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UMS Concert Program, Thursday Feb. 19 To Mar. 14: University Musical Society: Winter 2004 - Thursday Feb. 19 To Mar. 14 --

UMS Concert Program, Thursday Feb. 19 To Mar. 14: University Musical Society: Winter 2004 - Thursday Feb. 19 To Mar. 14 --  image UMS Concert Program, Thursday Feb. 19 To Mar. 14: University Musical Society: Winter 2004 - Thursday Feb. 19 To Mar. 14 --  image UMS Concert Program, Thursday Feb. 19 To Mar. 14: University Musical Society: Winter 2004 - Thursday Feb. 19 To Mar. 14 --  image UMS Concert Program, Thursday Feb. 19 To Mar. 14: University Musical Society: Winter 2004 - Thursday Feb. 19 To Mar. 14 --  image UMS Concert Program, Thursday Feb. 19 To Mar. 14: University Musical Society: Winter 2004 - Thursday Feb. 19 To Mar. 14 --  image UMS Concert Program, Thursday Feb. 19 To Mar. 14: University Musical Society: Winter 2004 - Thursday Feb. 19 To Mar. 14 --  image UMS Concert Program, Thursday Feb. 19 To Mar. 14: University Musical Society: Winter 2004 - Thursday Feb. 19 To Mar. 14 --  image UMS Concert Program, Thursday Feb. 19 To Mar. 14: University Musical Society: Winter 2004 - 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Day
19
Month
February
Year
2004
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Rights Held By
University Musical Society
OCR Text

Season: Winter 2004
University Of Michigan, Ann Arbor

ums
University Music Society of the University of Michigan
Winter 2004 season
university musical society
winter 04 University of Michigan Ann Arbor
2 Letters from the Presidents
5 Letter from the Chair
UMSleadership 6 Corporate Leaders Foundations
12 UMS Board of Directors Senate
Advisory Committee
13 UMS Staff Teacher Advisory Committee
UMSservices 15 General Information
16 Tickets
17 Gift Certificates
19 www.ums.org
UMSannals 21 UMS History
22 UMS Choral Union
23 Venues Burton Memorial Tower
UMSexperience 27 The 125th Winter UMS Season
30 Education & Audience Development
33 UMS Preferred Restaurant 8c Business Progra
UMSsupport 35 Advisory Committee
35 Sponsorship & Advertising
37 Internships & College Work-Study Ushers
37 BRAVO!
39 Support
48 UMS Advertisers
Front Coven Simon Shaheen, Guthrie Theater's Othello, Cecilia Bartoli. Lyon Opera Ballet dancers Back Coven Dee Dee Bridgewater, Maestro Leopold Stokowski bows to the Hill Auditorium Audience at the 1936 May Festival
FROM THE U-M PRESIDENT
The University of Michigan joins the University Musical Society (UMS) in welcoming you to its 125th Anniversary Season. We are proud of the wonderful partnership between our two organizations and of the role of the University as co-sponsor of several events on this season's calendar. In addition to
reflecting the artistic beauty and passion that are integral to the human experience, these jointly sponsored events are also wonderful opportunities for University of Michigan students and faculty to learn about the creative
process and the sources of inspiration that motivate artists and scholars.
We are delighted to welcome UMS back to Hill Auditorium in time to celebrate UMS's 125th Anniversary with several concerts and revelry on January 17,18, and 19. Some of the highlights of the weekend will include a festive gala dinner and concert 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 thoroughly enjoyed the results of our collaboration with UMS in Autumn 2003, which included some extraordinary per?formances. In 2004, a number of superb productions will result from the partner?ship between the University and UMS. Some of these include appearances by the Israel Philharmonic, the great pianist Alfred Brendel, and the celebrated saxo-
phonist Ornette Coleman, who will also provide a two-day residency to our stu?dents. The University is also working with UMS to provide exceptional educational programs to the campus: the legendary Merce Cunningham Dance Company will collaborate with our Department of Dance, and members of the Guthrie Theater will participate in over 20 events when they are in town to present their magnificent production of Othello. The remarkable Arab-American artist Simon Shaheen has been providing a splendid residency in Ann Arbor and Dearborn in conjunction with the Arab Community Center for Economic and Social Services, culminating in a concert in the Michigan Theater on January 31. And on April 8, UMS and the School of Music collaborate to produce Professor William Bolcom's epic Songs of Innocence and of Experience. I want to thank the faculty and staff of the University of Michigan and UMS for their hard work and dedication in making our partnership a success. The University of Michigan is pleased to support the University Musical Society during this exhilarating 0304 season, and we share the goal of making our co-presentations aca?demic 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
Thank you for joining us for this perfor?mance 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 pro?grams during this milestone season. Check the complete listing of UMS's Winter 2004 events beginning on p. 27 and on our web-
site at www.ums.org.
The big news during this winter term is, of course, the re-opening of Hill Auditorium after its 20-month renovation and restoration. If you're read?ing this program book while you are in Hill Audi?torium, welcome back to this glorious 90-year-old venue. If you're at another venue, I hope you have been or will soon get to Hill. What the University of Michigan has done in this
phase of Hill's renovation is absolutely marvelous. As a patron, you'll find a much more welcoming and comfortable build?ing... and one whose infrastructure has been vastly updated and improved to see it through the 21st century. Take the elevator to the balcony, have a coffee in the Elizabeth E. Kennedy Lower Lobby, sit in one of the new and wider seats on the main floor, and look at the stunning new colors surrounding the stage and the ring of lights on the ceiling. These are totally new experiences for a patron attending a UMS concert. What remains to be done in the next phase of renovation is the con?struction of a backstage addition to Hill
Auditorium so that this world-renowned concert hall will be as welcoming and comfortable for our visiting artists as it is now for our patrons.
We are pleased that International Arts Manager, the major business magazine for the performing arts published in London, featured UMS as the cover story in its
DecemberJanuary issue (see photo). The article recognizes the prominent role UMS now plays on the international performing arts scene, the outstanding team of UMS department heads, and UMS's being the oldest university-related pre?senting organization in the US. Visit our website to read the article.
It's wonderful to have you with us for this perfor?mance. 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 this performance, please send me an e-mail message at kenfisch@umich.edu or call me at 734.647.1174.
Very best wishes,
Kenneth C. Fischer UMS President
LETTER FROM THE CHAIR
rtie UMS 125th season continues with I the opening of a newly renovated Hill I Auditorium. What a pleasure it is to have our unique hall back with comfortable seats, air conditioning, and more restrooms!
Our fall season culminated with the Globe Theatre's production of Shakespeare's Twelfth Night, the Boston Pops, and the
125th annual UMS pro?duction of Handel's Messiah -very different and equally engaging pro?ductions. The UMS staff deserves a standing ova?tion for their enormous hard work. This past
summer we had to reduce our staff by 20, further increasingly everyone's work?load. This is a truly dedicated staff that continuously does a superb job providing the best productions and educational events for the University and our community.
In December, UMS celebrated, if from afar, President Ken Fischer who received the Patrick Hayes Award in London. Named after the man who was founding president of the International Society for the Performing Arts (ISPA) in 1949 and served as Ken's mentor, the Patrick Hayes Award recognizes an ISPA member of long standing whose achievements in arts man?agement are deserving of the highest praise and recognition.
This winter season brings us the Children of Uganda, the Israel Philhar?monic, and virtuosic pianist Lang Lang, to name just a few events from the splendid artistic menu UMS has planned for us.
The season finale will be the Ford Honors Program on May 15 featuring Sweet Honey in the Rock (founder Bernice Johnson Reagon received an honorary degree from U-M in 2000). The perform?ance will coincide with the opening of the University Capital Campaign. UMS will be a prominent part of the campaign, and we look to our audience and friends to help us ensure the future of the organization. For those of us who have been able to sup?port UMS in the past, it is an honor to participate in providing such a rich cultur?al environment for the University, the community and southeastern Michigan. I invite all of you to join us in ensuring the growth and success of the University Musical Society.
Sincerely,
Prue Rosenthal
Chair, UMS Board of Directors
leadership
CORPORATE LEADERS FOUNDATIONS
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."
Eric J. Hill, PhD, FAIA
Vice President and Project Principal, Albert Kahn Associates, Inc.
"Through the visionary rebirth of Hill Auditorium, UMS has at once glorified its mission, reconfirmed the cultural heart of the university community, and ensured the continuing legacy of architect Albert Kahn. Thank you!"
Douglass R. Fox
President, Ann Arbor Automotive "We at Ann Arbor Automotive are pleased to support 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 com-munity that sustains our business. We are proud to sup?port 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 com?munity's commitment to and appreciation for artistic expression in its many forms."
John L. Herrygers
Vice PresidentOperating Unit Principal, Southeast Michigan, The Christman Company "Christman is proud to support the community in which we earn our living. We feel privileged to have taken part in the Hill Auditorium renovation as construction managers, and wish the University Musical Society many successful seasons in its 'new' facility."
Len Niehoff
Shareholder, Butzel Long
"UMS has achieved an international reputation for excel?lence in presentation, education, and most recently cre?ation and commissioning. Butzel Long is honored to support UMS, its distinctive and diverse mission, and its important work."
Clayton Wilhite
Managing Partner, CFI Group, Inc. "We're pleased to be in the group of community businesses that supports UMS Arts and Education. We encourage those who have yet to participate to join us. Doing so feels good."
Rhonda Davenport
Group Manager & First Vice President of Ann Arbor Region, Comerica Incorporated "Our communities are enriched when we work together. That's why we at Comerica are proud to support the University Musical Society and its tradition of bringing the finest in performing arts to our area."
Erin R. Boeve
Sales Manager, Crowne Plaza "The Crowne Plaza is a proud supporter and spon?sor of the University Musical Society. The dedica?tion 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 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 programming and educa?tional 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.L.C. "Miller Canfield is a proud supporter of the University Musical Society and its contribution to the culture of our community through its presentation of wonderful and diverse cultural events which contribute substan?tially to inspiration and enrichment of our community."
Robert J. Malek
Community President, National City Bank "A commitment to quality is the main reason we are a proud supporter of the University Musical Society's efforts to bring the finest artists and special events to our community."
Michael Quinn, FAIA
President, Quinn EvansArchitects "Each UMS season of world-class performers deserves the best, and it's been a pleasure to design to that end. Now it's a pleasure to return Hill to the arts-loving public -renewed for the 21st century."
Joe Sesi
President, Sesi Lincoln Mercury Volvo Mazda "The University Musical Society is an important cultural asset for our community. The Sesi Lincoln Mercury Volvo Mazda team is delighted to sponsor such a fine organization."
Don Hawkins
Senior Vice President, Director of Community Affairs, TCF Bank TCF Bank is pleased to join the University Musical Society to make the arts accessible to students of diverse back?grounds. 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 uni?versities 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.
$100,000 and above Association of Performing Arts
Presenters Arts Partners Program Community Foundation for
Southeastern Michigan Doris Duke Charitable Foundation The Ford Foundation JazzNtt Michigan Council for Arts and
Cultural Affairs The Power Foundation The Wallace Foundation The Whitney Fund
$50,000 99,999
Anonymous
National Endowment for the Arts
$10,000 49,999 Continental Harmony
$1,000 9,999
Akers Foundation
Altria Group, Inc.
Arts Midwest
Cairn Foundation
Heartland Arts Fund
The Lebensfeld Foundation
Martin Family Foundation
Maxine 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
Vibrant Ann Arbor Fund
UNIVERSITY MUSICAL SOCIETY of the University of Michigan
UMS BOARD OF DIRECTORS
Prudence L. Rosenthal,
Chair Clayton Wilhite,
Vice-Chair Sally Stegeman DiCarlo,
Secretary Michael C. Allemang,
Treasurer
Kathleen Benton Charles W. Borgsdorf Kathleen G. Charla Mary Sue Coleman Hal Davis Aaron P. Dworkin George V. Fornero Maxine J. Frankel Patricia M. Garcia Debbie Herbert
Carl Herstein Toni Hoover Gloria James Kerry Marvin Krislov Barbara Meadows Lester P. Monts Alberto Nacif Jan Barney Newman Gilbert S. Omenn Randall Pittman
Philip H. Power Doug Rothwell Judy Dow Rumelhart Maya Savarino John J.H. Schwarz Erik H. Serr Cheryl L. Soper James C. Stanley Karen Wolff
UMS SENATE
(former members of the UMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Gail Davis Barnes Richard S. Berger Maurice S. Binkow Lee C. Bollinger Janice Stevens Botsford 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 David Featherman Robben W. Fleming David ). Flowers Beverley B. Geltner William S. Hann Randy J. Harris Walter L. Harrison Norman G. Herbert Peter N. Heydon Kay Hunt Alice Davis Irani 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 Peter Sparling 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 Agranofif, Vice Chair Morrine Maltzman, Secretary Jeri Sawall, Treasurer
Barbara Bach Tracey Baetzel Paulett M. Banks Milli Baranowski Lois Baru Kathleen Benton Mimi Bogdasarian Jennifer Boyce Mary Breakey Jcannine Buchanan
Victoria Buckler Heather Byrne Laura Caplan Cheryl Cassidy Nita Cox Norma Davis Lori Director H. Michael Endres Nancy Ferrario Sara B. Frank Anne Glendon Alvia Golden Ingrid Gregg Kathy Hentschel Phyllis Hcrzig
Meg Kennedy Shaw Anne Kloack Jean Kluge Kathy LaDronka Beth Lavoie fill Lippman Stephanie Lord Judy Mac Esther Martin Mary Matthews Joann McNamara leanne Merlanti Candice Mitchell Bob Morris Bonnie Paxtion
Danica Peterson Lisa Psarouthakis Wendy Moy Ransom Theresa Ann Reid Swanna Saltiel Penny Schreiber Sue Schroeder Aliza Shevrin Alida Silverman Loretta Skewes Maryanne Telese Dody Viola Wendy Woods Mary Kate Zelenock
UMS STAFF
AdministrationFinance 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
lerry 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 Mamie Reid, Manager of Individual
Support Lisa Rozek, Assistant to the Director
of Development
EducationAudience Development Ben Johnson, Director Amy Jo Rowyn Baker, Youth
Education Manager William P. Maddix, Manager Warren Williams, Manager
MarketingPublic Relations Sara Billmann, Director Susan Bozell, Marketing Manager Nicole Manvel, Promotion Coordinator
ProgrammingProduction Michael). 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 Alexis Pelletier, Assistant John M. Steele, Assistant
Work-Study Pearl Alexander Kara Alfano Nicole Blair Stephan Bobalik Bridget Briley Patrick Chu Katie Conrad Elizabeth Crabtree Bethany Heinrich Rachel Hooey Cortney Kellogg Lena Kim Leslie Leung Aubrey Lopatin Ryan Lundin Paul Bruce Ly Natalie Malotke Melissa McGivern Erika Nelson Nadia Pessoa Fred Peterbark Omari Rush Jennie Salmon Christy Thomas Sean Walls Amy Weatherford Christine Won Chun
Interns Noelle Butzlaff Jia Lim Claire Rice
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
UMSservices
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 assistance.
Listening Systems
For hearing-impaired persons, 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, or EMU Convocation Center, please call the UMS Production Office at 734.615.1444.
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 in the lower lobby of Hill Auditorium, and are available in the Michigan Theater. Refresh?ments are not allowed in the seating areas.
Smoking Areas
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
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.
In an effort to help reduce distracting noises and enhance the theater?going experience, Pfizer Inc is providing complimentary HallsO Mentho LyptusO cough suppressant tablets to patrons attending UMS performances through?out the 0304 season.
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 they 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. At the beginning of 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 each year -last year, students saved over $100,000 by purchasing tickets at the Half-Price Student Ticket Sale!
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 perfect meaningful gift that speaks vol?umes about your taste Tired of giving
flowers, ties or jewelry Give a UMS Gift Certificate! Available in any amount and redeemable for every event throughout our sea?son, 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 house-warming 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.
ww
W.UMS.ORG
Join 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, education 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.
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
Through 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 partic?ipation 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 Simmons Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Their first perform?ance of Handel's Messiah was in December of
1879, and this glorious oratorio has since been performed by the UMS Choral Union annually.
As a great number of Choral Union members also belonged to the University, the University Musical Society was established in December
1880. 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 and world music performers, and opera and
Every day UMS seeks to cultivate, nurture, and stimulate public interest and participation in every facet of the live arts.
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 90 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.
UMS CHORAL UNION
Throughout 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 per?formances 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 cho?rus has joined the DSO in Orchestra Hall and at Meadow Brook for subscription performanc?es 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' Ein deutsches Requiem,
Participation in the Choral Union remains open to all by audition. Members share one common passion --a love of the choral art.
and has recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd.
Led by interim conductor Jerry Blackstone, the Choral Union opened its current season with performances of Verdi's Requiem with the DSO in September. In December the chorus presented 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 Song of Innocence and of Experience in the newly renovated Hill Auditorium in April 2004.
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. Choral Union's season concluded in March with a pair of mag?nificent French choral works: Honegger's King David, accompanied by members of the Greater Lansing Symphony Orchestra, and Durufle?s mystical Requiem, accompanied by international-class 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 com?posers of all historical periods; a joint appear?ance 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. Composed 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.
VENUES Hill Auditorium
After an 18-month $38.6-million dollar reno?vation, which began on May 13, 2002, over?seen by Albert Kahn Associates, Inc. and historic preservation architects Quinn EvansArchitects, Hill Auditorium has re-opened. Originally built in 1913, renovations have updated Hill's infra?structure and restored much of the interior to its original splendor. Exterior renovations include the reworking of brick paving and stone retaining wall areas, restoration of the south entrance plaza, the reworking of the west barri?er-free ramp and loading dock, and improve?ments to landscaping.
Interior renovations included the demolition of lower-level spaces to ready the area for future improvements, the creation of additional rest-rooms, the improvement of barrier-free circula?tion by providing elevators and an addition with ramps, the replacement of seating to increase patron comfort, introduction of barrier-free seating and stage access, the replacement of the?atrical performance and audio-visual systems, and the complete replacement of mechanical and electrical infrastructure systems for heating, ventilation, and air conditioning.
Re-opened in January 2004, Hill Auditorium seats 3,538.
Power Center
The 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. 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, UMS presented its first chamber music festival with the Musical Art Quartet of New York per?forming 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.
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.
EMU Convocation Center
An 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 construction 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 nearly every April since 1998, and this year's popular concert fea?tures Orchestra Baobab on Saturday, April 17.
