The Crucible, Sheffield); The Europeans, Ego In Arcadia, Victory (The Wrestling School); The Good Person of Sichuan (National Theatre); Hedda Gabler, Soft Shoe Shuffle (Haymarket, Leicester); Sink the Belgrano (Half MoonMermaid); Animal Farm (National Theatre tour); Soft Cops (Royal Shakespeare Company); Clay (Oxford Playhouse); Crime and Punishment, Having A Ball (Lyric, Hammersmith); Terra Nova (Watford Palace); Fearless Frank (Kings Head, London); More Out Than In (The Bush); Stallerhof (Hampstead Theatre Club); 77ie Trial (Roundhouse and European tour); Shivers (Royal CourtJoint Stock). Globe: Richard II, Edward II, Twelfth Night, The Golden Ass, Henry V, A Chaste Maid in Cheapside. TV: The Scarlet Pimpernell, Liverpool I, A Touch of Frost, In the Cold Light of Day, Knowing Me Knowing You, Wimbledon Poisoner, Lovejoy, GBH, A Beetle Called Derek, The Bill, Bergerac, Dramarama, My Brother Johnathan, Eastenders,
Out of the Blue, Casualty, Heartbeat, Black Hearts in Battersea, Oasis, Once Upon A Time In The North, The Men's Room, What's Your Story, Wipe Out, Silver Buckle, The Strong Are Lonely, Baal, Young At Heart, Edge of Darkness, Made In Britain.
Film: Anna and the King, Felicia's Journey, One Golden Afternoon, Heirs and Graces, Secret Friends, Countdown to War, Napoleon and Josephine, Morons from Outer Space, 101 Dalmations, Jake's Progress, Black Beauty, No Place To Hide, The Fool, William Tell, Pirates, Tom and Thomas.
Timothy Walker
Malvolio
Director: British stage premiere of Swanwhite by August Strindberg (Gate, London); Out Cry or The Two-Character Play by Tennessee Williams (Cheek by Jowl, Lyric Hammersmith, and tour); the premiere of Ritual in Blood by Steven Berkoff (Nottingham Playhouse). Theater: The White Devil, La Bete (Lyric Hammersmith); The Tempest, Volpone (Almeida); The Seagull, Present Laughter, The Tempest (West Yorkshire Playhouse); Julius Caesar (Birmingham Rep); A Tale of Two Cities (Greenwich Theatre); Hamlet, The Tempest, A Family Affair, Macbeth, The Cid, Twelfth Night (Cheek by Jowl); The Illusion, A Flea In Her Ear (Old Vic); There are Crimes and Crimes (Leicester Haymarket); A Doll's House (Gate, Dublin); Damned for Despair (Gate, London); Sturm und Drang, Brighton Beach Scumbags (Riverside Studios); Why Things Happen (ICA); The Shadow of a Gunman, Romeo and Juliet, The Fool, Richard III, Troilus and Cressida, Good (RSC). Globe: Director, Edward II. TV: Peak Practice, Attachments, Monsignor Renard, Trail of Guilt, Where The Heart Is, Rhodes, Soldier Soldier, The Bill, Casualty, Dr. Who. Film: Four Weddings and a Funeral, Crush.
Albie Woodington
Sir Andrew Aguecheek --
Training: RADA.
Theater: The Bristol Old Vic, The Bristol Little
Theatre, Manchester Royal Exchange, Greenwich,
Regents Park, RSC, RNT. Able Drugger in The
Alchemist; Pistol in Henry IV Part 2, Dribbler in
Amphibians, Fabian in Twelfth Night (RSC);
Gus in The Dumb Waiter, Martini in One Flew
Over the Cuckoos Nest, Vladimir in Waiting for
Godot, Osip in Wild Honey for Alan Ayckbourn
at Scarborough, Bardoph in a national tour of
Henry IV, Parts 1 and 2.
Globe: Richard II, Edward II, Twelfth Night, The
Golden Ass, Macbeth (Phoebus Cart).
TV and Film: The Count of Monte Cristo, The
Thirteenth Warrior, Age of Treason, First Night,
The Bill, Minder, The Vision Thing, Wycliffe,
Thin Blue Line, Pie in the Sky, Will Warden in
Brother Cadfael.
Giles Block (Master of the Words) has been Master of the Words for Richard II, Richard HI, Dido, Queen of Carthage, Edward II, and The Taming of the Shrew. For the 2002 season at Shakespeare's Globe, Master of the Words on Twelfth Night (Middle Temple Hall and Globe), A Midsummer Night's Dream, and Master of Play and the Words for the 2002 International Fellowship; for the 2001 season Master of Verse on King Lear, Macbeth, and Cymbeline; for the 2000 season Master of Play and Verse on Hamlet. Work for the Shochiku Theatre compa?ny in Japan includes: Amadeus, Macbeth, The Cherry Orchard, King Lear, Richard III, Hamlet, and Skylight. He received the first award ever given to a Westerner by the Japanese theatrical establishment, honoring his record as a visiting director. Other directing includes: She Stoops to Conquer and The Fawn (the National Theatre); and Hard Time by Stephen Jeffreys (Not the National Theatre). In America, he directed the national tour of Bedroom Farce with Tom Ewell; A Midsummer Night's Dream (Pennsylvania); Twelfth Night (Louisiana State University); Pericles (College of Santa Fe); Hobson's Choice and Wild Honey (both Salisbury Playhouse).