Burton Memorial Tower
Seen 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 their 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.
turns
Kof the University of Michigan, Ann Arbor
Winter 2004
125th Annual Season
Event Program Book Thursday, February 19 through Sunday, March 14, 2004
General Information
Children of all ages are welcome at UMS Family and Youth Performances. Parents are encour?aged not to bring children under the age of 3 to regular, full-length UMS performances. All children should be able to sit quietly in their own seats throughout any UMS performance. Children unable to do so, along with the adult accompanying them, will be asked by an usher to leave the auditorium. Please use discretion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a prede?termined time in the program.
Cameras and recording equipment are prohibited in the auditorium.
If you have a question, ask your usher. They are here to help.
Please take this opportunity to exit the "infor?mation superhighway" while you are enjoying a UMS event: electronic-beeping or chiming dig?ital watches, ringing cellular phones, beeping pagers and clicking portable computers should be turned off during performances. In case of emergency, advise your paging service of audi?torium and seat location in Ann Arbor venues, and ask them to call University Security at 734.763.1131.
In the interests of saving both dollars and the environment, please retain this program book and return with it when you attend other UMS performances included in this edition or return it to your usher when leaving the venue. Thank you for your help.
Children of Uganda 5
Thursday, February 19, 7:00 pm Saturday, February 21, 8:00 pm Power Center
Cecilia Bartoli 11
Orchestra of the Age of Enlightenment
Friday, February 20, 8:00 pm Hill Auditorium
Guthrie Theater 19
Shakespeare's Othello
Thursday, March 4, 8:00 pm Friday, March 5, 8:00 pm Saturday, March 6, 2:00 pm Saturday, March 6, 8:00 pm Sunday, March 7, 2:00 pm Power Center
Merce Cunningham Dance Company
Friday, March 12, 8:00 pm 23
Saturday, March 13, 8:00 pm 29
Power Center
Kronos Quartet 39
Sunday, March 14, 6:00 pm Power Center
UMS Educational Events through Thursday, March 18,2004
All UMS educational activities are free and open to the public unless otherwise noted ($). Please visit www.ums.org for complete details and updates. All events in Ann Arbor unless otherwise specified.
Children of Uganda
Community Performance Exchange Mini-performances by Children of Uganda and Ann ArborYpsilanti youth choirs in a community-wide performance exchange. Wednesday, February 18, 7:00 pm, Community Church of God, 565 Jefferson, Ypsilanti
New Bethel Baptist Church Visits
Mini-performances by Children of Uganda and Detroit youth choirs at Detroit's historic New Bethel Baptist Church. Sunday, February 22, 10:45 am and 3:30 pm, New Bethel Baptist Church, 8430 C. L Franklin Blvd. (Limvood), Detroit
For more information on the above events, contact 734.764.6179 or umsed@umich.edu.
Guthrie Theater
The Guthrie Speaks: Play Discussion A public "behind-the-scenes" session with actors, dramaturgy, production, and education staff from the Guthrie Theater's production of Shakespeare's Othello, led by Ben Johnson, UMS Director of Education and Audience Development. Audience members will be given an overview of playtext, description of the pro?duction, and enjoy a special interview with the actors.
Tuesday, March 2, 7:00 pm, Ann Arbor District Library, Multi-purpose Room, 343 S. Fifth Avenue
Merce Cunningham Dance Company
Third Annual Dance on Camera Festival Featuring the latest internationally acclaimed dance videos, the Third Annual Dance on Camera Festival features cutting-edge work that redefines the trends in video dance. As part of the Merce Cunningham Dance Company resi?dency, the Dance on Camera Festival is devot?ing one night of the festival to celebrating the contributions of this pioneering artist. David Vaughan, archivist for the Cunningham Foundation, will select and introduce each of these videos, some of which have been rarely seen in public.
Sunday, March 7, 7:00 pm (Selections from the New York Dance on Camera Festival) and Monday, March 8, 7:00 pm (Merce on Camera with David Vaughan), U-M Dance Building, Betty Pease Theatre, 2nd Floor, 1310 N. University Ct., Behind CCRB, off Observatory Road
Study Club: Merce Cunningham "I make movement, that is what I do." Merce Cunningham is widely considered to be one of the master artists of the 20th Century, and his ideas and art have profoundly influenced all of contemporary culture, yet understanding his work can still be elusive and perplexing. Jessica Fogel, U-M Professor of Dance, will lead this Study Club to help audience members under?stand the important role that Cunningham has played in dance history, with a focus on his choreography, his collaborations, his use of technology, and his avant-garde philosophies. This Study Club is an essential primer to his Ann Arbor performances. Tuesday, March 9, 7:00 pin, U-M Dance Building, Betty Pease Theater, 2nd Floor, 1310 N. University Ct., Behind CCRB, off Observatory Road
Artist Interview and Panel: "This is Your Brain on Dance: The Intersection of Dance, Health, and Technology"
Demonstrating his own choreographic software, entitled DanceForms, Mr. Cunningham will respond to some of U-M's leading medical experts and their latest research from the Departments of Psychology, Kinesiology, Radiology, and Neurology. This special interdis?ciplinary presentation will feature Jill Sonke-Henderson, professor and artist-in-residence at the University of Florida's Shands Arts in Medicine Program. Reception to immediately follow the panelinterview. Wednesday, March 10, 4:00-6:00 pin, with recep?tion immediately to follow. U-M Life Sciences Palmer Commons Building, Forum Hall, 3rd floor, 100 Waslitenaw Avenue
Special Event
unCAGEd: The Exploration of Non-Intention(S) The Contemporary Art Institute of Detroit (CAID) presents a special "event" inspired by the musical approaches of John Cage. unCAGEd is a (late) night of music, dance and spontaneity, honoring the week-long residency of the Merce Cunningham Dance Company. unCAGEd features a varied group of Detroit-and Ann Arbor-based exploratory artists, musi?cians, and performers workingplaying in the Cage frame of chance. Fueled by a very Cage-ian preset of "the exploration of non-inten?tion," the possibilities of mixed medium collab?oration are endless, reflecting the pure energy felt in Cunningham's guided improvisation. Featuring artists include Nazanin Arandi, Mike Dykehouse, Elliott Earls, Viki Hott, Jeremy Kallio, Erin Knowles, Melanie Manos, Chris McNamara, Brent Sommerhauser, and Scott Zacharias. DJs provided by Ghostly International.
$5 cover charge at the door. Friday, March 12, post-performance, Dance Gallery Studio, 815 Wildt Street
For more information on the above events, contact 734.764.6179 or umsed@umich.edu.
An Evening with Ornette Coleman
Roundtable and Interview: "Prime Time for Harmolodics with Ornette Coleman" Iconoclast Ornette Coleman changed the course of 20th-century music with his vision of "Harmolodics," which is the playing, improvis?ing, and composing of music outside of its known harmonic conventions. After being interviewed by Detroit Free Press writer Mark Stryker, Ornette Coleman will participate in a roundtable discussion moderated by Stephen Rush, Director of Digital Music Ensemble, U-M Department of Dance. Discussants to include: Travis Jackson, Associate Professor, Music and the Humanities, University of Chicago; Andrew Bishop, Assistant Professor of Jazz, Theory, and Composition, Albion College; and Tim Flood, All-Music Guide. For more information, contact 734.764.6179 or benjohn@umich.edu. Wednesday, March 17, 5:00-7:00 pm, Ann Arbor District Library, 343 S. Fifth Avenue
Jazz Master Class and Jam
Ornette Coleman will lead a master class and
jam with students from the U-M School of
Music Department of Jazz and Improvisational
Studies. For observation only.
Thursday, March 18, 2:45-4:30 pm, Recital Hall,
U-M School of Music, North Campus, 1100 Baits
Drive
Pfizer Global Research and Development
present
Children of Uganda
Frank Katoola, Choreographer and Director Peter Kasule, Master of Ceremonies
The Company
Emmanuel Anguyo
Francis Kalule
Ronald Kibirige, Lead Drummer
Rose Kokumbya
Francis Lubuulwa
Moses Mubiru
Peter Mugga
Jacintha Nabawanuka
Gorrette Nabulya
Geofrey Nakalanga
Betty Nakato
Prossy Namaganda, Lead Dancer
Annet Nambalirwa
Teddy Namuddu
Zaam Nandyose
Lukia Nantale
Harimah Nassali
Jane Ndagire
Patrick Nyakojo
Paul Olaja
Bob Ssebandeke
Bernard Sserwanga
Produced by
Uganda Children's Charity Foundation
Alexis Hefley, President and Executive Director
Lighting Design Brenda Dolan
Thursday Evening, February 19, 2004 at 7:00 Saturday Evening, February 21, 2004 at 8:00 Power Center Ann Arbor
Tour of Light 2004
Tonight's program contains one intermission.
43rd and 44th Performances of the 125th Annual Season
Ninth Annual World Culture Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
These performances 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.
Additional support provided by media sponsor WEMU 89.1 FM.
Children of Uganda appear by arrangement with Lisa Booth Management, Inc.
Large print programs are available upon request.
Dance in Africa is not merely for entertainment but is a deeply embedded part of life itself. Its heart-throbbing rhythms regulate our pulse at life's intervals and at differ?ent stages of development, laying the founda?tion for each of us to absorb and embrace the values, ideals, and practices of our society. The performing arts also add spice, offer spiritual renewal, and nourish culture. In these difficult times for Africa, I find that my artistic choices favor material that leads toward holistic fulfill?ment, enriching the body, the mind, and the soul. I also emphasize the joy that emanates from the works themselves and from the act of performing them.
African songs, dances, and music all have educative roots to the communities where they originated and are performed. When training children in Uganda, I not only teach the move?ment, songs, and lyrics but also the cultural set?ting and seminal intent for each work we study. In this way, I can do my part to ensure the con?tinuation of indigenous, authentic African val?ues that have never been recorded except within these songs and dances.
The Children of Uganda are jewels who carry with them a deeply-rooted experience, representing the beauty of authentic African art in such a gracious manner. These children have seen suffering in its true sense yet their back?grounds do not inhibit them from dancing with joy. They perform with an enthusiasm that is clearly beyond training. They sing and dance with hope in their hearts, which is reflected in their bodies. They represent communities in crisis, bearing a candle that will light the way for the rest.
-Frank Katoola, Director and Choreographer
The dances and songs that the Children of Uganda perform reflect the history, culture, legends, and beliefs of East Africa. Each of Uganda's 52 distinct ethnic groups has its own dance and music traditions. The dances performed by the Children of Uganda can be loosely classified into historical, social, and festival dances.
The songs and dances performed tonight feature a number of Ugandan dialects as well as English and Swahili.
My Story
This song was written by Frank Katoola to rally
all of us to fight AIDS.
Olonge, Bakabaka, Tubariki This suite of contemporary African rhythms and dynamic melodies welcomes all to the per?formance and includes the popular song "Hakuna-Matata" (No Worries):
You just got to move your body
When the melodies are sung in
Company of the authentic Ugandan drums.
Sum it up: "Here we come, the masters of
rhythm!"
Bakisimba
This is a traditional dance of the court of Buganda, the largest ethnic group of Uganda. It celebrates the creation of banana wine for the King.
Kaikenya and Aida
Based on a centuries old folk song, Kaikenya's story hails from a group of people that settled in central Africa around the Great Lakes region and counsels on the 'dos' and 'don'ts' of mar?riage. Its rhythm and lyrics are shared by the Bantu-speaking people of East Africa. Sung in praise of the village beauty, Aida's contempo?rary choreography is rooted in forms from the ethnic Tutsi of Rwanda and Hima of Uganda and was subsequently enriched by a Northern Ugandan rhythm.
Omugundu and Ekimandwa
Engoma (drums) are the true identity of the African culture. The rhythms of these two pieces are a link from history to modern Africa. Omugundu introduces the power of engoma and is followed by Ekimandwa, named for the spiritual set of drums that traditionally served to communicate with the gods.
Gaze
A modern dance of northern Uganda near the Congo border, Gaze is danced by teenage girls while boys accompany them on the drums. This high-energy dance emphasizes improvisation, allowing each generation to build on previous steps by adding their own.
Omussango Gwamulilwana This song features Endigidi. These single-stringed instruments, whose cousins can be found throughout the Middle East and Asia, are also called "tube fiddles." They are said to have been present in the time of the ancient Egyptians and to have traveled to and from East Africa during the era of Afro-Asiatic-Arab triangular trade. In Africa, Endigidi were mainly played to give com?pany to good storytellers; now they are part of the emerging Ugandan Orchestra. This bowed instrument is tuned to the pentatonic scale.
Ekitaguriro
This dance belongs to the nomadic people of Banyankole who hail from the western district of Uganda. This dance praises the long-horned cows of Ankole and Rwanda -found nowhere else on earth. The dancers imitate the sounds, rhythms, and the movements of the graceful cows.
INTERMISSION
Katusanyuke Ffena
With western Colonialism came the Christian religions that were widely adopted by Africans throughout the continent. Katusanyuke Ffena is a Christian Easter Choral.
Otwenge
The Democratic Republic of Congo lies to the west of Uganda where cultural traditions are shared across the national borders. Congolese are known throughout Africa for their sensual dancing and music. Set to the song "Otwenge," this dance takes on a contemporary style while the accompanying lyrics reflect common hap?penings.
Addungu
Addungu is a bow harp (named for its arched shape) that originated with the Alur people who live on Uganda's northern border with Sudan. These beautiful instruments, which come in various sizes and sets, are used in both traditional and in contemporary music. These nine-string instruments can be tuned to penta-tonic and diatonic scales.
Rwemeza, Amaaraba, and Entore Uganda is bordered to the southwest by Rwanda, home of the Banarwanda people. Rwemeza are drums of the Banarwanda royalty, played to announce the King's entrance to the court. Following the procession, the dance Amaaraba is performed. We finish off the drum medley with Entore, a dance performed by young men preparing to enter battle.
Amadinda
A log xylophone is an important instrument to which all other Ugandan instruments are tuned. Amadinda most often accompanies dances, but it can also accompany a good story?teller. This xylophone is tuned to a pentatonic scale.
Yesu Kiddukiro
A Lugandan song of praise performed by the
company.
Orunyege
Originally a courtship dance of the Banyoro-Batooro people of Western Uganda, this exu?berant and demanding dance gives everyone a chance to show their individual talents and styles. In the past, young men and women
would be brought together in front of the com?munity in a ceremony to choose their future mates. This ceremony was a critical event, espe?cially for the boys, since poor dancers risked remaining bachelors. The girls were expected to dance well in return -exhibiting spunk, kind?ness, grace, and style.
increasing awareness of the HIVAIDS crisis in their homeland.
These performances mark the Children of Uganda's third and fourth appearances under UMS auspices. The company made their UMS debut in February 2002.
The 20 members of Children of Uganda range in age from eight to 18. The performers live in one of several orphanages and schools supported by the Uganda Children's Charity Foundation (UCCF). Through their perform?ances, educational programs, and community exchanges, Children of Uganda serve as good?will ambassadors for the 1.7 million orphans living in Uganda today.
Children of Uganda have been selected as "Best Performers" at the International Children's Festival at Wolf Trap in Washington, DC and hailed as "first-rate" and "inspiring" by The New York Times. Touring the US biennially since 1994, Children of Uganda have performed in more than 20 states. The group has also par?ticipated in a number of special events includ?ing performing for former Treasury Secretary Paul O'Neill during his trip to Africa, perform?ances for the World Bank, MTV, and Nike, and appearances on the David Letterman Show and at the recent Grammy's MusiCares benefit saluting U2's Bono.
The dual crises of civil war and AIDS in Uganda pose a serious threat to the complex fabric of family and village life that previously nurtured and depended on a rich and varied oral culture. Children of Uganda was originally founded to teach orphaned children the songs, dances and stories that were in danger of being lost. At home, the ensemble includes many young people who study with Frank Katoola and perform for weddings, special events, and other celebrations. Children of Uganda Tour of Light gives 20 of the most talented of these per?formers an opportunity to share their stories in the US, promoting East African culture and an
Frank Katoola (Director and Choreographer) has taught music, dance, and drama in Kampala, Uganda since 1989 and has directed Children of Uganda since 1996. In 1999, he founded the Tender Talents Magnet School that provides secondary education to young people in Kampala with focused training in music, dance, and theater as its pedagogical approach?es. The school is an extension of his Tender Talents Theatre Company -an umbrella organization for children's theater work in Uganda.
Mr. Katoola received a diploma in Performing Arts for Music, Dance and Drama from Kampala's Makere University and a diplo?ma in Teacher Education specializing in peda?gogy from the Institute of Teacher Education in Kyambogo. He has since worked with World Vision Uganda, Vision in Action, American Peace Corps, Habitat International, The British Council, the National Theatre, and the Uganda Children's Charity Foundation. He serves on the Children and Youth Committee of the International Amateur Theatre Association. Since 1987, Mr. Katoola has performed with Ndere Troupe Cultural Performers, touted as the most outstanding cultural troupe in the coun?try. He has conducted workshops and seminars in Uganda and other parts of the world, includ?ing Germany and the US. He has written, pro?duced and directed three theater-in-education dramas: The Sweet Filth (1993), Your Choice (1994), and This Evil Chain (1995).
Alexis Hefley, President and Executive Director of the Uganda Children's Charity Foundation (UCCF), initially traveled to Uganda in June 1993. During her time living and working with AIDS orphans for 18 months
in Kampala, Ms. Hefley saw the overwhelming need for international humanitarian assistance to address the AIDS and orphan crisis in Uganda. She returned to the US in 1994 having organized the first national tour of the Children of Uganda. Upon completion of this tour, Ms. Hefley founded UCCF to continue her efforts to assist these children. Since 1994 she has trav?eled regularly to Uganda and continues to devote her life to AIDS-related orphans.
Emmanuel Luswata (Assistant Stage Manager and Sound Technician) is a teacher and guid?ance counselor in Uganda. Mr. Luswata has taught in the Kisulsi Boys Primary School, the Mugwanya Preparatory School, and the Lohana Academy. He accompanied the Children of Uganda to attend the Bono "Person of the Year" Award in February 2003. He specializes in pro?moting the children's art and designs sound and mixes for other musical groups in Uganda. Mr. Luswatai has recorded and edited the CDs for Children of Uganda's 2002 and 2004 tours.
Tara Jenkins (Company Manager) is a 2000 graduate of Armstrong Atlantic University of Savannah, Georgia who has been involved with the Children of Uganda since 1994 when the children performed at her high school. In 2001 she traveled to Uganda to volunteer in two of the UCCF-sponsored orphanages. In 2002 Ms. Jenkins was chosen to serve as Tour Volunteer for the Tour of Light. Additionally, she served as the American Volunteer for the Bono "Person of the Year" event in February 2003. She cur?rently sponsors a child in Uganda at the Rakai orphanage. She plans to return to Atlanta after the 2004 Tour of Light.
Brenda Dolan (Lighting Designer) designs for many New York-based dance companies includ?ing Ronald K. Brown Evidence, Notario Dance Company, RythMEK, and Carlota Santana Flamenco Vivo. She has also designed numerous ballets for the Alvin Ailey American Dance Theater including: Serving Nia (Ron Brown), Lettres D'Amour (Redha), Ascension (Troy Powell), and Days Past, and Not Forgotten
(Earl Mosley). Recently, Ms. Dolan designed Guangdong Modern Dance Company's Joyce premiere; a staged reading of Largo, a new rock musical, for New York Stage and Film; and 50 Minutes with Harriet and Phillis, a dance play written and performed by Francesca Harper and Pulitzer Prize-winning journalist Margo Sapington.
Gregg Carville (Lighting Supervisor and Production Manager) is a free-lance theatrical designer and technician residing in New York City. His career has involved lighting dance and theater in New York and New England per?formance spaces. For the last three years he has lit the Barneys New York display windows on Madison Avenue. In the summer of 2003 he toured Germany, Austria, and Spain with Avner the Eccentric.
A not-for-profit corporation founded in 1995, Uganda Children's Charity Foundation (UCCF) is based in Dallas, TX, and in Kampala, Uganda, where it is a registered Non-Government Organization (NGO).
UCCF is dedicated to helping Uganda's children have a brighter future by providing an education, food, shelter, clothing, and medical care to hundreds of orphaned children. In this way, UCCF is furnishing the tools these children need to become self-reliant members of Ugandan society, with the capacity to contribute to Uganda's social welfare and eco?nomic recovery.
For further information, please visit www.uccf.org.
IMS would like to thank the following people and organiza?tions for their involvement in Children of Uganda's residency:
Ann Arbor School for the Performing Arts, Ardis Elementary School, Brown Chapel AME Church, Community Church of God, Detroit City Council Members Alberta Tinsley-Talabi and JoAnn Watson, Dr. Dwight Fontcnot, Penny Godboldo, Christopher Hale, Hartford Memorial Baptist Church, Leslie Nzinga Mathews-Smith, Michigan Children of SCORE, Michigan School for the Deaf, New Bethel Baptist Church, Rev. Mangedwa Nyathi, Pfizer Global Research and Development, lanae Pitts, Pastor Robert Smith, Jr., and Washtenaw Intermediate School District.
UMS
presents
Cecilia Bartoli
Mezzo-soprano
Orchestra of the Age of Enlightenment
Program
Friday Evening, February 20, 2004 at 8:00 Hill Auditorium Ann Arbor
Antonio Vivaldi
Vivaldi
Christoph W. Gluck
Antonio Salieri
Concerto in C Major, RV 114
Orchestra of the Age of Enlightenment
Gelosia
from Ottone in Villa
Di questa cetra
from Parnaso confuso
Vi sono sposa e amante
from La Fiera di Venezia
Salieri
Salieri
Overture: Don Chisriotte alle nozze di Gamace
Orchestra of the Age of Enlightenment
E non degg'io seguirla...Lungi da te...Forse,
chi sa...Vieni a me sull'ali d'oro from Armida
Salieri
Sulle mie tempie
from La Secchia Rapita INTERMISSION
Salieri
Se lo dovessi vendere
from La Finta Scema
Salieri
Or ei con Ernestia...Ah sia gia
from La Scuola Dei Gelosi
Salieri
Overture: La secchia rapita
Orchestra of the Age of Enlightenment
Salieri
Contro un'alma sventurata from Palmira, Regina Di Persia
Salieri
Se spiegar si potessi appieno from La Finta Scema
Salieri
Variazioni su La Folia di Spagna (excerpts)
Orchestra of the Age of Enlightenment
Salieri
E voi da buon marito...Non vo gia che vi suonino
from La Cifra
45th Performance of the 125th Annual Season
125th Annual Choral Union Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Special thanks to Randall and Mary Pittman for their continued and generous support of the University Musical Society, both personally and through Forest Health Services.
Additional support provided by media sponsors WGTE 91.3 FM and Observer & Eccentric Newspapers.
Large print programs are available upon request.
Forest Health Services presents the 125th Annual Choral Union Series.
jirias by JLntonio Salieri
Antonio Salieri
Born August 18, 1750 in Legnago, near
Verona, Italy Died May 7, 1825 in Vienna
"... the only thing I love in vocal music is truth, that truth which the incomparable Gluck makes me feel so profoundly throughout and in every detail of his Tragedies, and which I have felt on hearing works of other genres by a few other composers; so I strive to bring truth to all those of my operas which deserve such care -this is the only reason for the changes I have made, and continue to make, to the score of Armida
-Antonio Salieri writing to Carl F. Cramer, Vienna, 20 July 1784
"Music, divine imitation of nature, how I thank you for the happy hours you have brought me!..."
-Antonio Salieri: Ringraziamento all'arte ch'io professo (I Give Thanks to My Art), Vienna,
22 May 1822
These two brief quotations from Salieri encompass his entire artistic career and philosophy of composition. On the one hand is the Gluckian ideal of dramatic truth, on the other, a perception -also present in Gluck's aesthetic, and anticipat?ing Romanticism -of music's capacity for metaphysical ("divine") knowledge and moral value, so that, in the composer's own words, it becomes "a pleasure that tames Man." The two statements, written almost 40 years apart, also bear witness to Salieri's existential journey from the Enlightenment to Romanticism, from the Vienna of Joseph II to that of the Biedermeier era, via the heady atmosphere of pre-revolu-tionary Paris.
Salieri's life was marked by an extraordinary series of encounters with influential figures of the age. First among these was his meeting with Florian Leopold Gassmann in Venice in 1766. Salieri, by then an orphan, had moved there from his native Legnago in order to continue
his musical studies. Gassmann was in the city for the production of one of his operas, and took the young man back to Vienna with him as his pupil, thereby changing his future. In the years that followed, Salieri would meet Metastasio and Gluck (who became a close friend and spoke of him as his only true heir), as well as Joseph II, Mozart, Haydn, and Ranieri de Calzabigi, while among his pupils were Beethoven, Schubert, and Liszt. Lorenzo da Ponte and Giovanni Battista Casti both wrote librettos for him, and when Tarare was pre?miered in Paris, he spent months working alongside Beaumarchais.
Salieri experienced at first hand all the cul?tural developments of the time, the most signif?icant being the move from Metastasian opera seria to the reform opera of Gluck and Calzabigi. He had a key influence on the devel?opment of opera buffa in Vienna and lived to see the success of Rossini's comic operas in the city. Although a native Italian speaker, he sup?ported Joseph II's desire to create a national German opera, writing a Singspiel and realizing his enlightened sovereign's aesthetic and musi?cal ideas. Yet in his masterpiece Tarare (Paris, 1787), he depicted the ideals of liberty and just government espoused by the French Revolution.
Salieri witnessed the spread of Napoleon's armies across Europe, but also the Congress of Vienna and post-Napoleonic restoration under Metternich. He experienced the multicultural-ism of the Hapsburg Empire as well as the birth of 19th-century nationalism. For most of this time he was Kammerkompotiist and director of the Italian opera and between 1788 and 1824 he was court Kapellmeister, then the most presti?gious position in Viennese musical life.
This wealth of experience and inspiration informs all of Salieri's writing. As well as his 39 completed operas, he composed many sacred works, demonstrating his profound religious faith.
To place Salieri's work in its proper historical context, tonight's concert will begin with some selections by Antonio Vivaldi, two generations older than Salieri (Venice, 1678 -Vienna, 1741), and Christoph Willibald Gluck, who was
one generation older (Erasbach, Upper Palatinate [now Northern Bavaria in Germany], 1714 -Vienna, 1787).
The C-Major concerto that opens tonight's pro?gram is one of Vivaldi's 44 so-called concern ripieni -works written in concerto form (three movements, ritornellos, and episodes alternating) but lacking the usual contrast between solo instrument (or instruments) and the full ensemble. The present work has only a short chord progression for a slow movement (as in Bach's Brandenburg Concerto, No. 3) and a chaconne, or a set of variations over a bassline, for a finale.
Ottone in Villa (1713) was the first of Vivaldi's 50-odd operas. Its story, involving the Roman emperor Otho, is not simply a love tri?angle but a love quadrangle. "Gelosia," the first word of tonight's selection, is therefore the main theme of the entire plot. Originally writ?ten for a soprano castrato, this aria includes, in typical fashion, a main section requiring a great dealing of virtuosic agility and a slower middle section where the character gives vent to his grief and sorrow.
Gluck's Parnaso confuso (1765) belongs to a type of 18th-century opera known as azione teatrale -a shorter dramatic work usually written in honor of a ruler. Gluck wrote his work, on a text by the celebrated court poet Pietro Metastasio, to celebrate the wedding of the future Emperor Joseph II to Princess Maria Josepha of Bavaria. It was performed at the palace of Schonbrunn; contemporary sources report that four archduchesses, Maria Theresia's daughters, sang on that occasion, while Archduke Leopold directed the small orchestra from the harpsichord.
We are on Mount Parnassus, and the god Apollo calls the three muses Melpomene, Euterpe, and Erato to celebrate the wedding of "august Joseph" in a blend of myth and history. Erato, despite being the lyric muse, surprises all by singing to her own accompaniment on Euterpe's mythical lyre the exquisite aria "Di questa cetra in seno" (Within this lyre). Against
a background of pizzicato (plucked) violins and basses (in imitation of a lyre), the violas create a warm, sensual atmosphere that prepares for the entry of the voice. It is as if the song is cast?ing a spell, promising the delights of an enchanted garden of love, and the mood is akin to that conjured up by Mozart in Susanna's fourth-act aria in The Marriage of Figaro.
The first Salieri excerpt tonight is from La Fiera di Venezia (The Fair of Venice, 1772). It ends with a written-out cadenza, into which Salieri introduces the flute as a second concer-tante instrument alongside the oboe. Flute and oboe, wife and lover: perfect symmetry is achieved in all possible combinations with the vocal line. In a luminous C Major, the instru?ments play chase with the voice, imitating its coloratura, playing in thirds, even taking it in turns to converse. Together the three protago?nists give us a palpable sense of the joy that Calloandra promises in return for her future husband's fidelity.
In Don Chisciotte alle nozze di Gamace (Don Quixote at Camacho's Wedding, 1771) Salieri tried to combine Italian comic opera with French ballet, working with a Spanish source -an episode from Cervantes's Don Quixote. The opera's overture is a three-movement Italian sinfonia, which, instead of the usual slow move?ment, has a minuet in the middle.
Gluck's influence is immediately obvious in the extract from Armida (1771) -in the sculp?tural force of the accompanied recitative and in the flute phrase that introduces Rinaldo's aria. Here the character calls on love to bring him sleep, that "sweet image of death," and dreams of "a false pleasure." This is the only way in which he can relive the union with his now-dis?tant lover, hoping to discover her close by him when he awakes. The beautiful natural sur?roundings in which he finds himself are emphasized by the warm color of muted strings. The sense of empathy with the protago?nists is, however, pure Salieri (only 21-years-old when Armida was first staged) and requires no violent or overblown gestures for effect.
Salieri's taste for parody can be seen in La Secchia Rapita (The Stolen Bucket, 1772),
which tells the story of two states at war over a stolen bucket. In the aria "Sulle mie tempie," the countess Gherarda, trying to reaffirm her hus?band's fidelity, compares herself favorably to the most virtuous historical and mythological women. The formal elements come straight from the type of opera seria aria in which the priina donna would display her virtuosity in expressing elevated universal concepts. Yet this is no opera seria aria: the treatment of both the voice and the orchestra subtly deviates from the norm throughout, bringing ever more irony to the music as it unfolds.
Equally amusing in tone is "Se lo dovessi vendere" from Lafinta scema (Playing Dumb, 1775), a rapid, carefree sketch in a rustic, dance-like 68 meter, in which Ninetta, responding to the suitor who wants to "buy" her heart, tells us exactly what she looks for in a man. Salieri describes it as "a simple piece, cut to fit the young girl singing it."
In the late 18th century, composers began to favor the rondo as a means of enabling charac?ters to express their deepest feelings and singers to showcase their interpretative abilities. Salieri wrote the rondo "Ah sia gia" expressly for Nancy Storace (the original Susanna in Mozart's Le nozze di Figaro in 1786) when, in 1783, La Scuola Dei Gelosi (The School of the Jealous) was cho?sen to open the newly reestablished Italian opera season at the Vienna Burgtheater. In "Ah sia gia" the Countess laments her husband's infidelity before stating her continuing love for him and her hope of regaining his affections. Salieri here creates a flesh-and-blood character -an obvious precursor of Mozart's Countess -who from the opening bars of her recitative is torn between impetuosity and fear, unsure as to whether to agree to the Lieutenant's plan to make the Count jealous with a fake love letter addressed to herself. In the rondo itself, psychological truth and musical form come together as the Countess moves from reflection, introspection, and doubt to hope, and it is the latter emotion that prevails in the tranquil and positive conclusion.
Unlike the overture to Don Chisciotte, that of La secchia rapita is in a single movement, though it has what Salieri scholar John A. Rice
describes as a "grandiose and memorable slow introduction."
Palmira, Regina Di Persia (Palmira, Queen of Persia, 1795) belongs to the last phase of Salieri's operatic career. Persia is under threat from a dreadful monster, and the prize for defeating it will be the hand of the king's daughter, Palmira. One of the three kings to attempt the feat is Alcidoro, her secret lover. Palmira's sense of powerlessness in the face of pitiless fate, and her fear of having to renounce Alcidoro forever, lead to her desperate cry to the stars in "Contro un'alma sventurata."
"Se spiegar si potessi appieno" (If I could explain fully) from La Finta Scema was a show?piece for Catarina Cavalieri, the first Konstanze in Mozart's Abduction from the Seraglio, who was Salieri's student and also, it seems, his lover.
Salieri's last major work (1815) was a set of orchestral variations on the famous "Folia" theme, which had previously inspired many generations of composers. Salieri's biographer Volkmar Braunbehrens writes that this work practically amounts to a "method for teaching orchestration...a forerunner of more recent works of this sort such as Benjamin Britten's A Young Person's Guide to the Orchestra
La Cifra (1789) was written on a libretto by Mozart's famous collaborator Lorenzo Da Ponte. In her lively, infectious aria, the peasant girl Lisotta, planning her wedding to a noble?man, declares that she wants only refined instruments from the city to play, and no peas?ant music will be allowed. Accordingly, the orchestra divides to play the roles of "peasants" and "townspeople." Salieri, who was clearly enjoying himself here, recreated the sounds of instruments definitely not to be found in a late-18th-century opera orchestra. (This aria was originally written in 1770 for the pastorale L'amore Innocente, Salieri's second opera. The original text, by Giovanni Gastone Boccherini, brother of the more famous Luigi, was retained, with just a few of the instruments being replaced by other choices.)
Program notes by Claudio Osele (translation: Susannah Howe and Kenneth Chalmers) and Peter Laki.
Born in Rome, Cecilia Bartoli received her voice training at the Conservatorio di Santa Cecilia while being taught and coached by her parents, Silvana Bazzoni and Angelo Bartoli, both professional singers. Ms. Bartoli's early career included collaborations with Herbert von Karajan, Daniel Barenboim, and Nikolaus Harnoncourt. She has since worked with a host of other acclaimed conductors, including Pierre Boulez, Charles Dutoit, Christopher Hogwood, James Levine, Zubin Mehta, Marc Minkovski, Sir Simon Rattle, Sir Georg Solti, and Franz Welser-Most.
In Ms. Bartoli's opera career she has been heard in numerous Mozart operas (Nozze di
Figaro, Don Giovanni, Cost fan tutte) in the most distinguished opera houses around the world. She has achieved equal renown in operas by Rossini (La Cenerentola, II Turco in Italia), Paisiello (Nina), Handel (Rinaldo, II trionfo del
tempo), and Haydn (Armida, L'anima delfilosofo). Since the beginning of her career, Ms. Bartoli has been an enormously successful concert artist. In her recital appearances she has been accompanied by leading pianists such as Daniel Barenboim, Myung-Whun Chung, James Levine, and Jean-Yves Thibaudet. Besides arias of Mozart, Rossini, Puccini, etc., her concert reper?toire comprises also German Lieder and songs and arias by Bizet, Viardot, Berlioz, and Ravel. Perhaps her greatest commitment belongs to early music. Her performances of composi?tions by Scarlatti, Paisiello, Caldara, Caccini, Vivaldi, and Gluck have helped create a new audience for this repertoire throughout the world. This led to Ms. Bartoli's collaboration with such outstanding period instrument orchestras as The Orchestra of the Age of Enlightenment, Concentus Musicus Wien, II Giardino Armonico, Akademie fur Alte Musik
Berlin, The Academy of Ancient Music, Les Arts Florissants, and Le Musiche Nove.
Ms. Bartoli's discography comprises more than 10 complete opera recordings, as well as numerous solo discs. With her 1999 award-win?ning Vivaldi Album, the artist awakened a new international interest in the previously unknown operas of Vivaldi. Her 2000 Gluck Album won the Grammy Award for "Best Classical Vocal" recording. Acclaimed by critics internationally, this CD topped numerous Best-of-the-Year lists. In summer 2002, Ms. Bartoli renewed her exclusive contract with the Decca Music Group.
Her most recent disc, the Salieri Album, was launched in the fall of 2003. Typical of the thoughtfulness with which Ms. Bartoli chooses her recording projects, this exploration of Italian arias by the famously misunderstood Antonio Salieri was recorded with The Orchestra of the Age of Enlightenment conduct?ed by Adam Fischer.
Tonight's performance marks Cecilia Bartoli's fourth appearance under UMS auspices. Ms. Bartoli made her UMS debut in April 1993 in Hill Auditorium.
Alison Bury, orchestral director and concertmaster, is well known in the field of baroque and classical per?formance on original instruments. She is a founding member and regular leader of the Orchestra of the Age of Enlightenment and has appeared with them as soloist and director. In the 0304 season she will be directing a number of concerts with the OAE featuring Cecilia Bartoli. She is also the leader of the English Baroque Soloists.
Solo work includes performances and recordings with the Academy of Ancient Music, the Raglan Baroque Players, and the Taverner Players.
Tonight's performance marks Alison Bury's UMS debut.
In 1986 a group of the finest exponents of period instruments in the UK pooled their talents and expertise to found their own self-governing orchestra: the Orchestra of the Age of Enlightenment (OAE). The OAE was quickly recognized as exceptional and, in 1992, scored a further coup when it persuaded Frans Briiggen and Sir Simon Rattle to put their names to the orchestra as Principal Guest Conductors.