Tim Carroll (Master of Play) is Associate Theatre Director at Shakespeare's Globe. He has been Master of Play for Twelfth Night (Middle Temple Hall and at the Globe) and The Golden Ass for the Globe Company last year, Macbeth in 2001, The Two Noble Kinsmen in 2000, and Augustine's Oak in 1999. This year he was Master of Play for Richard II and Dido, Queen of Carthage. He has worked with the English Shakespeare Company, first as an assistant director then as director of several productions including Cymbeline, Julius Caesar, and The Tempest. As Associate Director of the Northcott Theatre, Exeter, productions included The Last Yankee, Amadeus, Charley's Aunt, and Forty Years On. Further theater credits include: Schiller's Don Carlos (Lyric Hammersmith); Gasping (Gateway, Chester); Someone Who'll Watch Over Me (Salisbury Playhouse); Northanger Abbey (Northcott); and Phaedra (BAC). As an opera director, productions include Benjamin Britten's The Prodigal Son, Purcell's Dioctesian, and Monterverdi's Orfeo (Kent Opera); Sir Peter Maxwell Davies's Eight Songs for a Mad King and Hans Werner Henze's El Cimarron (Psappha). He has staged three shows at the Gran Teatre de Liceu, Barcelona, two of them with the mezzo soprano Sarah Walker. Recent productions include Engaged (The Orange Tree), Handel's Acis and Galatea, and Benjamin Britten's Albert Herring (New Kent Opera, for which he is also Director of Productions), and Monteverdi's Ritorno d'Ulisse in Patria (Aldeburgh Festival).
Tamara Harvey (Assistant to the Master of Play) is in her third season at Shakespeare's Globe. Previously she has directed Philotas (Read Not Dead), been Assistant to the Master of Play on The Golden Ass, Twelfth Night, and Macbeth, and Associate Producer for the first International Artistic Fellowship. Further cred?its as director include the UK tour of The Graduate; the UK professional premiere of Tennessee Williams' Something Cloudy, Something Clear (Finborough Theatre); La Finta Giardiniera (semi-staged at the Barbican); 16 Winters (Bristol Old Vic Basement); Markings (Wimbledon
Studio Theatre); The Chair Lift (Hungarian Cultural Centre, Hampstead Theatre); Mistakes Of A Night, Songs My Mother Taught Me (New Kent Opera); Henry V (QEH, Bristol); Fourteen Hundred Thousand and Lovers (NY Performance Alliance, USA); The Lion, the Witch and the Wardrobe (Maitisong Festival, Botswana). As assistant director: Life x 3 (Savoy Theatre); La Finta Giardiniera and Sarka & Osud (Garsington Opera); La Traviata (also co-revival director, English Touring Opera); La Ronde and Hobson's Choice (RADA); and Twelfth Night, The Learned Ladies, and The Taming of the Shrew (Shakespeare Theatre of New Jersey), where she was a direct?ing intern before becoming assistant to the Artistic Director. Future work includes the pre?miere of WH Davies' Young Emma in an adapta?tion by Laura Wade (Finborough Theatre), The Tempest in Portugal, and Mavria, a new play by Peter Oswald.
Glynn MacDonald (Master of Movement) trained in Alexander Technique at the Constructive Teaching Centre in 1972. She has been teaching at LAMDA since 1978 and the Central School of Speech and Drama since 1985. She has worked in the Actors' Centre and the Field Day Theatre Company in Ireland, Dramaten in Stockholm, Norskspillcrsforbund in Norway, Holback Engstheatre in Denmark, Bremen Opera Company in Germany, Poland, Switzerland, Japan, Australia and in the US. Since 1997 she has been resident Master of Movement at Shakespeare's Globe and works with Globe Education to provide sessions for undergraduates and continuing professional development for teachers. In 2002 she directed Transforming September 11 at the Linbury Studio, Royal Opera House for Peace Direct. Her book, Elements of the Alexander Technique, is published by Harper Collins.
Keith McGowan (Master of Historical Music) studied trombone with George Maxted, musi-cology in Nottingham, London and Leningrad, and early wind technique with Bernard Thomas. After his first professional dates as a sackbut player with London Pro Musica and
Musica Antiqua of London, the chance pur?chase of a bargain tenor shawm and a home?made rauschpfeife began his love of early and traditional wind music. He now specializes in playing renaissance woodwind instruments, performing regularly on dulcian and shawm with The Gabrieli Players, The Orchestra of the Renaissance, and The Dufay Collective. He has worked as musical assistant, researcher, and arranger on several productions with Shakespeare's Globe, playing trumpets, reeds, bagpipes, Jew's harp, and flute. He directed the two different bands for the productions of Twelfth Night in 2002, and for the 2003 season he was also Master of Historical Music on Richard III and Edward II.
Stewart Pearce (Master of Voice) has been Shakespeare's Globe's resident Master of Voice since 1999 working on productions of Richard II, Richard III, Dido, Queen of Carthage, Edward II, The Taming of the Shrew, Antony and Cleopatra, Augustine's Oak, The Tempest, Hamlet, The Two Noble Kinsman, The Antipodes, King Lear, Cymbeline, Twelfth Night, A Midsummer Night's Dream, The Golden Ass, and on the International Artistic Fellowship in 2001 and 2002. Stewart is also Master of Voice for Richard II, Richard III, Dido, Queen of Carthage, and The Taming of the Shrew this year. In addition, Mr. Pearce coaches for the Chicago Shakespeare Theater and is now Head of Voice at the Drama Centre London, having formerly held the same position at the Webber Douglas Academy of Dramatic Art from 1981 to 1998. Mr. Pearce works extensive?ly throughout the entertainment and corporate industries as a Master of Presentation and his workshops based on the essence of Renaissance Theatre's Voice are facilitated internationally. Publications include The Alchemy of Voice (Hodder & Stoughton) and The Globe's Voice.