The OAE is in its 1 lth season as Associate of the Royal Festival Hall, and it is also Associate Orchestra at Glyndebourne. The OAE has toured many countries, including South America and the US in 2002, and will be tour?ing South East Asia in Autumn 2003. The Orchestra's discography covers over fifty recordings in music from Purcell to Verdi.
The OAE established an education and outreach program in 1994 with the aim of
encouraging creativity and active participation in the arts. The 0304 season's flagship educa?tion project, Role over Beethoven, is inspired by the Beethoven Piano Concerto cycle at the South Bank. The OAE is the only period instru?ment orchestra to offer an apprenticeship scheme, the JerwoodOAE Experience for Young Players.
Almost entirely dependent on sponsorship for its core activities, the OAE has a particularly successful relationship with Jupiter Unit Trust Managers, who sponsored the OAE's Beethoven Symphonies Series in 1999 and 12 subsequent concerts in 200001. Jupiter Unit Trust Managers have been the orchestra's Principal Sponsor since the 0102 season.
Tonight's performance marks the Orchestra of the Age of Enlightenment's UMS debut.
Orchestra of the Age of Enlightenment
First Violins Alison Bury, Director Catherine Weiss Catherine Mackintosh Miranda Fulleylove Jill Samuel Claire Sansom
Second Violins
Ken Aiso
Andrew Roberts
Lucy Howard
Claire Holden
Susan Carpenter-Jacobs
Catherine Ford
Violas
Martin Kelly Nicholas Logie Annette Isserlis Katharine Hart
Cellos
Sebastian Comberti Jonathan Cohen Susan Sheppard
Basses
Chi-chi Nwanoku MBE
Jonathan Moss
Flutes
Lisa Beznosiuk
Neil McLaren
Oboes
Anthony Robson Richard Earle
Clarinets Antony Pay Guy Cowley
Bassoons Philip Turbett Zoe Shevlin
Horns
Andrew Clark Martin Lawrence
Trumpets Neil Brough Paul Sharp
Timpani Alan Emslie
Staff
Marshall Marcus, Chief Executive
Charlotte Wadham, Director
of Planning Katy Shaw, Director of
Development and Mtttfating Anna Rowc, Director of Finance Philippa Brownsword, Orchestra Manager
For further information, please visit www.oae.co.uk.
UMS
with
National City
and
DTE Energy Foundation
present
Guthrie Theater's
Othello
A Play by William Shakespeare
Joe Doyling, Artistic Director Thomas C. Proehl, Managing Director
Program
Thursday Evening, March 4, 2004 at 8:00 Friday Evening, March 5, 2004 at 8:00 Saturday Afternoon, March 6, 2004 at 2:00 Saturday Evening, March 6, 2004 at 8:00 Sunday Afternoon, March 7, 2004 at 2:00 Power Center Ann Arbor
This production contains one intermission.
46th, 47th, 48th, 49th, and 50th Performances of the 125th Annual Season
Fourth Annual Theater Series
The photographing or sound recording of this concert or possession of any device for such photo?graphing or sound record?ing is prohibited.
The Thursday evening performance of Guthrie Theater is sponsored by National City.
The Friday evening performance of Guthrie Theater is sponsored by DTE Energy Foundation.
The youth performance of Guthrie Theater is supported by Tom and Marilou Capo and Carl and Charlene Herstein.
This presentation is part of Shakespeare in American Communities, a national theater touring initiative sponsored by the National Endowment for the Arts and The Sallie Mae Fund in cooperation with Arts Midwest.
Additional support provided by media sponsors Michigan Radio and Michigan Television.
Special thanks to the groups of 100 or more people who attended these performances: Arts at Michigan, Linda Gregerson's English 367 class, and Macklin Smith's English 267 class.
Special thanks to the Ann Arbor District Library, Arts at Michigan, Lisa Herbert Borgsdorf, Linda Gregerson, Judith Hommel, John Kantu, John Neville-Andrews, U-M Department of English Language and Literature, U-M Department of Theatre and Drama, U-M Honors Program, and Washtenaw Community College for their involvement in this residency.
Large print programs are available upon request.
The Herbert S. Amster Fund presents the Fourth Annual Theater Series
The Tony Award-winning Guthrie Theater is an institution of interna?tional distinction founded in 1963 by the great English director Sir Tyrone Guthrie. Under the artistic leadership of Joe Dowling, the Guthrie continues to set a national standard for excellence in theatrical production and performance. Work is currently underway to chart the course for the Guthrie of the next century. In 2006, the Guthrie Theater will move to a new three-stage complex where it will uphold its tradition of presenting time?less classics, as well as the development of new work by contemporary writers, collaborations with other regional and national theaters, and the presentation of work from international stages.
This production oOthello marks the Guthrie Theater's fourth production and third apprear-ance under UMS auspices. The company made its UMS debut in January 1996 presenting k. Impressions from The Trial by Franz Kafka and Harold Pinter's Old Times.
Please use the accompanying programs pro?vided by the Guthrie Theater for complete program information on this performance.
A Week-Long Celebration of American Iconoclasts
UMS
and
Crowne Plaza
present
Program
Merce Cunningham Dance Company
Dancers
Cedric Andrieux Rashaun Mitchell Jeannie Steele
Jonah Bokaer Koji Mizuta Derry Swan
Lisa Boudreau Marcie Munnerlyn Robert Swinston
Holley Farmer Daniel Roberts Andrea Weber
Jennifer Goggans Daniel Squire
Musicians
Loren Kiyoshi Dempster Andy Russ
Takehisa Kosugi John Shiurba
Choreography Merce Cunningham
Founding Music Director John Cage (1912-1992)
Assistant to the Choreographer Robert Swinston
Music Director Takehisa Kosugi
Executive Director Jeffrey H. James
Friday Evening, March 12, 2004 at 8:00 Power Center Ann Arbor
Pictures (1984)
INTERMISSION
Native Green (1985)
INTERMISSION
How to Pass, Kick, Fall and Run (1965)
51st Performance of the 125th Annual Season
13th Annual Dance Series
The photographing or sound recording of this concert or possession of any device for such photo?graphing or sound record?ing is prohibited.
This performance is co-sponsored by Crowne Plaza Hotels and Resorts. Presented with support from the Wallace Foundation. Additional support provided by the National Endowment for the Arts. Presented with support from Altria Group, Inc.
Additional support provided by media sponsors WDTE 101.9 FM and Metro Times.
This tour is made possible with public funds from the National Endowment for the Arts and the New York State Council on the Arts, a state agency.
Merce Cunningham Dance Company appears by arrangement with David LiebermanArtist's Representative.
Large print programs are available upon request.
Company
Trevor Carlson, General Manager James Hall, Wardrobe Supervisor Josh Johnson, Lighting Director Will Knapp, Production Manager Andy Russ, Music Supervisor Eddie Schneller, Company Manager Jeannie Steele, Rehearsal Assistant David Vaughan, Archivist
For complete company biographies please refer to page 32 of your program.
Pictures (1984)
Music David Behrman, Interspecies Small Talk
Decor I Costumes Mark Lancaster
Lighting Mark Lancaster, rec
Dancers C?dric Andrieux
Jonah Bokaer
Lisa Boudreau
Holley Farmer
Jennifer Goggans
Rashaun Mitchell
Koji Mizuta
Marcie Munnerlyn
Daniel Roberts
Jeannie Steele
Daniel Squire
Derry Swan
Robert Swinston
Andrea Weber
Musicians Takehisa Kosugi
Andy Russ
First performance: Merce Cunningham Dance Company, City Center Theater, New York, New York, 6 March 1984.
Restaged by Robert Swinston in 2002.
Native Green (1985)
Music John King, Gliss in Sighs
Decor I Costumes William Anastasi
Lighting Mark Lancaster, i
Dancers Lisa Boudreau
Jennifer Goggans
Koji Mizuta
Daniel Roberts
Daniel Squire
Andrea Weber
Musician Takehisa Kosugi
First Performance: City Center Theater, New York, New York, 12 March 1985.
Revival staged by Robert Swinston in June 2001.
This work was made possible, in part, through the generosity of a gift in memory of Edwin Denby.
How to Pass, Kick, Fall and Run (1965)
Music
John Cage, Stories from Silence, A Year from Monday, and elsewhere
Lighting Beverly Emmons
Dancers Ce'dric Andrieux
Jennifer Goggans
Jeannie Steele
Rashaun Mitchell
Koji Mizuta
Derry Swan
Robert Swinston
Marcie Munnerlyn
Readers Merce Cunningham
David Vaughan
First performance: Merce Cunningham Dance Company, Harper Theater, Chicago, Illinois, 24 November 1965.
Restaged by Carolyn Brown, Merce Cunningham, and Robert Swinston in 2002.
Special thanks to Sandra Neels, Albert Reid, Valda Setterfield, Jeff Slayton, and Gus Solomons for their collective memories.
Merce Cunningham and John Cage in Hill Auditorium: Ho to Pass. Kick, Fall and Run, 1971.
A Week-Long Celebration of American Iconoclasts
Merce Cunningham Dance Company
Dancers
Ce'dric Andrieux Rashaun Mitchell Jeannie Steele
Jonah Bokaer Koji Mizuta Derry Swan
Lisa Boudreau Marcie Munnerlyn Robert Swinston
Holley Farmer Daniel Roberts Andrea Weber
Jennifer Goggans Daniel Squire
Musicians
Loren Kiyoshi Dempster Andy Russ
Takehisa Kosugi John Shiurba
Kronos Quartet
David Harrington, Violin Hank Dutt, Viola
John Sherba, Violin Jennifer Culp, Cello
Choreography Merce Cunningham
Founding Music Director John Cage (1912-1992)
Assistant to the Choreographer Robert Swinston
Music Director Takehisa Kosugi
Executive Director Jeffrey H. James
Saturday Evening, March 13, 2004 at 8:00 Power Center Ann Arbor
MinEvent with Kronos Quartet (2003)
INTERMISSION
BIPED (1999)
52nd Performance of the 125th Annual Season
The photographing or sound recording of this concert or possession of any device for such pho?tographing or sound recording is prohibited.
Presented with support from the Wallace Foundation.
Additional support provided by the National Endowment for the Arts.
Presented with support from Altria Group, Inc.
Additional support provided by media sponsors WDTE 101.9 FM and Metro Times.
This tour is made possible with public funds from the National Endowment for the Arts and the New York State Council on the Arts, a state agency.
Merce Cunningham Dance Company appears by arrangement with David LiebermanArtist's Representative.
Large print programs are available upon request.
Company
Trevor Carlson, General Manager James Hall, Wardrobe Supervisor Josh Johnson, Lighting Director Will Knapp, Production Manager Andy Russ, Music Supervisor Eddie Schneller, Company Manager Jeannie Steele, Rehearsal Assistant David Vaughan, Archivist
MinEvent with Kronos Quartet (2003)
Music John Cage, Thirty Pieces for String Quartet (1983)
Decor Robert Rauschenberg, Immerse (1994)
Lighting Josh Johnson
Audio Engineer Scott Fraser
Dancers Cedric Andrieux Marcie Munnerlyn
Jonah Bokaer Daniel Roberts
Lisa Boudreau Daniel Squire
Holley Farmer Jeannie Steele
Jennifer Goggans Derry Swan
Rashaun Mitchell Robert Swinston
Koji Mizuta Andrea Weber
Musicians Kronos Quartet
David Harrington, Violin
John Sherba, Violin
Hank Dutt, Viola
Jennifer Culp, Cello
This MinEvent consists of complete dances, excerpts of dances from the repertory, and often new sequences arranged for the particular performance and place, with the possi?bility of several separate activities happening at the same time -to allow not so much an evening of dances as the experience of dance. -Merce Cunningham
"Each solo is either microtonal, tonal, or chromatic, or presents these differences in pairs or presents all of them in succession. Each begins at any time within a 45-second period and ends at any time within another 45-second period that overlaps the first by 15 sec?onds. Thus, a given piece may be played as fast as possible or it may be drawn out to a maximum length of 75 seconds. The work's flexibility of structure makes it a music that is, so to speak, earthquake proof." -John Cage
Tliiny Pieces was written for the Kronos Quartet and received its premiere at the Darmstadt Festival in July of 1984.
BIPED (1999)
Music Gavin Bryars, Biped
Dicor Shelley Eshkar, Paul Kaiser
Costumes Suzanne Gallo
lighting Aaron Copp
Dancers C6dric Andrieux Koji Mizuta
Jonah Bokaer Marcie Munnerlyn
Lisa Boudreau Daniel Roberts
Holley Farmer Daniel Squire
Jennifer Goggans Jeannie Steele
Rashaun Mitchell Derry Swan
Andrea Weber
Musicians Loren Kiyoshi Dempster
Takehisa Kosugi
John Shiurba
First Performance: Merce Cunningham Dance Company, Cal Performances, Zellerbach Hall, University of California, Berkeley, California, 23 April 1999.
The ddcor for BIPED is an exploration of the possibilities of the new animation technology of motion capture. The movement (but not the physical appearance) of the dancers was transposed into digital images. Paul Kaiser and Shelley Eshkar collaborated with Cunningham to make a new piece of virtual choreography. The dancers involved in the motion capture process were Jared Phillips, Jeannie Steele, and Robert Swinston.
BIPED was commissioned by the American Dance Festival through the Doris Duke Awards for New Work, The Barbican Centre, London, and Cal Performances, Berkeley.
Major funding was provided by the National Endowment for the Arts, the AT&T Foundation, and the National Dance Project of the New England Foundation for the Arts (with funding from the National Endowment for the Arts, the Doris Duke Charitable Foundation, the Andrew W. Mellon Foundation, and the Philip Morris Companies Inc.) in partnership with the Walker Art Center.
This work was also funded in part by the National Dance Residency Program, a program underwrit?ten by The Pew Charitable Trusts and administered at the New York Foundation for the Arts.
Animations for the dcor of BIPED were created with Character Studio and 3D Studio Max software by Discreet (a division of Autodesk) on Compaq Workstations. The motion capture for the decor was performed at Modern Uprising Studio in Brooklyn, New York.
Portions of the music recorded by Gavin Bryars at the Dave Hunt Studio, London: Chris Ekers, recording engineer; Dave Hunt, programming. Special thanks to Gavin Bryars Ensemble musicians: Sophie Harris, cello; James Woodrow, guitar; and Roger Heaton, bass clarinet.
Music used by arrangement with European American Music Distributors Corporation. Sole US and Canadian agent for Schott and Co., Ltd., London, publisher and copyright.
Merce Cunningham Dance Company (MCDC) came into being in the summer of 1953, when Cunningham took a group of dancers who had been working with him in New York to Black Mountain College, the progressive liberal arts school near Asheville, North Carolina. The group included Carolyn Brown, Viola Farber, Remy Charlip, and Paul Taylor. John Cage was music director and David Tudor the company musician.
In June 1964, as the company began its second decade, it set off on a world tour that was to last six months, with performances in Western and Eastern Europe, India, Thailand, and Japan. The recognition, by audiences and critics alike, of the importance of the work of Cunningham and Cage and their associates made this tour a turning point in the compa?ny's history. Extended domestic tours and New York seasons were soon part of the annual schedule, as well as further trips abroad.
John Cage's association with the company continued until his death in August 1992, when David Tudor succeeded him as music director. Tudor died in August 1996. In 1995, Takehisa Kosugi was appointed music director.
From 1954 to 1964, Robert Rauschenberg was the company's resident designer. The fol?lowing decade saw a number of celebrated col?laborations with visual artists such as Jasper Johns (who was appointed artistic advisor in 1967), Frank Stella, Andy Warhol, and Robert Morris. Mark Lancaster succeeded Johns as artistic advisor in 1980, and was in turn suc?ceeded by William Anastasi and Dove Bradshaw in 1984.
Since the 1970s, Cunningham has choreo?graphed a number of videoand filmdances in collaboration with Charles Atlas and with Elliot Caplan. The collaboration with Atlas resumed with the production of the documentary Merce Cunningham: A Lifetime of Dance, a co-produc?tion of INA and La Sept ARTE (France and Germany), BBC (Britain), and ThirteenWNET, which was released in 2001. In Mulhouse, France, in November 2001, three dances from
the company's repertory were filmed under Atlas's direction. Caplan's films of Deli Commedia, Changing Steps, and Beach Birds For Camera will shortly be released on DVD.
At the conclusion of the Merce Cunningham Dance Company's 50th Anniversary Year, Cunningham's latest work, Split Sides, was pre?sented in the Brooklyn Academy of Music's "Next Wave" Festival in October 2003, and again in the Paris Autumn Festival in December. In November the company gave a series of Events at the Tate Modern in London.
This weekend's performances mark the Merce Cunningham Dance Company's fourth and fifth appearances under VMS auspices. The company made its UMS debut in a residency in April 1971 and last appeared in Ann Arbor in February 1999.
Merce Cunningham, born in Centralia, Washington, received his first formal dance and theater training at the Cornish School (now Cornish College of the Arts) in Seattle. From 1939 to 1945, he was a soloist in the company of Martha Graham. He pre?sented his first New York solo concert with John Cage in April 1944. Merce Cunningham Dance Company was formed at Black Mountain College in the summer of 1953. Since that time Cunningham has choreographed nearly 200 works for his company. His work has been presented in the most prestigious ballet and theater houses throughout the world.
Cunningham has worked extensively in film and video, in collaboration first with Charles Atlas and later with Elliot Caplan. In 1999 the collaboration with Atlas was resumed with the production of the documentary Merce Cunningham: A Lifetime in Dance, a version of which was shown on PBS's American Masters in December 2001. Cunningham's interest in con?temporary technology has also led him to work with the computer program DanceForms, which he has used in making all his dances since Trackers (1991). Another major work, Interscape, first given in 2000, reunited
Merce Cunningham
Cunningham with his early collaborator Robert Rauschenberg, who designed both d6cor and costumes for the dance, which has music by John Cage.
In October 2000 Merce Cunningham received the Dorothy and Lillian Gish Prize. Cunningham was also a recipient of the National Medal of Arts in 1990 and the Kennedy Center Honors in 1985, in which year he also received a Laurence Olivier Award in London and a MacArthur Fellowship. In France, he was made Commander of the Order of Arts and Letters in 1982. In 2003 he was made Officer of the French Legion of Honor.
Cunningham has collaborated on two books about his work: Changes: Notes on Choreography, with Frances Starr, and The Dancer and the Dance, interviews with Jacqueline Lesschaeve. The latter, originally published in French, has also been translated into German and Italian. Merce Cunningham Dancing in Space and Time, a collection of criti?cal essays edited by Richard Kostelanetz, was published in 1998 by the Da Capo Press. Merce Cunningham: Fifty Years, chronicle and com?mentary by David Vaughan, Archivist of the Cunningham Dance Foundation, was published in September 1997. A major exhibition on Cunningham and his collaborations, curated by Germano Celant, was first seen at the Fundacio Antoni Tapies in Barcelona in 1999.