Stan Pressner (Master of Light) has created the lighting for dance, theater, opera, and music events on five continents. His work can be found in the repertoires of: The New York City Ballet, Lyon Opera Ballet, Bill T. JonesArnie Zane, Ralph Lemon and Company, Atlanta
Ballet, Boston Ballet, Pittsburgh Ballet Theatre, and The Netherlands Dance Theatre. His recent work includes: Jean Genet's The Blacks for the Stockholm Staadsteatern and The Market Theatre of Johannesburg; The Abduction from the Seraglio and The Rake's Progress for the Munich Staadtsoper; scenery and lighting for The Logic of the Birds; scenery and lighting for John Jasperse's See Through Knot for The White Oak Project; and Giant Empty for John Jasperse. He served as UCLA's Visiting Professor of Dance Lighting from 1992-1994 and is current?ly on faculty at both The Juilliard School and NYU's Tisch School of the Arts. He also serves as the resident lighting designer of the Lincoln Center Festival. As a theater consultant, he works with Theatre Projects Consultants, cur?rently on the re-development of Lincoln Center and a new cultural policy for the City of Dallas as well as the development of the Arts District in Dallas. Mr. Pressner is the recipient of a 1988 New York Dance and Performance Award ("Bessie") for cumulative achievement, a 1997 Cable Ace Award for Bravo's Inside the Actor's Studio, and a 1988, 1991, and 1994 American Theatre Wing Design Award nomination.
Jenny Tiramani (Master of Clothing, Properties, and Hanging) is Director of Theatre Design at Shakespeare's Globe, where her work includes Cymbeline and Twelfth Night, for which she received the 2003 Laurence Olivier Award for "Best Costume Design." This year at the Globe she co-designed Richard II, Richard III, Edward II, and The Taming of the Shrew. Other close associations include: Theatre Royal Stratford East's On you Way Riley by Alan Pater and Wild Justice by Barry Keeffe; Kenneth Branagh's Renaissance Theatre Company including Hamlet and King Lear, Mark Rylance and Claire van Kampen with whom she created The Tempest, Macbeth (Phoebus Cart Company), and As You Like It (Theatre for a New Audience, New York). Work in the West End includes Steaming (Comedy Theatre); Much Ado About Nothing, directed by Judi Dench (Phoenix); Travelling Tales with John Sessions (Haymarket); Unforgettable with Clark Peters (Garrick).
laire van Kampen (Master of Theatre Music) riginally trained as an instrumentalist at the .oyal College of Music where her teachers lcluded Peter Element, Yonty Solomon, and )r. Ruth Gipps, and specialized in the perform-nce of 20th century music. In 1986 she joined le Royal Shakespeare Company and the Royal lational Theatre as the first female Musical lirector with both companies. Her work there lduded Heresies, Hamlet, Romeo and Juliet (all 5C); and The Wandering Jew and The ihaughran (RNT). She has since developed an iternational career as a composer, and has mtten and performed many television and lm soundtracks. In 1990 she co-founded the heater company Phoebus Cart with her husband vlark Rylance; their production of The Tempest vas performed in the concrete foundations of ihakespeare's Globe in 1991. Since the Globe's pening she has been the Director of Theatre tfusic, creating music for 21 of the Globe's pro-luctions to date including: Richard II, Richard II, Dido, Queen of Carthage, Edward II, The aming of the Shrew, Twelfth Night, A Midsummer Night's Dream, The Golden Ass, dacbeth. King Lear, Cymbeline, Hamlet, The Kntipodes, The Merchant of Venice, Julius Caesar, ntony and Cleopatra, and The Two Gentlemen )f Verona. In Spring 2000 she composed origi-lal music for Matthew Warchus's Broadway reduction of True West and Winter 2000 saw ie world premiere of her new score for Asta Jielsen's 1921 film of Hamlet at the National ilm Theatre.
ian Williams (Master of Dance) trained at ie London College of Dance and Drama. She bunded The Kosh Dance Theatre Company nth Michael Merwitzer in 1982 and performed n all its productions. Choreography and the-iter awards include the Manchester Evening 'Jews Dance Theatre Award, Cairo Experimental theatre Award, New York Film and Television !estival Bronze Medal, and the Best Foreign ["heater Presentation in Chile. Ms. Williams has rorked as Master of Dance for the Globe theatre Company for Richard II, Richard III, Dido Queen of Carthage, Edward II, and The
Taming of the Shrew in 2003; Twelfth Night and The Golden Ass in 2002; and previously on The Two Noble Kinsmen and Macbeth. Recent work includes performing in Opera North's La Traviata; choreography for the film The Closer You Get, Movement Director of the RSC on The Winters Tale, Timon of Athens, Macbeth, As You Like It, and Jubilee. Ms. Williams recently per?formed in Twentieth-Century Girls and directed A Square of Sky for The Kosh.
Paul M. Rambacher (US Stage Manager) has developed andor managed in excess of 63 the?atrical productions, concerts, and special events from coast to coast nationally and internation?ally. Production credits include Boston Pops; Swingtime; Bye Bye Birdie; Zorba; A Bronx Tale; Tap Dogs; Copenhagen; AEROS; The Presidents, starring Rich Little; Savion Glover in Footnotes; and Bring In 'Da Noise, Bring In 'Da Funk. Special event clients include AT&T, 1996 Olympics Centennial Park, Fruitopia for Coca Cola, Stern-Hall, Sonalysts, Kraft, IHF, and Impact Marketing. Mr. Rambacher specializes in Touring ProductionEvent Management, drawing upon his background of 17 years of road experience.
Richard Kornberg and Associates (US Press Representative) represents Hairspray, Rent, The Thing About Men; New York Theatre Workshop; Second Stage Theatre; and MOMIX. Past pro?ductions: bash; Blown Sideways Through Life; The Crucible; Death of a Salesman (50th anniversary production); Dirty Blonde; Golden Child; Jekyll & Hyde; Jelly's Last Jam; Long Day's Journey Into Night, Metamorphoses; A Moon for the Misbegotten; The Most Fabulous Story Ever Told; My Fair Lady, One Flew Over The Cuckoo's Nest, Ricky Jay and His 52 Assistants; The Shape of Things; Shopping and Fucking; Snakebit, tick, tick...BOOM!; The Vagina Monologues; The Will Rogers Follies; and You're a Good Man, Charlie Brown. Mr. Kornberg was general press repre?sentative for Joseph Papp and the New York
Shakespeare Festival where he worked on hun?dreds of shows, including A Chorus Line, The Pirates of Penzance, and Free Shakespeare in Central Park. -.;???
John Luckacovic and Eleanor Oldham formed 2Luck Concepts (US Tour Producers) in 2001 to enable them to continue to seek out, develop, and produce unique and engaging projects from around the world. In addition to the current US tour of Shakespeare's Globe, this season 2Luck Concepts is managing the inau?gural North American tours of the celebrated George Piper Dances presents Ballet Boyz and Akram Khan's Kaash. Next season's projects include a return of the Globe to North America.
Staff for the Company n ?,;,;
mmmmmm
Executive Producers
2Luck Concepts, John Luckacovic and Eleanor Oldham
Shakespeare's Globe, Greg Ripley-Duggan
Professional Management and Resources, General Management
Sid Charlton, Company Manager
Richard Kornberg, Press Representation
Rowan Walker-Brown, Globe Theatre Administrator
Krista Martocci, US Lighting DirectorTechnical Director
Richard Howey, Globe Production Manager
Tony Schondel, US Production Manager
Tamara Harvey, Assistant to the Master of Play
Paul Rambacher, Paul Williams, Stage Managers
Katie Beedham, Tariq Rifaat, Tiring House Managers
Bushy Westfallen, Costume Supervisor
Lily Mollgaard, Props Supervisor
Debbie Watson, Wardrobe Manager
Natalie Shephard, Wigs, Hair, and Make-up
Nicola Evans, Deputy Wardrobe Manager
Alise Filleul, Rocci Pearson, Wardrobe Assistants
Jasmine Lawrence, Production Assistant
Janco, Ltd., Trucking
Specialised, Travel Travel Agent
Acknowledgements
The producers extend special thanks to Virgin Atlantic; Marion Kukurutz and Sunita Verma at Specialised Travel; Jonathan Ginsburg, Actors Equity Association; each and all of the many people at the five host venues; and especially the generosity of Tom Fontana for making this first Globe tour a reality.
For information on the Fall 2004 North American tour of Shakespeare's Globe's Original Practices pro?duction of Richard II, contact 2Luck Concepts.
Venues, continued from page 24
EMU Convocation Center
A 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 with the architectural firm Rossetti Associates of BirminghamThe Argos Group began con?struction on the campus facility in 1996. The Convocation Center opened its doors on December 9, 1998 with a seating capacity of 9,510 for center-stage entertainment events. UMS has presented special dance parties at the EMU Convocation Center every April since 1998, and this year's popular concert features Orchestra Baobab on Saturday, April 17.
Michigan Union Ballroom
lie Michigan Union Ballroom is a new venue to UMS in its 125th season, specifically selected for seven performances by Shakespeare's Globe Theatre of Twelfth Night. The Michigan Union Ballroom recreates the intimate ambiance of the Globe Theatre in London. The Michigan Union celebrates its 100th anniversary this season.
Nichols Arboretum
n 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
case 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 Boris 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
1 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.
U MS experience

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
October
St. Petersburg String Quartet
Mon 6 Kirov Orchestra of the Mariinsky Theatre
Sun 12 Michigan Chamber Players (free admission)
Thur 16 LaVenexiana
Fri 17 Wynton Marsalis Quintet
Sat 18 Miami City Ballet One-Hour Family Performance
'i 18-19 Miami City Ballet: BalanchineStravinsky
Sun 26 Vadim Repin, violin
19-Nov 2 Pushkin's Boris Godunov
Fri 31 Suzanne Farrell Ballet: BalanchineTchaikovsky
November
Sat-Sun 1-2 Pushkin's Bon's Godunov
Thur 6 St. Petersburg Academic Capella Choir
Sat 8 Chava Alberstein
Tues 11 Doudou N'Diaye Rose and Les Rosettes
Tir 13 Charles Lloyd Quintet
Tues-Sun 18-23 Shakespeare's Globe Theatre: Twelfth Night
?......m i December
Fri 5 Boston Pops Esplanade Orchestra Christmas Concert
Sat-Sun 6-7 Handel's Messiah

lease note that a complete
listing of all UMS Educaj
tional programs is conveniently j
located within the concert proJ
gram section of your program j
book and is posted on the j UMS website at www.ums.oir2
January 2004 ,?,_. __..,_..