In August 2001 Merce Cunningham returned to the stage in the first theatrical pre?sentations of John Cage's An Alphabet, at the Edinburgh Festival in Scotland. In the revival of How to Pass, Kick, Fall and Run (1965), Merce Cunningham reads the accompanying stories by John Cage (originally performed by Cage) together with David Vaughan.
John Cage (founding music director) was born in Los Angeles in 1912. He studied with Richard Buhlig, Henry Cowell, Adolph Weiss, and Arnold Schoenberg. In 1952, at Black Mountain College, he presented a theatrical event considered by many to be the first "Happening." He was associated with Merce Cunningham from the early 1940s, and was Music Director to Merce Cunningham Dance Company until his death in 1992. Cage and Cunningham were responsible for a number of radical innovations in musical and choreo?graphic composition, such as the use of chance operations and the independence of dance and music. His last work for MCDC was FOUR3, the score for Beach Birds, presented at the James JoyceJohn Cage Festival in Zurich in 1991. He was the author of many books, among them Silence (1961), A Year from Monday (1968), M (1973J, Empty Words (1979), and X (1983), all published by Wesleyan University Press. I-VI (the Charles Eliot Norton Lectures delivered at Harvard University in 1988-89) was published by Harvard University Press in 1990. Cage's music is published by the Henmar Press of C.F. Peters Corporation and has been recorded on many labels. He died in New York City on 12 August 1992.
Takehisa Kosugi was born in Tokyo in 1938. He studied musicology at Tokyo National University of Fine Arts and Music. In 1960, he co-founded the Group Ongaku, the first collec?tive improvisation group in Tokyo. During this period, Fluxus introduced his event pieces in Europe and the US. From 1965 to 1967 he lived in New York, creating mixed-media perform?ance works and giving concerts with Nam June
Paik and other Fluxus members. In 1967, he co-founded the Taj Mahal Travellers in Tokyo, a collective improvisational group giving inter?media presentations in various environments, which continued until 1976.
As a composer he participated in Expo'70 in Osaka, with works commissioned for envi?ronmental sound events for the Festival Plaza. He has been a composerperformer with MCDC since 1977, and was appointed Music Director of the Company in 1995. He received grants from the JDR 3rd Fund in 1966 and 1977, a DAAD fellowship grant to reside in Berlin in 1981, and the John Cage Award for Music from the Foundation for Contemporary Performance Arts in 1994. He has performed in many international festivals, including the Festival d'Automne in Paris and the Biennale d'art contemporain in Lyon in 1993. His sound installations have been presented in various exhibitions, including Fur Augen und Ohren in Berlin and the Ashiya City Museum of Art and History, Japan.
Jeffrey H. James has pursued a 28-year career as a manager, fundraiser, and marketer in the arts and education. Among his arts assign?ments have been the New York Philharmonic, Dance Theatre of Harlem, and the International Foundation for the Canadian Centre for Architecture, where he was founding president. In higher education, he has served as a senior member of the Advancement Office of UCLA and as Vice President, Advancement and External Affairs, for the California Institute of the Arts. He became Executive Director of the Cunningham Dance Foundation in Fall 2001.
Robert Swinston (assistant to the choreogra?pher) was born in Pittsburgh, Pennsylvania, and attended Middlebury College and The Juilliard School, where he received a BFA in dance. He has danced with the Martha Graham Apprentice Company, the Jose Limon Dance Company, and with Kazuko Hirabayashi Dance Theatre. He joined MCDC in August 1980. He has taught dance at Montclair State College, SUNY Purchase, The Juilliard School and the
Merce Cunningham Studio. In July 1992 he became Assistant to the Choreographer. Swinston directs the activities of the CDF Repertory Understudy Group and its work with the Cunningham Educational Outreach Program. Since 1998, Swinston has initiated and overseen various Cunningham archival reconstructions including Suite for Five (1956-8), Summerspace (1956),Antic Meet (1958), Crises (I960), How to Pass, Kick, Fall and Run (1965), and RainForest (1968). He has assisted in the staging of Cunningham works on other companies, including Boston Ballet and New York City Ballet. In 2003, Swinston received a Bessie Award for his performance in the revival of Cunningham's How to Pass, Kick, Fall and Run.
William Anastasi was born in Philadelphia in 1933 and has lived in New York since 1963. His work has been seen in galleries around the world and is part of the permanent collections of the Museum of Modern Art, the Metropolitan Museum of Art, and the Guggenheim Museum in New York City; the National Gallery of Art in Washington DC; and the Art Institute in Chicago. In 1984 he became co-Artistic Advisor to the Merce Cunningham Dance Company. Aside from Native Green his other collaborations with Merce Cunningham include Grange Eve (1986), Points in Space (1986), and Polarity (1990).
Active as a composer and multimedia artist since the 1960s, David Behrman makes pieces designed for performance as well as sound installations. Most of his work since the late 70s has involved computer-controlled systems operating interactively with people. Recordings of his works are published by Lovely Music, XI, Alga Marghen, and Classic Masters. Two recent soundmultimedia installations, "Pen Light" and "View Finder" are currently being shown at the 2002 Inventionen Festival in Berlin.
Gavin Bryars is one of Britain's most successful composers. He was born in Yorkshire in 1943. His first musical reputation was as a jazz bassist
working in the mid-1960s with improvisers Derek Bailey and Tony Oxley. He also worked closely with composers such as Cornelius Cardew, as well as founding The Portsmouth Sinfonia, which acquired a cult status for its performances and recordings of the classical repertoire with minimal music skills. His first major work was The Sinking of the Titanic (1969) that was originally released along with Jesus' Blood Never Failed Me Yet on Brian Eno's Obscure Label. Robert Wilson produced his opera Medea at the Opera de Lyon and the Paris Opera in 1984. Choreographers have extensively used his work worldwide including William Forsythe, Lucinda Childs, Carolyn Carlson, Maguy Marin, Jiri Kylian, Siobhan Davies, and Edouard Lock. The Gavin Bryars Ensemble (founded in 1981) gives annual London concerts and tours internationally.
Aaron Copp was associated with the MCDC for ten years. His designs for the company include Doubletoss (1993), Breakers (1994), Ground Level Overlay (1995), Windows (1995), BIPED (1999), Interscape (2000), Way Station (2001), and Loose Time (2002). Aaron was the recipient of a 2000 New York Dance and Performance Award ("Bessie") for BIPED. He has been a member of the performance group The Second Hand since 1989.
Loren Kiyoshi Dempster was born in Seattle, WA. In 1996 he graduated with a BABM from the University of Washington where he studied cello with Raymond Davis. Dempster recently studied cello with Bonnie Hampton and received an MM from the San Francisco Conservatory of Music. He started with MCDC in 1999, performs solo cello in Gavin Bryars' BIPED, is recognized worldwide for his per?formance of John Cage's 108 in Cunningham's dance Interscape, and is also a regular member among the Company Musicians.
Beverly Emmons has designed for Broadway, Off-Broadway, regional theater, dance, and opera in the US and abroad. Off-Broadway she has worked with director-artists Joseph
Chaikin, Meredith Monk, and Robert Wilson in such works as Quarry and Einstein on the Beach. In the regional theater, she lit well-known pro?ductions of Tartujfe, The Wild Duck, The Cherry Orchard, and The Broken Jug at the Guthrie and Arena Stage with directors Lucian Pintilie and Liviu Ciulei. She worked with MCDC from 1965 to 1968, and she has lit the works of Jawole Willa Jo Zollar, Trisha Brown, and Martha Graham. Her Broadway credits include Annie Get Your Gun, Jekyll & Hyde, The Heiress, Stephen Sondheim's Passion, The Elephant Man, and Amadeus. She has been awarded seven Tony nominations, the 1976 Lumen award, 1984 and 1986 "Bessies," and a 1986 Obie for Distinguished Lighting, and 31 Maharam FoundationAmerican Theater Wing Awards.
Shelley Eshkar is a multimedia artist and experimental animator who received a BFA from the Cooper Union School of Art in 1993, pursuing a multidisciplinary fine arts educa?tion. Eshkar's innovations in three-dimensional figural drawing and animation have aroused considerable attention in the fields of computer graphics, dance, and architecture. Eshkar joined Riverbed in 1995 where, together with Paul Kaiser, he has collaborated with Bill T. Jones (on Ghostcatching) and with Merce Cunningham (on Hand-drawn Spaces), receiving an award for this work from the Foundation for Contemporary Performance Arts in 1998. He has lectured to such diverse groups as SIG-GRAPH, the Congress of Research in Dance, Jacob's Pillow Dance Festival, Brooklyn Academy of Music, and Harvard University's Graduate School of Design.
Suzanne Gallo was the costumer for Merce Cunningham from 1982 until her death in February 2000. She worked in a wide variety of performing arts stretching from Las Vegas revues to Broadway musicals to opera. She designed a contemporary version of Phaedra, a modern opera based on the letters of Vincent Van Gogh, and works for Neil Greenberg & Company, diamond Dance, Andrew Janetti, Ellen Cornfield, and Mary Seldman as well as
for MCDC. She has worked for Meredith Monk, Alvin Ailey, Ballet Hispanico, New Choreographers on Pointe, Lucinda Childs, Trisha Brown, and White Oak Dance Project.
Josh Johnson is a technical artist who uses all the tools of our time to support the emotional expression of theater artists. Johnson has engi?neered performances in airplane hangars, lit spaces with neon and fire, and hitchhiked from Montreal to Seattle. In the past few years he has seen many hotel rooms from touring with Michael Moschen, 33 Fainting Spells, Bebe Miller, and David Dorfman.
Paul Kaiser's early work was in experimental filmmaking (with such films as Timothy and Colourblind etc) and performance audio tapes (including Talking my way about theirs and Thoughts on erasing blank tape). He later spent 10 years teaching students with severe learning disabilities, with whom he collaborated on making multimedia depictions of their own minds (a body of work honored by a ComputerworldSmithsonian Award in 1991). In 1994, Kaiser founded Riverbed, a digital arts studio in New York City. He has collaborated with Robert Wilson {Visionary of TheaterTheater of Drawings and on The New World Theater for the Museum of the Jewish Diaspora); with Bill T. Jones and Shelley Eshkar (Ghostcatching); and with Merce Cunningham and Shelley Eshkar {Hand-drawn Spaces). In 1996, Kaiser became the first digital artist to receive a Guggenheim Fellowship. In 1998, he received an award from the Foundation for Contemporary Performance Arts together with Shelley Eshkar.
John King, composer and guitarist, has pre?sented his solo, chamber, and group composi?tions throughout the US, Europe, and Japan. He has performed in major festivals as well as on the club circuit. The music for Native Green, CRWDSPCR, and Fluid Canvas are his three commissioned works for MCDC.
Please turn to page 45 for a complete biography on the Kronos Quartet.
Mark Lancaster was bom in Yorkshire, England, and educated at Bootham School, York, and the University of Newcastle-upon-Tyne. He was Artist-in-Residence at King's College, Cambridge, from 1968 to 1970. He moved to New York in 1974, when he first designed for MCDC, having been Jasper Johns's assistant for Un jour on deux at the Paris Opera in 1973. He designed for the videodance Westbeth (1974), Sounddance (1975), Rebus (1975), Torse (1976), Squaregame (1976), Fractions (both video and stage versions, 1977), Tango (1978), Locale (1979), and Roadrunners (1979). In 1980 he was appointed Artistic Advisor to MCDC. He received a New York Dance and Performance Award ("Bessie") for Five Stone Wind (1988). His paintings have been exhibited widely and are in numerous public and private collections.
Robert Rauschenberg was born in Port Arthur, Texas, in 1925. His first one-man show was at the Betty Parsons Gallery in 1951. In 1954, he designed his first decor for Cunningham, Minutiae, and for the next decade he was resi?dent designer and sometimes technical director for MCDC. Cunningham works for which Rauschenberg designed decors, costumes, and objects include Suite for Five (1956), Nocturnes (1956), Antic Meet (1958), Summerspace (1958), Rune (original version, 1960), Aeon (1961), Story (1963), and Winterbranch (1964). In 1977, Cunningham, Cage, and Rauschenberg collabo?rated again on Travelogue (1977). His large painting, Immerse, was made as a backdrop for Cunningham's Events, and was first seen at the Joyce Theater in May 1964. Most recently, Rauschenberg designed the decor and costumes for Cunningham's Interscape (2000).
Andy Russ has been making noise and helping others make noise in New York City since 1995. His most recent projects have included sound design for dances by Terry Creach and the late Amy Sue Rosen.
John Shiurba is a composer and guitarist whose musical pursuits include improvisation, art-rock, modern composition, and noise. Shiurba has recorded and toured the US and in Europe as a member of the bands Eskimo, The Molecules, and Spezza Rotto, in various improvisational settings and as a member of MCDC and the SFSound Ensemble. Shiurba has composed works for his own Triplicate and 5x5 ensembles, for the SFSound Ensemble, and for various soloists. As a guitarist Shiurba has developed a unique and personalized approach to the guitar. Through the use of extended tech?niques and unusual preparations, he expands the traditional sound range of the instrument, producing stunning, often unrecognizable results. He was featured at New Langton Arts premiering his work Triplicate in 2002 and has performed with internationally acclaimed musicians such as Anthony Braxton and Fred Frith. In 1998, Shiurba formed the improvised music label Limited Sedition, which has released 28 CDs documenting the diverse and lively Bay Area improvised music scene.
David Vaughan has performed and choreo?graphed in London, Paris, on and off Broadway, in American regional theaters, in film, televi?sion, ballet, and modern dance companies, and in cabaret. He is the archivist of the Cunningham Dance Foundation and the author of Merce Cunningham: Fifty Years (Aperture, 1997) and of Frederick Ashton and this Ballets (revised edition, Dance Books, 1999). In July 2000 he received the 2000 CORD (Congress on Research in Dance) Award for Outstanding Leadership in Dance Research, and in September 2001 a New York Dance and Performance Award ("Bessie") for Sustained Achievement. He currently appears, in his origi?nal role, in the Company's revival of How to Pass, Kick, Fall and Run (1965) as a reader with Cunningham.
Cunningham Dance Foundation
Alberto Bohl, Studio Technical Director Nancy Bright, Financial Aid Administrator Mary Lisa Burns, Studio Director Trevor Carlson, General Manager Tony Dougherty, Photographer Renee Gladden, Finance OfficerBookkeeper James Hall, Wardrobe Supervisor Alice Helpern, Studio Consultant Jeffrey H. James, Executive Director Josh Johnson, Lighting Director Will Knapp, Production Manager Margaret Pasanowic, Director of Finance Cathy Richards, Office Manager
Assistant to the Executive Director Andy Russ, Music Supervisor Eddie Schneller, Company Manager Jeannie Steele, Rehearsal Assistant Stacy Sumpman, Archival AssistantMedia Coordinator Robert Swinston, Assistant to the Choreographer Kate Taylor, Development Manager Carol Teitelbaum, Faculty Chair David Vaughan, Archivist
Rebecca Wilhelms, Contracts and Touring Administrator Kristin Young, Development Associate
UMS would like to thank the following people and organizations for their involvement in the Merce Cunningham Dance Company's residency:
Pamela Clouser, Contemporary Art Institute of Detroit, Dance Gallery Studio, Dance on Camera Festival, Eastern Michigan University Department of Dance, Jessica Fogel, Terri Sarris, Amy Sheon, Elaine Sims, Peter Sparling, U-M Department of Dance, U-M Health System Gift of Arts Program, U-M Film and Video Studies Department, U-M Life Sciences, Values and Society Program, and the U-M School of Music Library.
A Week-Long Celebration of American Iconoclasts
UMS Kronos Quartet
and
ElastizeLL
present David Harrington, Violin
John Sherba, Violin
Hank Dutt, Viola
Jennifer Culp, Cello
Alexander V. Nichols, Scenic and Projection Design
Larry Neff, Lighting Design
Mark Grey, Sound Design
Program
Sunday Evening, March 14, 2004 at 6:00 Power Center Ann Arbor
Visual Music
Program performed without pause.
Steve Reich
John Zorn
Scott Johnson
Video Larry Springer
Voice I. F. Stone
Mark Grey
Video Catherine Owens
Bernard Herrmann Arr. Stephen Prutsmanl Video Mickey T Additional images Scott Pagano
Conlon Nancarrow Realization Trimpin Video Alexander V. Nichols Kronos samples Mark Grey Arr. of Kronos live parts Stephen Prutsman
Pendulum Music
for microphones, amplifiers, speakers and performers
Cat 0' Nine Tails (Tex Avery Directs the Marquis de Sade) How It Happens (The Voice of I. F. Stone) (excerpts)
It Raged
Perfect Weapon
What Would Have Happened
Bertoia I
The Day the Earth Stood Still t
Boogie Woogie 3At
Krzysztof Penderecki Video Alexander V. Nichols, Larry Springer, and Dan D. Shafer
Terry Riley
Video Willie Williams
Voice Alice Walker
Mark Grey
Video Catherine Owens
Quartetto per archi
One Earth, One People, One Love
from Sun Rings
Bertoia II
Sigur Ros
Arr. Stephen Prutsman
Video Catherine Owens
Flugufrelsarinn (The Fly Freer) t
Written for Kronos Quartet t Arranged for Kronos Quartet
Visual Music runs approximately 90 minutes with no intermission.
53rd Performance of the 125th Annual Season
41st Annual Chamber Arts Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is sponsored by Elastizell.
Additional support is provided by media sponsors WGTE 91.3 FM, WDET 101.9 FM and Metro Times.
Visual Music was made possible by generous grants from the National Endowment for the Arts, the James Irvine Foundation, and the William and Flora Hewlett Foundation, with additional commissioning funds provided by Barbican, London, UK; The Carnegie Hall Corporation; California State University Monterey BayWorld Theater; Het Muziektheater Amsterdam; San Francisco Performances; UA PresentsUniversity of Arizona; UCLA Live; and the University of Texas Performing Arts Center, Austin (with the support of the Topfer Endowment for Performing Arts).
The Kronos Quartet records exclusively for Nonesuch Records. Large print programs are available upon request.