Sat 17 Hill Auditorium Celebration flHHHPHMI
Sun 18 Orchestre Revolutionnaire et Romantique and
The Monteverdi Choir
Mon 19 Jazz Divas Summit: Dianne Reeves, Dee Dee Bridgewater &
Regina Carter Wf
Fri 30 Emerson String Quartet
Sat 31 Simon Shaheen and Qantara
February JB
Sun 8 Michigan Chamber Players (free admission) ????j
7iir 12 Hilary Hahn, violin
Sr 14 Canadian Brass Valentine's Day Concert Jji
Thur-Sat 19-21 Children of Uganda
Fn 20 Cecilia Bartoli, mezzo-soprano and
Orchestra of the Age of Enlightenment
March
Thur-Sun 4-7 Guthrie Theater: Othello
Fri-Snf 12-13 Merce Cunningham Dance Company
Sui 14 Kronos Quartet
Fn 19 Ornette Coleman
Sar 20 Israel Philharmonic
Sun 21 Takacs Quartet
Tnr 25 The Tallis Scholars
Saf 27 Jazz at Lincoln Center's Afro-Latin Jazz Orchestra
April
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
TTiwr 8 William Bolcom's Songs of Innocence and of Experience
77iur 15 Alfred Brendel, piano
Fri 16 Girls Choir of Harlem
So 17 Orchestra Baobab Senegalese Dance Party
Sun 18 Shoghaken Ensemble
77mr 22 Karita Mattila, soprano
Fri 23 Rossetti String Quartet with Jean-Yves Thibaudet, piano
Sat 24 Caetano Veloso
Sat 15 Ford Honors Program: Artist to be Announced
?onsidered 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 www.ums.org, e-mail umsed@umich.edu, 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.
Artists-in-Residence
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.
A youth wprkshop with memhcwtf
rfubbard Street Dance Effisfcftbw "
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
www.ums.org, e-mail umsyouth@umich.edu, 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 r Girls Choir of Harlem
Educators who wish to be added to the youth jerformance mailing list should call 734.615.0122 or e-mail umsyouth@umich.edu,
Primary supporters of the Youth Education 'rogram are:
I complete listing of Education Program upporters are listed online at www.ums.org.
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 umsyouth@umich.edu.
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 ttai prices. For more information on how to access this program, call 734.615.0122 or e-mail umsyouth@umich.edu. ; __
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, j
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 www.ums.org.
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 -
665.8767
Blue Nile Restaurant
221 East Washington -
998.4746
The Earle Restaurant
121 West Washington -
Gratzi
326 South Main -
888.456.DINE
Great Harvest Bread
Company
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-
888.456.DINE
Red Hawk Bar & Grill
316 South State 994.4004
Schakolad
110 East Washington -
213.1700
Sweetwaters Cafe
123 West Washington -
769.2331
Weber's Restaurant
3050 Jackson 665.3636
Zanzibar
216 South State 994.7777
UMS Preferred Businesses Format Framing and Gallery 1123 Broadway 996.9446 King's Keyboard House 2333 East Stadium -
Parish Fine Framing and Art 9 Nickels Arcade 761.8253 Schlanderer & Sons 208 South Main 662.0306
UMS Delicious 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 www.ums.org.
UMSsupport
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.
Advertising
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.
Sponsorship
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 the 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.
Ushers
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.
If you would like information about becoming a UMS volunteer usher, call the UMS usher hotline at 734.913.9696 or e-mail fohums@umich.edu.
SUPPORT FOR THE UNIVERSITY MUSICAL SOCIETY
nis perrormance--an
UMS's nationally recognized 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 s ' omissions. m
UMS is PROUD to be
a MEMBER of the FOLLOWING ORGANIZATIONS
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
SOLOISTS
$25,000 or more Mrs. Gardner Ackley Hattie McOmber Randall and Mary Pittman Philip and Kathleen Power
MAESTROS
$10,000-$24,999
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
VIRTUOSI --
$7,500-$9,999
Maurice and Linda Binkow
Don and Judy Dow Rumelhart
Ed and Natalie Surovell
CONCERTMASTERS
$5,000-37,499
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
PRODUCERS
$3,500-4,999
Essel 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 Barbour
Debbie and Norman Herbert
Shirley Y. and Thomas E. Kauper
Robert and Gloria Kerry
Lois and Jack Stegeman
Lois A. Theis
Marina and Robert Whitman
Marion T. Wirick and James N. Morgan
LEADERS '
$2,500-$3,499
Bob and Martha Ause
Raymond and Janet 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
Janet Woods Hoobler '
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
PRINCIPALS
$1000-$2,499 ;""
Dr. and Mrs. Gerald Abrams lim 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. Bergstein Suzanne A. and Frederick J. Beutler Dr. and Mrs. Ronald Bogdasarian Elizabeth and Giles G. Bole Sue and Bob Bonfield :
Charles and Linda Borgsdorf a.f Laurence and Grace Boxer Dale and Nancy Briggs William and Sandra Broucek [carmine and Robert Buchanan Sue and Noel Buckner Lawrence and Valerie Bullen Laurie Burns
Mr. and Mrs. Richard J. Burstein , v Lctitia I. Byrd
Amy and Jim Byrne '
Betty Byrne 1
Barbara and Albert Cain Michael and Patricia Campbell Carolyn M. Carty and Thomas H. Haug Jean and Kenneth Casey Janet and Bill Cassebaum Anne Chase James S. Chen Don and Betts 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 Mary Ann Daane 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 Dryden 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 Dcde 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 Gelehrter Beverly Gershowitz William and Ruth Gilkey Alvia G. Golden and Carroll Smith-Rosenberg
Elizabeth Needham Graham
Susan Smith Gray and Robert Gray
Dr. John and Rente M. Greden
Jeffrey B. Green
John and Helen Griffith
Garl 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 Hurwitz
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
Jill 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 MacKrell
Catherine and Edwin L. Marcus
Nancy and Philip Margolis
Sally and Bill Martin
Chandler and Mary Matthews
Carole Mayer
Joseph McCune and Georgiana Sanders
Rebecca McGowan and Michael B. Staebler
Ted and Barbara Meadows
Henry D. Messcr Carl A. House
Andy and Candice Mitchell
Therese M. Molloy
Lester and Jeanne Monts
Alan and Sheila Morgan
Jane and Kenneth Moriarty
Julia S. Morris
Melinda and Bob Morris
Brian and Jacqueline Morton
Eva L. Mueller
Martin Neuliep and Patricia Pancioli
Donna Parmelec and William Nolting
Marylen and Harold Obcrman
Dr. and Mrs. Frederick C. O'Dell
Robert and Elizabeth Oneal
Constance and David Osier
Mitchcl Osman, MD and
Nancy Timmerman William C. Parkinson Dory and John D. Paul Margaret and Jack Petcrsen Elaine and Bertram Pitt
Principals, com.
Richard and Mary Price Donald H. Regan and
Elizabeth Axelson Ray and Ginny Reilly Bernard E. and
Sandra Rcisman Duane and Katie Renken Kenneth I. Robinson Mr. and Mrs. Irving Rose Doug and Sharon Rothwell Dr. Nathaniel H. Rowe Craig and )an Ruff Dr. and Mrs. Frank Rugani Alan and Swanna Saltiel lohn and Rcda Santinga Maya Savarino David and Marcia Schmidt Meeyung and
Charles R. Schmitter Mrs. Richard C. Schneider Rosalie and David
Schottenfeld Steve and Jill Schwartz John J. H. Schwarz Erik and Carol Serr 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 Elise Weisbach 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
BENEFACTORS
$500-$999
Dr. and Mrs. Robert G. Aldrich Anastasios Alcxiou Christine Webb Alvey David and Katie Andrea Dr. and Mrs. Rudi Ansbachcr 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 Foley Donald and Roberta Blitz
Tom and Cathie Bloem fane Bloom, MD and
William L. Bloom Mr. and Mrs. Richard Boycc Dr. and Mrs. Ralph Bozell Joel Brcgman 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 Stegeman DiCarlo Jack and Betty Edman Judge and Mrs. S. J. Elden Patricia Enns Elly and Harvey Falit John W. Farah DDS PhD Claudine Farrand and
Daniel Moerman Irene Fast
Dr. and Mrs. John A. Faulkner Sidney and Jean Fine Carol Finerman Clare M. Fingcrle 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 J. 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 Henkcl Kathy and Rudi Hcntschcl Herb and Dee Hildcbrandt Mrs.W.A. Hiltner Sun-Chien and Betty Hsiao Mrs.V.C. Hubbs Ann D. Hungerman Thomas and Kathryn Huntzickcr Eileen and Saul Hymans Jean Jacobson Rebecca S. Jahn Wallie and Janet Jeffries Jim and Dale Jerome Herbert and Jane M. Kaufcr Emily Kennedy Dr. David E. and
Heidi Castlcman Klein
Hcrminc R. Klingler Philip and Kathryn Klintworth 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 Jacqueline H. Lewis E. Daniel and Kay Long Brigitte and Paul Maasscn Marilyn Mason Michael G. McGuire Bernice and Herman Merte Myrna and Newell Miller jr Edward Nelson 9
Eulalie Nohrden Marysia Ostafin and ;
George Smillie Wallace and Barbara Prince Mrs. Gardner C. Quarton Mrs. Joseph S. Radom Jeanne Raisler and Jon 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 lames and Adrienne Rudolph Paul and Penny Schrciber Terry Shade
Howard and Aliza Shevrin George and Gladys Shirley Pat Shure
Robert and Elaine Sims Irma ). 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 Jeoffrey K. Stross Charlotte B. Sundelson Bob and Betsy Teeter Paul and Jane Thielking Elizabeth H. Thieme Dr. and Mrs. Merlin C. Townlcy loan Lowenstcin and
Jonathan Trobe JcfTand 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 loan Zald
ASSOCIATES
$250-$499
Jesus and Benjamin Acosta-Hughes
Michael and Marilyn Agin
Robert Ainsworth
Helen and David Aminoff
Douglas B. Anderson
Harlcnc and Henry Appclman
lack and Jill Arnold
Jeff and Deborah Ash
Mr. and Mrs. Arthur (. Ashe, III
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 Bardcnstein
John R. Bareham
David and Monika Barcra
Lois and David Baru
Tom and Judith Batay-Csorba Francis J. and Lindsay Batcman Gary Bcckman and Karla Taylor Professor and
Mrs. Erling Blondal Bcngtsson Dr. and Mrs. Ronald M. Benson
James A. Bergman and
Penelope Hommel Steven J. Bernstein Dan and Irene Biber Jack Billi and Sheryl Hirsch
Victoria C. Botek and
William M. Edwards Paul and Anna Bradley William R. Brashear David and Sharon Brooks Dr. Frances E. Bull
isan and Oliver Cameron Valerie and Brent Carey Jcannette 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 Jean Debbink Elena and Nicholas Delbanco Elizabeth Dexter Judy and Steve Dobson Thomas and Esther Donahue Cecilia and Allan Dreyfuss Elizabeth Duell Martin and Rosalie Edwards Charles and Julia Eiscndrath Dr. Alan S. Eiser Sol and Judith Elkin Jane! Fain
Phil and Phyllis Fcllin Joseph and Nancy Fcrrario Stephen and Ellyce Field Dr. James F. Filgas Susan Filipiak