About Visual Music
What we're trying to do with Visual Music is to give each piece a setting, a visual environment to live and breathe in. We envision a continu?ous, unfolding experience that is bizarre and unexpected, where the building blocks trans?form themselves in unforeseen ways. We move into a totally different place, a different room in each piece. I'm not sure if this is a play, a film, a recording, a TV show, or a concert. Visual Music represents multiple viewpoints about musical relationships and visual percep?tion. Magnification, video interpretation, and the use of differing angles and points of view will hopefully allow our audience to ask the same questions we ask -what is an instru?ment, what is a note, what is a quartet, where does music start and stop
-David Harrington, Kronos Quartet
Pendulum Music
for microphones, amplifiers, speakers and performers
Steve Reich
Born October 3, 1936 in New York
"A totally oddball piece" is composer Steve Reich's description of this rarely performed composition in relation to the balance of his work since the mid-1960s. Not only does Pendulum Music forsake traditional instru?ments for a series of feedback pulses between microphones and amplifiers, the piece also fea?tures no written notes, relying instead on chance operations, as each microphone moves through space in a pendular arc. Fittingly enough, the composition itself was inspired by an act of chance.
"I was spending the summer in New Mexico in '68," Reich recalls. "I went up to Boulder to collaborate with a friend of mine, William Wiley, who's a painter. We were trying to put together a 'happening' with sculpture, black light. While we were working on that,
Bruce Nauman, who was a student of Wiley, stopped by. The three of us were in this room and I had one of these Wollensack tape recorders -they're these funky 1950s models with a cheap electric microphone. It was an old machine by then. I was holding the micro?phone, which was plugged into the back of the machine so it could record. The speaker was turned up. Being out West, I let it swing back and forth like a lasso. As it passed by the speak?er of the machine, it went, 'Whoop!' and then it went away.
"We were all laughing at this and the idea popped into my mind that if you had two or three of these machines, you would have this
audible sculpture phase piece__It's me making
my peace with [John] Cage. If it's done right, it's kind of funny."
Cat 0' Nine Tails (Tex Avery Directs the Marquis de Sade)
John Zorn
Born September 2, 1953 in New York
Turning a self-described short attention span into a creative asset, the ever-daring composer John Zorn developed a unique approach to composition in the 1980s and early '90s. Starting with discrete musical ideas -or "moments" -jotted down on file cards when?ever inspiration struck, Zorn would create a new work by assembling the cards in a specific order. The resulting music is both endlessly sur?prising and relentlessly pulse quickening -an experience often compared to rapidly pushing the pre-set buttons on a car radio, or to the constantly shifting, "jump cut" imagery of modern films and music videos.
Cat O' Nine Tails is a perfect example of the form. In under 15 minutes, the piece brings together 51 distinct moments, from gently plucked tones to razor-sharp dissonance, and from stately classicism to country hoe-down to cartoon zaniness -with few passages daring to challenge the 10-second barrier.
"It's a fun piece to play and a fun one to listen to," Zorn says. "A piece with a lot of
drama and humor and many musical games hidden in the web of its inner details. Sly quotes and secret codes are scattered throughout my classical repertory, serving as both special trib?utes to the composers and compositions that feed my inspirations and, more importantly, as unifying devices to create structural integrity.... This piece is subtitled 'Tex Avery Directs the Marquis de Sade,' for obvious reasons."
How It Happens (The Voice of I. F. Stone) (excerpts)
Scott Johnson Born in 1952
The voice of the great progressive journalist I. F. Stone brings both meaning and melody to Scott Johnson's How It Happens. Now 10 years since the work's completion and 20 years since Stone delivered the lecture sampled by Johnson, the three movements presented in this program seem paradoxically tailored for our own times, evoking themes of war, religion, and of the dangers inherent in their meeting.
Johnson writes, "Stone's often expressive and animated voice immediately brought to mind some of the early observations that first led to my habit of transcribing the pitches and rhythms of speech. The desire to convince someone seems to create a clear musicality in human speech, both in moments of personal persuasion and in public rhetoric. The speech contours of anyone engaged in oratory, anger, wheedling, or witticism generally show a wider pitch or dynamic range, or more consistent low pedal points, or all of the above.
"In his work as a Washington journalist, Stone's idealistic and democratic vision of the advancement of the human race as a whole was kept sharp by a no-nonsense reporter's eye and an intellectual's sense of history. Add a delight in humor, outrage and hyperbole, and the com?bination is as irresistible as Sam Spade casing a Supreme Court justice. To me, Stone seems to have been cut from the same cloth as that strain of maverick American composers who turn
conflicting feelings of love for, and disappoint?ment with, their parent culture into an engine driving their efforts."
Bertoia I and II
Mark Grey Born in 1967
For many, the name "Harry Bertoia" is synony?mous with the "Diamond" chair this Italian-born American sculptor and furniture designer created for Knoll Associates in 1952. Formed of chromed steel wire in a flowing meshed pat?tern, Bertoia was fond of pointing out that, when looking at his chairs, you could see that "space passes through them." After this chair brought him fame and sufficient royalties to strike out on his own, Bertoia went on to fur?ther investigate this concept of space moving through metal in a fascinating and revolution?ary series of what he termed "Sonambient" sculptures.
Following an encounter with these works of visual and aural art, David Harrington searched for a way to bring Bertoia's spell-bind?ing sounds into Kronos' repertoire. He enlisted the help composer and longtime Kronos sound designer Mark Grey, and as Grey tells the story:
As the CD began I could not believe the sounds coming through the speakers. Huge metallic textures weaved through delicate chimes growing into massive gong strokes. Each complex sound easily sustaining up to one minute, if not three. The experience was baffling. How was this possible For months [David and I] brainstormed the idea and finally decided to use technology to solve our problem.
Using a computer and infrared sensors, Kronos now triggers sampled Bertoia sculptures and controls their timbral colors in real time. The two Bertoia movements performed in Kronos' Visual Music program are composed improvisa?tions recalling the rich open-form spirit of
composer Earle Brown. Each quartet member plays a unique sculpture 'group' organized by classes of chimes, gongs, metallic sizzle, and struck, as well as bowed and brushed instru?ments. A computer randomly selects the choice of individual instruments in each sculpture group, so the quartet members have fresh inter?pretations in each performance.
The Day the Earth Stood Still
Bernard Herrmann
Born June 19, 1911 in New York
Died December 24, 1975 in Los Angeles
Some 30 years before E.T. touched down on these earthly shores (and promptly decided to phone home) the far more dapper space alien Klaatu and his trusty robot, Gort, arrived with a simple message for the people of earth: "Your choice is simple. Join us and live in peace or pursue your present course and face obliteration."
Klaatu had put humanity a bit on edge, given his sudden arrival in a sleek flying saucer, Gort's habit of reducing rifles and tanks to scrap metal, and, most panic inducing of all -that spooky theremin music!
The theremin, an early electronic instru?ment with an appropriately unearthly sound, was made famous by great American film com?poser Bernard Herrmann. Throughout the film's score, Herrmann used two theremins, one each for low and high register parts. The sound eerily resembled the human voice. Herrmann gained even greater fame through his long and fertile collaboration with Alfred Hitchcock, and in 1960, he once again sent chills down movie?goers' spines with perhaps his most celebrated work of all: the score for Hitchcock's terrifying Psycho.
Responsible for arranging Herrmann's soundtrack into this program's quartet arrange?ment is the composer, pianist, and conductor Stephen Prutsman. A frequent Kronos collabo?rator, Prutsman is also an Avery Fisher Career Grant recipient, as well as a past medallist at the Tchaikovsky International Piano Competition
and the Queen Elisabeth International Music Competition. In March 2001, in the inaugural concert of The Silk Road Project, cellist Yo-Yo Ma performed a Prutsman arrangement with the New York Philharmonic.
Boogie Woogie 3A
Conlon Nancarrow
Born October 27, 1912 in Texarkana, Arkansas
Died August 10, 1997 in Mexico City, Mexico
The American-born, Mexican-expatriated com?poser did not actually "write" his most celebrat?ed works: he punched them, hole by hole, into player piano rolls. Using this system, Conlon Nancarrow would spend months or even years composing short works for piano that flew by at dizzying speed, requiring more dexterity, pre?cision, and digits on the keyboard than any human player could ever muster.
German-born, Seattle-dwelling composer and electronics trailblazer, Trimpin became a collaborator of Nancarrow's in the 1980s. He designed an electronic system that could scan player piano rolls and convert the data of punched holes into the computer-friendly code of ones and zeroes. Furthermore, Trimpin could manipulate player piano codes on his computer screen in seconds and play them back instantly on the player piano in his studio. When Nancarrow first witnessed Trimpin's magic, he was floored.
After the initial shock wore off, Nancarrow invited Trimpin down to his Mexican studio, where the two set to work converting Nancarrow's handmade piano rolls into digital information. In addition to preserving his legacy, Trimpin notes, Nancarrow was also interested in the potential for precision that the new technology offered.
Kronos' David Harrington was also highly intrigued by the NancarrowTrimpin possibili?ties, particularly setting Nancarrow's Boogie Woogie Study 3A for string quartet. The fin?ished result is well worth the effort. As Trimpin points out, with the variety of timbres heard in
the Kronos version of Boogie Woogie 3A, the individual voices of the piece stand out and intertwine for the listener as never before. In this performance, Kronos adds a further layer of interest by playing some portions of the work live over their own pre-sampled, faster-than-life accompaniment.
Quartetto per archi
Krzysztof Penderecki
Born November 23, 1933 in Debica, Poland
Kronos revisits a group milestone -the quar?tet's first-ever staged production (designed by Larry Neff), Live Video (1986) -in this reprise performance of Penderecki's early work for string quartet. One in a series of early '60s pieces that would garner the young Polish com?poser an international reputation, the Quartetto per archi overflows with musical events and tex?tures. Layers of lightly tapping bows give way to the crackle of plucked strings, barely audible bowed harmonics, sudden low-register growls, and more. This is tantalizing music, the sound of intriguing extremes: high and low, gentle and harsh, explosive and hushed.
In 1959, Penderecki's works Strophes, Emanations, and Psalms of David won first prizes in the Second Warsaw Competition of Young Polish Composers of the Composers' Union. Following the subsequent successes of Anaklasis and Threnody, Penderecki went on to compose such major works as the multiple award-winning St. Luke Passion (1966) and the opera The Devils ofLoudon (1967), based on Aldous Huxley's book of the same title. His extensive body of work now boasts four operas and seven symphonies, including 1996's Seven Gates of Jerusalem (a.k.a. Symphony No. 7), commissioned by its namesake city for the "Jerusalem -3000 Years" celebrations. The recipient of many awards and honorary degrees, Penderecki numbers among his most recent honors a 1998 "Foreign Honorary Membership" in the American Academy of Arts and Letters; the 2000 Cannes Classical Award
for "Living Composer of the Year"; the 2001 Prince of Asturias Award for the Arts; and the 2002 Romano Guardini Prize of the Catholic Academy in Bavaria.
One Earth, One People, One Love
from Sun Rings
Terry Riley
Born June 24, 1935 in Colfax, California
The evening-length 2002 work Sun Rings includes sounds harvested from our solar sys?tem (the crackling of solar winds, the whistling of deep-space lightning, and other cosmic events), combined with breathtaking imagery gathered by NASA spacecraft and prepared by Kronos in collaboration with the eminent visu?al designer Willie Williams.
Given the galactic scope of Sun Rings, it is perhaps a touch ironic that the seeds of the project lay in a cardboard box in the University of Iowa physics department. Inside that box rested a store of audiocassette tapes of cosmic phenomena recorded over some 40 years by Iowa's Dr. Donald Gurnett.
From Dr. Gurnett, the story moves to Bertram Ulrich, curator of the NASA Art Program. Long intrigued by Gurnett's record?ings, Ulrich offered Kronos a commission to turn these tones from outer space into music. Kronos' David Harrington then turned to long?time Kronos collaborator Terry Riley, who agreed to serve as the project's composer. However, the project was nearly de-railed by the tragic events of September 11, 2001, after which all parties concerned questioned Sun Rings1 relevance.
At this point, the Sun Rings chain reaction surprisingly continued. As the LA. Times put it: "Riley heard poet and novelist Alice Walker on the radio talking about how she had made up a September 11 mantra: 'One Earth, One People, One Love.' It suddenly occurred to him that contemplating outer space could be a way to put the problems on Earth into perspective." Alice Walker's mantra not only gave Riley the
inspiration to continue: it also provided a title and focal point for Sun Rings' concluding movement, the excerpt performed by Kronos in the present program. Furthermore, the sound of Walker's voice intoning the words "One Earth, One People, One Love" became an inte?gral component of the movement itself.
Flugufrelsarinn (The Fly Freer)
Sigur Ros
Formed in 1994, the Icelandic group Sigur R6s is at the forefront of today's international "post-tock" scene. The group leaves traditional song forms on some lower, less magical plane, slip?ping instead into ever-shifting environments of sound. Beyond the difficulties for non-Icelandic speakers in understanding some of J6nsi's lyrics (and the band's reluctance to provide transla?tions) there is the fact that J6nsi sings the remainder of his songs in a self-invented lan?guage he calls Hopelandish. The group's 1999 breakthrough album, Agcetis Byrjun, features very little writing and, in place of the usual liner notes, a booklet of cryptic drawings that K possibly) illustrate some of the songs' narrative themes.
In the past three years, the critical and popular response to Sigur Ros has been any?thing but enigmatic. In addition to its early fans around the world such as fellow musicians like David Bowie, Beck, the band Radiohead, and, if course, Kronos, the group reached new audi?ences through the inclusion of one of its songs, VSvefn-g-englar" (Dreams of Angels), on the soundtrack for the film Vanilla Sky.
In light of Sigur Ros' own wide-ranging bnusic, it is no surprise to discover that the group's members are enthusiastic fans of the Kronos Quartet. After the two ensembles met following a Kronos performance in Reykjavik, they soon began to discuss some form of col?laboration. The result is this quartet arrange?ment of Sigur Ros' composition Flugufrelsarinn i(The Fly Freer), from the Agxtis Byrjun album. Jn its original, sung version, Flugufrelsarinn
relates a parable of salvation and sacrifice, in which an unnamed narrator tries to rescue helpless flies in a lake from the jaws of the approaching salmon. In Stephen Prutsman's arrangement for Kronos, the work takes on a new delicacy while losing none of its essential mystery.
Program notes by Matthew Campbell.
Synonymous with musical innovation, the Kronos Quartet is known for its unique artistic vision and fearless ded?ication to experimentation. Since its inception in 1973, Kronos has assem?bled a body of work unparalleled in its range and scope of expression, and in the process, has captured the attention of audiences worldwide. Kronos has been commissioning new work since its earliest days, and more than 450 pieces have been written or arranged for the ensemble. The Quartet's extensive repertoire ranges from Alban Berg, Alfred Schnittke, George Crumb, Sofia Gubaidulina, and Morton Feldman to Hildegard von Bingen, Charles Mingus, Astor Piazzolla, Harry Partch, and Carlos Paredes. In addition to ongoing creative relationships with composers such as Terry Riley and Osvaldo Golijov, Kronos has collaborated with some of
Kronos Quartet
the world's most influential and creative artists. Kronos has recently premiered, or will soon premiere, works written for them by Ellen Fullman, Philip Glass, Michael Gordon, Steve Reich, and Peteris Vasks.
Kronos performs tours extensively with more than 100 concerts each year in concert halls, clubs, and at jazz festivals throughout the world. The ensemble has won numerous inter?national awards, including three Edison Prizes (The Netherlands), eight ASCAPChamber Music America Awards for Adventurous Programming (US), Australian Broadcasting Company Classic FM "Best International Recording of the Year" (Australia), and Les Diapason d'Or de Mai (France).
Kronos records exclusively for Nonesuch Records, and the ensemble's recorded perform?ances have been heard throughout the world on radio and television, in films, and in live dance and theater performances. Their catalog includes Nuevo (2002); Steve Reich's Triple Quartet (2001); Terry Riley's Requiem for Adam (2001); Requiem for a Dream: Soundtrack by Clint Mansell (2000); Dracula: Soundtrack by Philip Glass (1999); Kronos Quartet -25 Years (1998); Kronos Quartet Performs Alfred Schnittke: The Complete String Quartets (1998), which received Grammy nominations for "Best Classical Album" and "Best Chamber Music Performance"; John Adams' Joint's Book of Alleged DancesGnarly Buttons (1998); Early Music (Lachrymae Antiquae) (1997), which received a Grammy nomination for "Best Chamber Music Performance"; Tan Dun's Ghost Opera (1997); Osvaldo Golijov's The Dreams and Prayers of Isaac the Blind (1997); Howl, U.S.A. (1996); Black Angels (1990), which received a Grammy nomination for "Best Chamber Music Performance"; Salome Dances for Peace (1989), which received a Grammy nomination for "Best Contemporary Composition"; Different Trains (1989), which received a Grammy award for "Best Contemporary Composition"; White Man Sleeps (1987), which received a Grammy nomi?nation for "Best Chamber Music Performance"; and Kronos Quartet (1986).
This evening's performance marks the Kronos Quartet's third appearance under UMS auspices. The Kronos Quartet made their UMS debut in March 1994 in performance with Foday Musa Suso in the Power Center.
Alexander Nichols' design work spans from lighting and projections to scenery and cos?tumes for dance, theater, and opera. Nichols has designed for companies and artists including Margaret Jenkins Dance Company, Joe Goode Performance Group, ODCSF, Hubbard Street Dance Chicago, Alvin Ailey American Dance Theater, San Francisco Ballet, Hong Kong Ballet, National Theater of Taiwan, Paul Dresher Ensemble, Rinde Eckert, Arena Stage Co., and Berkeley Repertory Theater. He has served as Resident Lighting Designer for the Pennsylvania Ballet, the Hartford Ballet, and as Lighting Director for American Ballet Theatre. Other dance credits include designs for chore?ographers Mark Morris, Bill T. Jones, and Brenda Way.
Larry Neff has been the lighting designer for the Kronos Quartet for 15 years. He has designed many productions for Kronos, includ?ing Live Video -the group's first fully staged concert -George Crumb's Black Angels, Tan Dun's Ghost Opera and Gabriela Ortiz' Altar de Muertos. Neff, who also acts as Kronos' Production Director, is responsible for the unique visual aspects of the Quartet's concerts, having worked with the group on more than 1,000 concerts throughout the world. Neff has also worked with The Paul Dresher Ensemble (Slow Fire, Power Failure, and Pioneer), George Coates performance works, and various other theater and dance companies including ODC San Francisco, Beach Blanket Babylon, and Rinde Eckert.