Swing City Dance Studio Beth Fischer
Gerald B. and Catherine L. Fischer C. Peter and Bcv A. Fischer
Paula L. Bockenstedt and
David A. Fox Jason I. Fox Betsy Foxman and
Michael Boehnke Lynn A. Freeland Richard and Joann Freethy Dr. Leon and Marcia Friedman Mr. and Mrs. William Fulton Thomas). Garbaty Deborah and Henry Gerst Elmer G. Gilbert and
Lois M. Verbruggc Maureen and David Ginsburg
Enid M. Gosling lames W. and Maria J. GoussefT 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 fohn Halloran
Tom Hammond Robert and Sonia Harris Paul Hysen and Jeanne Harrison Naomi Gottlieb Harrison and
Theodore Harrison DDS Jeannine 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 fahn
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 Kluge Thomas and Ruth Knoll John Koselka Bert and Geraldine Kruse Mrs. David A. Lanius Mr. and Mrs. Henry M. Lapeza Neal and Anne Laurance Beth and George LaVoie Cyril and Ruth Leder John and Theresa Lee Jim and Cathy Leonard Sue Lcong
Myron and Bobbie L Ken and Jane Lieberthal Rod and Robin Little Vi-Cheng and Hsi-Yen Liu Naomi E. Lohr Ronald Longhofer and
Norma McKenna Florence LoPatin Carl . Lutkchaus Edward and Barbara Lynn Pamela J. Macintosh Melvin and Jean Manis Junes E. and Barbara Martin
Jenifer Martin Margaret E. McCarthy Ernest and Adele McCarus Margaret and Harris McQamroch lames M. Beck and
Robert J. McGranaghan Nancy A. and Robert E. Meader Ingrid Merikoski George R. and Brigitte Merz Shirley and Bill Meyers Mr. and Mrs. Eugene Miller Edward and Barbara Mills Kathryn and Bertley Moberg Mr. and Mrs. William Moellcr 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
Laura Nitzberg and Thomas Carli
Maury Okun and Tina TopaJian
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 Prcuss
Ixland and Elizabeth Quackenbush
Jim and leva Rasmusscn
Anthony L. Reffells and
Elaine 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 Alene Smith Dr. Elaine R. Soller Hugh and Anne Solomon Arthur and Elizabeth Solomon
Yoram and Eliana Sorokin Tom Sparks Jeffrey D. Spindler Allen and Mary Spivey Judy and Paul Spradlin Burnette Staeblcr Gary and Diane Stahle James L. Stoddard Brian and Lee Talbot Eva and Sam Taylor Edwin I. Thomas Bette M. Thompson Nigel and Jane Thompson Claire and Jerry Turcotte Mr. James R. Van Bochovc Hugo and Karla Vandersypcn Marie Vogt Harue and Tsuguyasu Wada
Bruce and Raven Wallace
Charles R. and Barbara H. Wallgren
Carol Weber
John Weber
Deborah Webster and George Miller
Iris and Fred Whitehousc
Leslie Clare Whitfield
Professor Steven Whiting
Nancy Wiernik
Cynthia and Roy Wilbanks
Anne Marie and Robert I. Willis
Lois Wilson-Crabtree
Beverly and Hadley Wine
Charles Witke and Aileen Gattcn
Charlotte A. Wolfe
Al and Alma Wooll
Frances A. Wright
Don and Charlotte Wyche
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
Laboratories
$20,000-549,999 Bank of Ann Arbor Borders Group, Inc. DaimlerChryslcr Foundation Kaydon Corporation KeyBank TIAA-CREF
$W,000-$19,999
Brauer Investment Company CF1 Group
Comerica Incorporated DTE Energy Foundation McKinley Associates Sesi Lincoln Mercury Volvo Mazda
$5,000-$9,999 Ann Arbor Automotive Butzel Long Attorneys Crownc Plaza Edward Surovell Realtors Elastizell Corporation of
America
MASCO Charitable Trust Miller Canfield Paddock and
Stone P.L.C. National City Bank TCF Bank Thomas B. McMullen
Company
$l,000-$4,999
Blue Nile
Bosart Financial Group
Chase Manhattan Mortgage
Joseph Curtin Studios
Lewis Jewelers
ProQuest
Quinn EvansArchitects
Republic Bancorp
United Bank & Trust
S100-S999
ABN AMRO Mortgage Group,
Inc.
Adult Learning Institute Ayse'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,
P.C.
Malloy Incorporated Michigan Critical Care
Consultants Rosebud Solutions Seaway Financial
AgencyWayne Milcwski SeloShevel Gallery Swedish Women's Educational
Association
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
Foundation & Government Support, cont.
$50,000-$99,999
Anonymous
Community Foundation for
Southeastern Michigan National Endowment for
the Arts The Whitney Fund
$W,000-$49,999 Continental Harmony New England Foundation for the Arts
$U000-$9,999 Akers Foundation Arts Midwest Heartland Arts Fund The Lebensfeld Foundation Maxinc and Stuart Frankcl
Foundation
Mid-America Arts Alliance The Molloy Foundation Montague Foundation THE MOSAIC FOUNDATION
(of R. and P. Heydon) Sams Ann Arbor Fund The Snecd Foundation, Inc. Vibrant of Ann Arbor
Tribute Gifts
Contributions have been received in honor andor memory of the following individuate
H. Gardner Acklcy Herb and Carol Amstcr Maurice Binkow Tom and Laura Binkow T. Earl Douglass Alice Kclsey Dunn David Ekiund Kenneth C. Fischer Dr. Bcvcrlcy B. Gcltncr Michael Gowing Werner Grilk Elizabeth E. Kennedy Ted Kennedy, Jr. Dr. Glorii Kerry Alexandra Lofstrom Joyce Malm Frederick N. McOmber Phil and Kathy Power Gwen and Emerson Powrie Prof. Robert Putnam Ruth Putnam Mrs. Gail Rector Slcffi Rciss Pruc Rosenthal Margaret E. Rothstcin Eric H. Rothslein Prof. Wolfgang Stolper Diana Stone Peters
Peter C. Tainsh Isaac Thomas Francis V. Viola III Horace Warren Donald Whiting Peter Holdcmcss Woods Barbara E. Young Elizabeth Y house
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.
Anonymous
Carol and Herb Amster '
Dr. and Mrs. David G
Anderson
Mr. Neil P. Anderson' Catherine S. Arcure Mr. Hilbcrt Beyer ?? Elizabeth Bishop Mr. and Mrs. Pal E. Borondy Barbara Everitt Bryant Pat and George Chatas Mr. and Mrs. John Alden
Clark
Douglas D. Crary H. Michael and
Judith L. Endres Beverley and Gcrson Geltner John and Martha Hicks Mr. and Mrs. Richard Ives Marilyn Jeffs Thomas C. and
Constance M. Kinnear Charlotte McGcoch Michael G. McGuire Dr. Eva Mueller Len and Nancy Nichoff Dr. and
Mrs. Frederick C. O'Del! Mr. and Mrs. Dennis Powers Mr. and Mrs. Michael Radock Mr. and Mrs. Jack W. Ricketts Mr. and
Mrs. Willard L Rodgers Prudence and
Amnon Rosenthal Mr. Haskell Rothstein Irma J. Skelnar Herbert Sloan Art and Elizabeth Solomon Roy and JoAn Wctzel Mr. and
Mrs. Ronald G.Zollars
Endowed Funds
Tlte 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 Ackley
Endowment Fund Amster Designated Fund Catherine S. Arcure
Endowment Fund Choral Union Fund Hal and Ann Davis
Endowment Fund Ottmar Eberbach Funds Epstein Endowment Fund JazzNet Endowment Fund William R. Kinncy
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-1 Rentals, Inc.
Raquel and Bernard Agranoff
Alexandra's in Kerrytown
Amadeus Cafe"
Ann Arbor Automotive
Ann Arbor Art Center
Ann Arbor Women's City Club
Arbor Brewing Co.
Ashley Mews
Avanti Hair Designers -j
Barnes Ace Hard Lois and David Baru Baxter's Wine Shop
Bella Ciao Trattoi
Kathy Benton and Bob Brown
Bivouac
The Blue Nile Restaurant
Bodywisc Therapeutic Massage'
Mimi and Ron Bogdasarian '
Borders Book and Music
Janice Stevens Botsford
Susan Bozcll ra
Tana Brciner
Barbara Evcritt Bryant
By the Pound___?-
Cafe" Marie Margot Campos Cappcllos Hair Salon Coach Me Fit
M.C. Conroy H&&
Hugh and Elly Cooper"1
Cousins Heritage Inn
Roderick and Mary Ann Daane
D'Amato's Italian Restaurant
David Smith Photography
Peter and Norma Davis
Robert Dcrkacz
The Display Group
Dough Boys Bakery
The Earle
Eastovcr Natural Nail Care
[?Catherine and Damian Farr
Ken and Penny Fischer
Food Art
Sara Frank
The Gandy Dancer
Bcvcrley and Gerson Gcltn
Great Harvest Bread Company
Linda and Richard Greene
Nina Hauscr
John's Pack & Ship
Steve and Mercy Kasle
Cindy Kellcrman
Kerrytown Bistro
Kilwin's Chocolate Shoppe
King's Keyboard House
Ray Lance
George and Beth Lavoie
LeDog
Leopold Bros. Of Ann Arbor
Richard LcSucur
Carl Lutkchaus
Doni Lystra
Ernest and Jeanne M John Mctzger
Michigan Car Services, Inc. and
Airport Sedan, LTD Moc Sport Shops Inc. Robert and Mclinda Morris Joanne Navarre Nicola's Books, Little Prf------
Book Co. " esano's Restaurant Pfizer Global Research and
Development: Ann Arbor
Laboratories Preview Properties Produce Station Randy Parrish Fine Framing Red Hawk Bar & Grill Regrets Only Rightsidc Cellar Ritz Camera One Hour Photo Don and Judy Dow Rumclhart Safa Salon and Day Spa Salon Vertigo Rosalyn Sarvar Maya Savarino Penny and Paul Schrciber Shaman Drum Bookshop
Dr. Elaine R. Soller
Maureen StocfTlcr
STUDIOsixteen
Two Sisters Gourmet
Van Bovcns
Washington Street Gallery
Whole Foods
Weber's Restaurant
Zanzibar
UMS ADVERTISERS
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
Realtors
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 Littlcficld & 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 TheEarle 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