Mark Grey is a sound designer and composer living in the San Francisco Bay Area. He has acted as sound designer on premieres of major theatre, opera, and concert works by John Adams, Philip Glass, Steve Reich, Terry Riley,
and the Kronos Quartet. Recent sound design )rojects include the critically acclaimed John Adams and Peter Sellars stage productions of El Vino (premiere at Theatre du Chatelet, Paris in 2000), Adams' most recent orchestral work for he New York Philharmonic, On the Transmigration of Souls (premiere at Avery -isher Hall, Lincoln Center in 2002), as well as
'hilip Glass' Dracula: The Music and Film, with a new score written for the 1931 Universal Pictures release, performed live to the film with
hilip Glass and Kronos (premiere at Royal i-estival Hall, London in 1999). Grey frequently designs sound for major opera productions at he Theatre du Chatelet, Paris. His composi-ions have been premiered by Kronos, The Paul Dresher Ensemble, The California EAR Unit, and Joan Jeanrenaud.
Larry Springer is a freelance designer of motion graphics and corporate event staging, -le has provided video for Berkeley Repertory Theater and Smuin Ballet. He was a Visiting Assistant Professor of Theatre and Film at -lunter College, New York City, and a Lecturer of Theatrical Design at the New School of Social Research, New York City. He currently ives in Kansas.
Catherine Owens is an Irish artist living and working in New York. Her work is installation based, the installations originating from draw?ings and ideas that evolve through sculpture, photography, sound, and video. Owens has also worked as the creative director of screen visuals [for U2 on their last three world tours. These projects consisted of making video segments in response to the band's musical direction on each tour and commissioning a series of anima?tions and videos by artists such as Roy Lichenstein, David Wojnarowicz, and digital projection artist Jennifer Steinkamp, the Keith Haring Estate, and the Warhhol Foundation. Owens has attended two Lincoln Center Director's Labs as an invited artist and is cur?rently working on a documentaryinstallation pbout the women who direct traffic for the NYPD at the intersection of Canal St. and Broadway in Manhattan.
Tokyo native Mickey T is a documentary artist, filmmaker, and electronic musician who pro?duces documentary films across a wide range of subjects. His specific focus is creating real-time music and art documentaries through an inten?sive live collaboration with performing artists. He completed 16 documentary films in 2002. Mickey T is also a founder of the Drum Machine Museum and curator of the Whitebox VIP Lounge, as well as producer of DMV, a tel?evision program showcasing contemporary live audio and visual electronic artists.
Scott Pagano is a video and sound artist cur?rently living in San Francisco. His work ranges from experimental video and film pieces to live video performance, and from architectural photography to electronic music composition. The impetus behind his video and sound com?positions are transmission technologies, trans?portation, the physical layout of cities, and the pathways through which we are "informed" of events around the world.
Trimpin, a sound sculptor, composer, and inventor, is one of the most stimulating one-man forces in music today. A specialist in inter?facing computers with traditional acoustic instruments, he has developed a myriad of methods for playing trombones, pianos, and other acoustic instruments using Apple Macintosh computers. Trimpin's work is an ongoing experimentation that challenge stereo?types and introduce our senses to new percep?tions. Although he uses the latest technology, he works with "natural" elements -water, air, light, fire -and reconfigures them into unex?pected applications, pushing them beyond their traditional role. Trimpin taught at the Sweelinck Conservatory of Music in Amsterdam from 1985 through 1987 and was co-chair of the Department of Electronic Music. Installations of Trimpin's work have been exhibited at sever?al art and science museums providing opportu?nities for public interaction with his work. He has also collaborated with choreographer Merce Cunningham, composer Conlon Nancarrow, and composer Henry Brant.
Willie Williams designs and directs multime?dia shows. Over 20 years he has created many highly acclaimed touring productions combin?ing hi-tech media with lo-tech eccentricity. He has worked with U2, R.E.M., and David Bowie, producing shows which have become bench?marks within the music industry. U2's 1992 "Zoo TV" tour was recently described by Q Magazine as "still the most spectacular show staged by any band." Installation work includes the creation of "SkyChurch," a multimedia per?formance space at the Experience Music Project in Seattle, plus a permanent exhibit at Cleveland's Rock & Roll Hall of Fame Museum. Current shows include The Rolling Stones for whom he has designed the tour's video screen material. He has also designed lighting and video for the Queen musical We Will Rock You, installed at London's Dominion Theatre. In 2001 he received an "EDDY" award in New York for excellence in entertainment design and Wired magazine ranked him as one of the "Top 25 visionaries in entertainment in the year 2000." Lighting Dimensions International awarded him "Designer of the Year" in 1992, as did the UK's Live magazine in 2002.
Cat O Nine Tails was commissioned for the Kronos Quartet by Lincoln Center for the Performing Arts, New Music America, Miami, and Doris and Myron Beigler and appears on Kronos' ElektraNonesuch recording Short Stories.
How It Happens (The Voice of I. F. Stone) was commissioned for the Kronos Quartet by the National Endowment for the Arts, Hancher Auditorium at the University of Iowa, Lincoln Center for the Performing Arts, Center for the Performing Arts at Penn State, Lied Center at the University of Kansas, On the Boards, Northrop Auditorium at the University of Minnesota, and the North West Area Foundation.
Sun Rings was commissioned for the Kronos Quartet by the NASA Art Program, the National Endowment for the Arts, The Rockefeller Foundation's Multi-Arts Production Fund, Hancher AuditoriumUniversity of Iowa, Society for the Performing Arts, Eclectic Orange FestivalPhilharmonic Society of Orange County, SFJAZZ, Barbican, London, U.K., and University of Texas Performing Arts Center, Austin (with the support of the Topfer Endowment for Performing Arts). Additional contributions from Margaret Lyon, Greg G. Minshall, and David A. and Evelyne T. Lennettc made this work possible.
The arrangement of Flugufrelsarinn was commissioned for the Kronos Quartet by the Reykjavik Arts Festival.
Visual Music
Janet Cowperthwaite, Producer Laird Rodet, Project Development Kronos Performing Arts Association, Production Management
Berkeley Repertory Theater Scene Shop,
Scenery Construction Jim Smith, Technical Director Lisa Lazar, Scenic Charge
Kronos extends special thanks to all the creative collaborator involved in Visual Music. Alex; Mark; Larry; Catherine; Mickey; Scott; Trimpin; Stephen; and Willie. Additionally, Kronos extends special thanks to Dawn Gibson Brehon and everyone at CSU Monterey Bay's World Theater; David Sefton and everyone at UCLA Live; and all of the other com missioning partners. Special thanks also to Val Bertoia, Melissa Strawser, Chuck Helm, and Regan Harrington.
For the Kronos Quartet
Janet Cowperthwaite, Managing Director
Laird Rodet, Associate Director
Sidney Chen, Project Manager
Anna Balkrishna, Production and
Communications Coordinator Larry Neff, Production Director Spencer W. Weisbroth, Business Affairs Director Donlyn Lyndon, Chair, Board of Directors
For further information on the Kronos Quartet, please visit www.kronosquartet.org.
MS experience
January 2004 Q lease note that a complete Sat 17 Hill Auditorium Celebration listing of all UMS Educa-
Sun 18 Orchestre Revolutionnaire tional Pr?gra?is conveniently
t n ... j located within the concert pro-
et Romantique and . . r
gram section of your program
The Monteverdi Choir book and is posted on the
Mon 19 Jazz Divas Summit: UMSwebsiteatwww.ums.org. Dee Dee Bridgewater, Regina Carter & Dianne Reeves
Fri 30 Emerson String Quartet
Sat 31 Simon Shaheen and Qantara
February
Sun 8 Michigan Chamber Players (free admission)
Thur 12 Hilary Hahn, violin
Sat 14 Canadian Brass Valentine's Day Concert
Thur-Sat 19-21 Children of Uganda
Fri 20 Cecilia Bartoli, mezzo-soprano, and
Orchestra of the Age of Enlightenment
March
Thur-Sun 4-7 Guthrie Theater: Othello
Fri-Sat 12-13 Merce Cunningham Dance Company
Sun 14 Kronos Quartet
Fri 19 An Evening with Ornette Coleman
Sat 20 Israel Philharmonic and Pinchas Zukerman, violin
Sun 21 Takacs Quartet
Thur 25 The Tallis Scholars
Sat 27 Jazz at Lincoln Center's Afro-Latin Jazz Orchestra

April
Thur 1 Lang Lang, piano
Fri-Sat 2-3 Lyon Opera Ballet: Philippe Decoufle's Tricodex
Sat 3 Lyon Opera Ballet One-Hour Family Performance
Thur 8 William Bolcom's Songs of Innocence and of Experience
Thur 15 Alfred Brendel, piano
Fri 16 Girls Choir of Harlem
Sat 17 Orchestra Baobab Dance Party
Sun 18 Shoghaken Ensemble
Thur 22 Karita Mattila, soprano
Fri 23 ADDED EVENT! Cassandra Wilson and Peter Cincotti
Sat 24 DATE CHANGE! Rossetti String Quartet with Jean-Yves Thibaudet, piano
May
Sat 15 Ford Honors Program: Sweet Honey in the Rock
EDUCATION & AUDIENCE DEVELOPMENT
Considered 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.
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 sea?son, major residencies include Simon Shaheen, Children of Uganda, Merce Cunningham, and Ornette Coleman.
UMS YOUTH, TEEN, AND
FAMILY EDUCATION
PROGRAM
UMS 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 vvww.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. Remaining events in the 0304 Youth Performance Series include:
Regina Carter and Quartet
Simon Shaheen and Qantara
Children of Uganda
Guthrie Theater: Shakespeare's Othello
(Clare Venables Youth Performance)
Girls Choir of Harlem
Educators who wish to be added to the youth performance mailing list should call 734.615.0122 or e-mail umsyouth@umich.edu,
Primary supporters of the Youth Education Program are:
complete listing of Education Program jpporters are listed 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 sessions:
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:
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 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.
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.
Wild Swan Theater's The Firebird
Children of Uganda
Lyon Opera Ballet
Ann Arbor Family Days Saturday, April 3 and Sunday, April 4, 2004. Many Ann Arbor organi?zations are joining together to offer families a day of performances, master classes, workshop, and demonstrations. Watch for more informa?tion 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.
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 Chop House
322 South Main -
888.456.DINE
The Earle Restaurant
121 West Washington -
994.0211
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
Palio
347 South Main -
888.456.DINE
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 -
663.3381
Parrish 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.
Cast Yourself in a Starring ple
'Become a Member of the University Musical Society
The exciting programs described in this program book are made possible by the generous support of UMS mem?bers--dedicated friends who value the arts in our community and step forward each year to provide finan?cial support. Ticket revenue covers only 56 of the costs associated with presenting our season of vibrant performances and related educational programs. UMS mem?bers--through their generous annu?al contributions--help make up the difference. In return, members receive a wide variety of exciting benefits, including the opportunity to purchase tickets prior to public sale.
For more information on member?ship, please call the Development Office at 734.647.1175. To join now, please complete the form below and mail to the address printed at the bottom of this page.
Presenter's Circle
-I $25,000 Soloist ($150)
For information about this very special membership group, call the Development Office at 734.647.1175.
? $10,000-524,999 Maestro ($150)
Virtuoso benefits, plus:
Opportunity to be a concert or supporting sponsor for a selected performance
? 57,500-59.999 Virtuoso ($150)
Concertmaster benefits, plus:
? Guest of UMS Board at a special thank-you event
U $5,000-57,499 Concertmaster ($150)
Producer benefits, plus:
Opportunity to be a concert sponsor or supporting sponsor for a selected performance
Opportunity to meet artist backstage as guest of UMS president
? 53,500-54,999 Producer ($150)
Leader benefits, plus:
Opportunity to be a supporting sponsor for a selected performance
Complimentary valet parking for Choral Union Scries performances at UM venues
Invitation to selected Audience Development youth performances
? $2,500-53,499 Leader ($85)
Principal benefits, plus:
Opportunity to purchase prime scats up to 48 hours before performance {subject to availability)
Complimentary parking passes for all UMS concerts at UM venues
? $1,000-52,499 Principal ($55)
Benefactor benefits, plus:
Ten complimentary one-night parking passes for UMS concerts
Priority subscription handling
Invitation to all Presenters Circle events
Friends
J S5OO-S999 Benefactor
Associate benefits, plus:
Invitation to one working rehearsal (subject to artist approval)
? Half-price tickets to selected performances
? S250-S499 Associate
Advocate benefits, plus:
Listing in UMS Program
? 5100-5249 Advocate
UMS Card, providing discounts at Ann Arbor restaurants, music stores and shops
Advance notice of performances
Advance ticket sales
Denotes non-tax deductible portion
fft
Please check your desired giving level above and complete the form below or become a member online at www.ums.org.
Namets)_______________________________________________________________________________________________________________________
(Print names exactly as you wish them to appear in UMS listings)
Address_______________________________________________________________________________________________________________________
City___________________________________________S:fi:e____________________________________________Zip_____________________________
Day Phone Eve Phone E-mail
Comments Of Questions_________________________________________________________________________________________________________
Please make checks payable to University Musical Society
Gifts of $50 or more may be charged to: Q VISA J MasterCard ? Discover ? American Express
Account _________________________________________________________________________________________________Expiration Date________
Signature______________________________________________________________________________________________________________________
? I do not wish to receive non-deductible benefits, thereby increasing the deductibility of my contributions.
? My company will match this gift. Matching gift form enclosed.
Send gifts to: University Musical Society, 881 N. University, Ann Arbor, MI 48109-1011
UMSsupport
UMS volunteers are an integral part of the success of our organization. There are many areas in which volunteers can lend their expertise and enthusiasm. We would like to welcome you to the UMS family and involve you in our exciting programming and 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.
ADVISORY COMMITTEE
The 58-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.
SPONSORSHIP & ADVERTISING 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
This performance--and all of 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 December 1, 2003. Every effort has been made to ensure its accuracy. Please call 734.647.1175 with any errors or omissions.
SOLOISTS
$25,000 or more Mrs. Gardner Ackley Carl and Isabelle Brauer Hattie McOmber Randall and Mary Pittman Philip and Kathleen Power
MAESTROS
$10,000-$24,999
Ronnie and Sheila Cresswell
Robert and Pearson Macek
Paul and Ruth McCracken
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
Barbara Everitt Bryant
Thomas and Marilou Capo
Dave and Pat Clyde
Ken and Penny Fischer
Beverley and Gerson Geltner
Don and Judy Dow Rumelhart
Lois and Jack Stegeman
Edward and Natalie Surovell
Marion T. Wirick and James N. Morgan
CONCERTMASTERS
$5,000-$7,499
Michael Allemang
Herb and Carol Amster
Emily W. Bandera, M.D. and Richard H. Shackson
Albert M. and Paula Berriz
Ralph G. Conger
Douglas D. Crary
Pauline and Jay J. De Lay
Molly Dobson
Jack and Alice Dobson
Mr. and Mrs. Thomas C. Evans
Friends of Hill Auditorium
David and Phyllis Herzig
Toni M. Hoover
Robert and Gloria Kerry
Leo and Kathy Legatski
Concertmasters, com.
Dr. and Mrs. Richard H. Lineback Charlotte McGeoch Julia S. Morris Charles H. Nave John Psarouthakis and Antigoni Kefalogiannis Mr. Gail W. Rector John and Dot Reed Maria and Rusty Restuccia Richard and Susan Rogel Loretta M. Skewes James and Nancy Stanley Susan B. Ullrich Dody Viola
PRODUCERS
$3,500-4,999
Kathy Benton and Robert Brown
Dr. Kathleen G. Charla
Katharine and Jon Cosovich
Mr. and Mrs. George W. Ford
Betty-Ann and Daniel Gilliland
Dr. Sid Gilman and Dr. Carol Barbour
Debbie and Norman Herbert
Keki and Alice Irani
Shirley Y. and Thomas E. Kauper
Lois A. Theis
Marina and Robert Whitman
LEADERS
$2,500-$3,499
Bob and Martha Ause
Essel and Menakka Bailey
Raymond and Janet Bernreuter
Edward and Mary Cady
Maurice and Margo Cohen
Mary Sue and Kenneth Coleman
Mr. Michael J. and Dr. Joan S. Crawford
AlDodds
Jim and Patsy Donahey
David and Jo-Anna Featherman
Ilene H. Forsyth
Michael and Sara Frank
Sue and Carl Gingles
Linda and Richard Greene
Carl and Charlene Herstein
Janet Woods Hoobler
John and Patricia Huntington
David and Sally Kennedy
Connie and Tom Kinnear
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 Carol Van Curler Don and Toni Walker B. Joseph and Mary White
PRINCIPALS
$1000-$2,499
Dr. and Mrs. Gerald Abrams
Jim and Barbara Adams
Bernard and Raquel Agranoff
Michael and Suzan Alexander
Dr. and Mrs. David G. Anderson
Rebecca Gepncr Annis and Michael Annis
Jonathan W. T. Ayers
I.csli 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
Joan Akers Binkow
John Blankley and Maureen Foley
Dr. and Mrs. Ronald Bogdasarian
Elizabeth and Giles G. Bole
Howard and Margaret Bond
Sue and Bob Bon field
Charles and Linda Borgsdorf
Laurence and Grace Boxer
Dale and Nancy Briggs
William and Sandra Broucek
Jeanninc and Robert Buchanan
Robert and Victoria Buckler
Sue and Noel Buckner
Lawrence and Valerie Bullen
Laurie Burns
Mr. and Mrs. Richard J. Burstein
Letitia J. Byrd
Amy and Jim Byrne
Betty Byrne
Barbara and Albert Cain
Jean W. Campbell
Michael and Patricia Campbell
Carolyn M. Carty and Thomas H. Haug
Jean and Kenneth Casey
Janet and Bill Cassebaum
Anne Chase
lames S. Chen
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
Julie F. and Peter D. Cummings
Richard J. Cunningham
Roderick and Mary Ann Daane
Peter and Susan Darrow
Lloyd and Genie Dethloff
Steve and Lori Director
Andrzej and Cynthia Dlugosz
Elizabeth A. Doman
John Dryden and Diana Raimi
Martin and Rosalie Edwards
Charles and Julia Eisendrath
Joan and Emil Engcl
Bob and Chris Euritt
Dr. and Mrs. John A. Faulkner
Eric Fearon and Kathy Cho
Dede and Oscar Feldman
Yi-tsi M. and Albert Feuerwerker
Mrs. Gerald J. Fischer (Beth B.)
Bob and Salty Fleming
John and Esther Floyd
Marilyn G. Gallatin
Bernard and Enid Galler
Marilyn Tsao and Steve Gao
Thomas and Barbara Gelehrler
Beverly Gershowitz
William and Ruth Gilkey
Mr. and Mrs. Clement Gill
Mrs.CozetteT.Grabb
Elizabeth Needham Graham
Susan Smith Gray and Robert Gray
Dr. John and Renee M. Greden
Jeffrey B. Green
John and Helen Griffith
Carl and Julia Guldberg
Martin D. and Connie D. Harris
Julian and Diane Hoff
Carolyn Houston
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 Wiesc 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
Allen and Evie Lichter
Carolyn and Paul Lichter
Daniel Little and Bernadettc 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
Ernest and Adcle McCarus
Joseph McCune and Georgiana Sanders
Rebecca McGowan and Michael B. Staeblcr
Ted and Barbara Meadows
Henry D. Messer Carl A. House
Andy and Candice Mitchell
ThcrcseM.Molloy
Lester and Jeanne Monts
Alan and Sheila Morgan
Jane and Kenneth Moriarty
Melinda and Bob Morris
Brian and Jacqueline Morton
Martin Nculicp and Patricia Pancioli
Donna Parmelee and William Nolting
Marylen and Harold Obcrman
Dr. and Mrs. Frederick G O'Dell
Robert and Elizabeth Oneal
Constance and David Osier
Mitchel Osman, MD and
Nancy Timmerman William C. Parkinson Dory and John D. Paul
Principals, com.
Margaret and Jack Peterscn Elaine and Bertram Pitt Richard and Mary Price Icannc Raisler and Jon Cohn Donald H. Regan and
Elizabeth Axelson Ray and Ginny Reilly Bernard E. and Sandra Reisman Kenneth IRobinson Mr. and Mrs. Irving Rose Doug and Sharon Rothwell Dr. Nathaniel H. Rowe Craig and Ian Ruff Dr. and Mrs. Frank Rugani Alan and Swanna Saltiel John and Reda Santinga Map Savarino David and Marcia Schmidt Meeyung and
Charles R. Schmitter Mrs. Richard C. Schneider Rosalie and David Schottenfeld Steve and fill Schwartz lohn I. H. Schwarz Erik and Carol Serr Janet and Michael Shatusky Carl P. Simon and Bobbi Low Frances U. and Scott K. Simonds Katharine B. and Philip Soper Lloyd and Ted St. Antoine Victor and Marlene Stoeffler Dr. and Mrs. Stanley Strasius Katharine Terrell and Jan Svejnar Virginia G. Tainsh lim Toy Joyce A. Urba and
David J. Kinsella Jack and Marilyn van der Velde Elly Wagner Florence S. Wagner Willes and Kathleen Weber Elise Weisbach Robert O. and
Darragh H. Weisman 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 Alexiou
Christine Webb Alvey
David and Katie Andrea
Dr. and Mrs. Rudi Ansbacher
lanet and Arnold AronofT
Emily Avers
Rowyn Baker
Robert L. Baird
Paulett Banks
M. A. Baranowski
Norman E. Barnett
Mason and Helen Barr
L. S. Berlin
Philip C. Berry
leffrcy Beyersdorf
Sara Billmann and Jeffrey Kuras Jerry and Dody Blackslonc Donald and Roberta Blitz Tom and Cathie Bloem Jane Bloom, MD and
William L Bloom Mr. and Mrs. Richard Boyce Dr. and Mrs. Ralph Bozell Susan Bozell Paul and Anna Bradley Joel Bregman and
Elaine Pomeranz June and Donald R. Brown Morton B. and Raya Brown Trudy and Jonathan Bulkley H. D. Cameron Bruce and Jean Carlson Edwin and Judith Carlson Jim and Priscilla Carlson Jack and Wendy Carman Cheryl Cassidy and
Richard Ginsburg Tsun and Siu Ying Chang Dr. Kyung and Young Cho Alice S. Cohen Lois and Avern Cohn Malcolm and Juanita Cox Sally A. Cushing Charles and Kathleen Davenport Marnee and John DeVine Lorenzo DiCarlo and
Sally Stegeman DiCarlo Mary E. Dwyer 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
Sidney and Jean Fine Carol Finerman Clare M. Fingerlc John and Karen Fischer Ray and Patricia Fitzgerald Jason I. Fox Dr. Ronald Freedman Harriet and Daniel Fusfeld Otto and Lourdes E. Gago Professor and
Mrs. David M. Gates Drs. Steve Geiringer and
Karen Bantel Jasper Gilbert Paul and Anne Glendon Jack and Kathleen Glezen Alvi.i G. Golden and
Carroll Smith-Rosenberg William and Sally Goshorn Jenny Graf
Dr. and Mrs. Lazar J. Greenfield Seymour D. Greenstone David and Kay Gugala Ken and Margaret Guire Don P. Haefncr and
Cynthia J. Stewart Mr. and Mrs. Elmer F. Hamel Susan A. Hamilton Clifford and Alice Hart Sivana Heller J. Lawrence and
Jacqueline Stearns Hcnkel Kathy and Rudi Hentschel Herb and Dee Hildebrandt Mrs. W.A. Hiltncr Sun-Chien and Betty Hsiao Mrs. V. C. Hubbs Ann D. Hungerman Thomas and Kathryn Huntzicker Eileen and Saul Hymans Jean Jacobson
Mark Jacobson
Elizabeth Jahn
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Ben M. Johnson
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Mathias-Philippe Florent Badin Charles and Linda Koopmann Dr. and Mrs. Melvyn Korobkin Bert and Catherine La Du Ted and Wendy Lawrence Mr. John K. Lawrence Julaine E. Le Due Mr. and Mrs. Fernando S. Leon Jacqueline H. Lewis E. Daniel and Kay Long Brigitte and Paul Maassen William Maddix Nicole Manvel Marilyn Mason Micheline Maynard Griff and Pat McDonald Bernice and Herman Merte Leo and Sally Miedler Myrna and Newell Miller Lisa Murray and Mike Gatti Gerry and Joanne Navarre Edward Nelson Eulalie Nohrden Kathleen I. Operhall Marysia (Kmtin and
George Smillie Nicole Paoletti Ms. Chandrika S. Patel John Peckham Wallace and Barbara Prince Mrs. Gardner C. Quarton Mrs. Joseph S. Radom Ms. Claudia Rast Ms. Rossi Ray-Taylor Molly Resnik and John Martin Jay and Machree Robinson Dr. Susan M. Rose Mrs. Doris E. Rowan Lisa Rozek
James and Adrienne Rudolph Paul and Penny Schreiber Alicia Schuster Terry Shade
Howard and Aliza Shevrin George and Gladys Shirley Pat Shure
Robert and Elaine Sims Inn j J. Sklenar Herbert Sloan
Donald C. and Jean M. Smith Gus and Andrea Stager Curt and Gus Stager David and Ann Staiger 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. Townley Joan Lowenstein and
Jonathan Trobc Jeff and Lisa Tulin-Silver Dr. Sheryl S. Ulin and
Dr. Lynn T. Schachingcr Charlotte Van Curler
Raven Wallace Harvey and Robin Wax Lawrence A. Weis Raoul Weisman and
Ann Friedman Angela and Lyndon Welch Reverend Francis E. Williams Warren Williams Lawrence and Mary Wise David and April Wright Mayer and foan Zald
ASSOCIATES
$250-$499
Jesus and Benjamin Acosta-Hughes
Michael and Marilyn Agin
Robert Ainsworth
Helen and David AminofT
Douglas B. Anderson
Harlene and Henry Appelman
Jack and Jill Arnold
Jeff and Deborah Ash
Mr. and Mrs. Arthur J. Ashe, III
Dwight T. Ashley
Dan and Monica Atkins
Linda Bennett and Bob Bagramian
Laurence K. and Barbara K. Baker
Lisa and Jim Baker
Reg and Pat Baker
Barbara and Daniel Balbach
Gary and Cheryl Balint
Ms. Ruth Bardenstein
John R. Bareham
David and Monika Barera
Lois and David Baru
Lourdes Bastos Hansen
Tom and Judith Batay-Csorba
Francis J. and Lindsay Bateman
Mrs. Jere M. Bauer
Gary Beckman and Karla Taylor
Professor and Mrs. Erling
Blondal Bcngtsson Dr. and Mrs. Ronald M. Benson Joan and Rodney Bentz Dr. Rosemary R. Berardi James A. Bergman and
Penelope Hommel Steven J. Bernstein and
Maria Herrero Dan and Irene Biber John E. Billi and Sheryl Hirsch Roger and Polly Bookwaltcr Victoria C. Botek and
William M. Edwards Jim Botsford and
Janice Stevens Botsford William R. Brashear David and Sharon Brooks Dr. Frances E. Bull Susan and Oliver Cameron Valerie and Brent Carey )eannette and Robert Carr Dr. and Mrs. Joseph C. Cerny Kwang and Soon Cho Reginald and Beverly Ciokajlo Brian and Cheryl Clarkson Harvey Colbert Wayne and Melinda Colquitt Merle and Mary Ann Crawford Peter C. and Lindy M. Cubba Mary R. and (ohn G. Curtis Sunil and Mcrial Das Art and Lyn Powrie Davidge John and Jean Dcbbink Elena and Nicholas Dclbanco Elizabeth Dexter Judy and Steve Dobson Thomas and Esther Donahue Cecilia and Allan Dreyfuss Elizabeth Duell
Associates, cont.
Dr. Alan S. Eiser
Sol and Judith Elkin
Jancl Fain
Phil and Phyllis Fellin
Stephen and Ellyce Field
Dr. lames F. Filgas
Susan FilipiakSwing City
Dance Studio Herschcl Fink
C. Peter and Bev A. Fischer Gerald B. and Catherine L Fischer Dennis Flynn Paula L. Bockenstedt and
David A. Fox
Howard and Margaret Fox Betsy Foxman and
Michael Boehnke Lynn A. Freeland Richard and foann Freethy Dr. Leon and Marcia Friedman Lela I. Fuestcr
Mr. and Mrs. William Fulton Thomas J. Garbaty Deborah and Henry Gerst Elmer G. Gilbert and
Lois M. Verbrugge Maureen and David Ginsburg Irwin Goldstein and Martha Mayo Enid M. Gosling lames W. and Maria I. Gousseff Michael L. Gowing Maryanna and
Dr. William H. Graves III Bob Green
Ingrid and Sam Gregg Bill and Louise Gregory Raymond and Daphne M. Grew Werner H. Grilk John and Susan Halloran Tom Hammond Robert and Sonia Harris Naomi Gottlieb Harrison and
Theodore Harrison DDS Paul Hyson and Jeanne Harrison Jeannine and Gary Hayden Henry R. and Lucia Heinold Rose and John Henderson Dr. and Mrs. Keith S. Henley Peter Hinman and Elizabeth Young Louise Hodgson
Mr. and Mrs. William B. Holmes Dr. Ronald and Ann Holz Jane H. Hughes Marilyn C. Hunting Robert B. Ingling David Jahn Ellen C. Johnson Kent and Mary Johnson Paul and Olga Johnson Arthur A. Kaselemas Frank and Patricia Kennedy Donald F. and Mary A. Kiel Rhea Kish
Paul and Dana Kissner Steve and Shira Klein Laura Klem Jean and Arnold Kluge Thomas and Ruth Knoll John Kosdka and Suzanne DeVine Bert and Geraldine Kmse Mrs. David A. Lanius Mr. and Mrs. Henry M. Lapeza Neal and Anne Uurance Beth and George LaVoic lohn and Theresa Lee Mm and Cathy Leonard Sue Leong
Myron and Bobbie Levine Ken and Jane Lieberthal Rod and Robin Little Vi-Cheng and Hsi-Yen Liu fr. Lcnnart H. Lofstrom
Naomi E. Lohr Ronald Longhofer and
Norma McKenna Florence LoPalin Jenifer and Robert Lowry Edward and Barbara Lynn Pamela I. MacKintosh Melvin and lean Manis James E. and Barbara Martin Margaret E. McCarthy Margaret and Harris McClamroch James M. Beck and
Robert J. McGranaghan Michael G. McGuire Nancy A. and Robert E. Meader George R. and Brigitte Merz Shirley and Bill Meyers Mr. and Mrs. Eugene Miller Kathryn and Bertley Moberg Mr. and Mrs. William Moeller Olga Ann Moir
William G. and Edith O. MoUer, Jr. Thomas and Hedi Mulford Gavin Eadie and Barbara Murphy Frederick C. Neidhardt and
Germaine Chipault Richard and Susan Nisbett Laura Nitzberg and Thomas Cadi Arthur and Lynn Nusbaum Drs. Sujit and Uma Pandit William and Hedda Panzer Karen M. Park Joyce Phillips
Mr. and Mrs. Frederick R. Pickard Wayne Pickvet and Bruce Barrett Donald and Evonne Plantinga Bill and Diana Pratt Larry and Ann Preuss Ldand and Elizabeth Quackenbush Jim and leva Rasmussen Anthony L Reflells and
Elaine A. Bennett Constance O. Rinehart Kathleen Roelofs Roberts Gay and George Rosenwald Mr. Hasketl Rothstcin Ina and Terry Sandalow Michael and Kimm Sarosi Mike Savitski
Dr. Stephen J. and Kim R. Saxe Frank J. Schauertc Mary A. Schieve Mrs. Harriet Selin Jean and Thomas Shope Hollis and Martha A. ShowaJter Alida and Gene Silverman Scot! and Joan Singer Susan and Leonard Skerkcr John and Anne Griffin Sloan Tim and Marie Slottow Alene Smith Carl and Jari Smith Mrs. Robert W. Smith Dr. Elaine R. Soller Hugh and Anne Solomon Yoram and Eliana Sorokin Tom Sparks Jeffrey D. Spindler Allen and Mary Spivey Judy and Paul Spradlin Burnette Staebler Gary and Diane Stahle Rick and Lia Stevens James L. Stoddard Barbara and Donald Sugerman Brian and Lee Talbot Eva and Sam Taylor Edwin J. Thomas Bette M. Thompson Nigel and lane Thompson Claire and Jerry Turcottc Mr. James R. Van Bochove
Hugo and Karla Vandcrsypen Marie Vogt
Haruc and Tsuguyasu Wada Charles R. and
Barbara H. Wallgren Robert D. and Liina M. Wallin Carol Weber lohn Weber Deborah Webster and
George Miller Iris and Fred Whitehouse Leslie Clare Whitfield Professor Steven Whiting Cynthia and Roy Wilbanks Anne Marie and Robert J. Willis Uoyd and Lois Crabtree Beverly and Hadley Wine Charles Witke and Aileen Gatten Charlotte A. Wolfe Richard E. and Muriel Wong Al and Alma Wool! Frances A. Wright Don and Charlotte Wyche 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
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Laboratories
$20,000-$49,999 Bank of Ann Arbor Borders Group, Inc. DaimlerChrysler Foundation Kaydon Corporation KeyBank TIAA-CREF
SI 0,000-$ 19,999 Bank One
Brauer Investment Company CFI Group
Comerica Incorporated DTE Energy Foundation Edward Surovell Realtors McKinley Associates Sesi Lincoln Mercury Volvo Mazda
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of America
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Thomas B. McMullen
Company Total Travel Management
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Arts at Michigan
Blue Nile
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Charles Reinhart Company,
Realtors
Chase Manhattan Mortgage Conlin Travel Joseph Curtin Studios Lewis Jewelers ProQuest Republic Bancorp United Bank & Trust
$100-$999
ABN AMRO Mortgage Group,
Inc.
Adult Learning Institute Ayse's Courtyard Cafe Ann Arbor Builders Ann Arbor Commerce Bank Bed & Breakfast on Campus Bennett Optometry Bivouac
Burns Park Consulting Clark Professional Pharmacy Coffee Express Comcast
Edward Brothers, Inc. Garris, Garris, Garris &
Garris, RC. Malloy Incorporated Michigan Critical Care
Consultants Rosebud Solutions Seaway Financial Agency
Wayne Milewski 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 Community Foundation for
Southeastern Michigan Doris Duke Charitable
Foundation The Ford Foundation JazzNet Michigan Council for Arts
and Cultural Affairs The Power Foundation
Foundation & Government Support, cont.
The Wallace Foundation The Whitney Fund
$50,000-$99,999 Anonymous
National Endowment for the Arts
SW,000-$49,999 Continental Harmony
Sl,000-$9,999 Akers Foundation Altria Group, Inc. Arts Midwest Cairn Foundation Heartland Arts Fund The Lebensfeld Foundation Martin Family Foundation Maxine and Stuart Frankel
Foundation
Mid-America Arts Alliance The Molloy Foundation Montague Foundation THE MOSAIC FOUNDA?TION (of R. and P. Heydon)
Sams Ann Arbor Fund Vibrant of Ann Arbor
Tribute Gifts
Contributions have been received in honor andor memory of the following individuals:
H. Gardner Ackley
Herb and Carol Amster
Maurice Binkow
Tom and Laura Binkow
Mr. and Mrs. Thomas Caterino
T. Earl Douglass
Robert Bruce Dunlap
Alice Kelsey Dunn
David Eklund
Kenneth C. Fischer
Dr. Beverlcy B. Geltncr
Michael Gowing
Lila Green
Werner Grilk
Elizabeth E. Kennedy
Ted Kennedy, Jr.
Dr. Gloria Kerry
Alexandra Lofstrom
loyce Malm
Frederick N. McOmber
Evelyn P. Navarre
Phil and Kathy Power
Gwen and Emerson Powrie
Prof. Robert Putnam
Ruth Putnam
Mrs. Gail Rector
Sleffi Reiss
Pruc Rosenthal
Margaret E. Rothstein
Eric H. Rothstein
Nona R. Schneider
Ruth E. Schopmeyer
Prof. Wolfgang Stolper
Diana Stone Peters Peter C. Tainsh Dr. Isaac Thomas III Clare Venables Francis V.Viola III Horace Warren Donald Whiting Peter Holderness Woods Barbara E. Young Elizabeth Yhouse
Burton Tower Society
The Burton Tower Society recognizes and honors those very special friends who have included VMS 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. Hilbert Beyer
Elizabeth Bishop
Mr. and Mrs. Pal E. Borondy
Carl and Isabelle Brauer
Barbara Everitt Bryant
Joanne A. Cage
Pat and George Chalas
Mr. and Mrs. lohn Alden Clark
Douglas D. Crary
H. Michael and Judith L Endres
Beverley and Gerson Geltner
lohn and Martha Hicks
Mr. and Mrs. Richard Ives
Marilyn Jeffs
Thomas C. and
Constance M. Kinnear Charlotte McGeoch Michael G. McGuire Dr. Eva Mueller Lcn and Nancy Niehoff Dr. and Mrs. Frederick C O'Ddl 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 lini.i J. Skelnar Herbert Sloan Art and Elizabeth Solomon Roy and JoAn Wetzel Mr. and Mrs. Ronald G. Zollars
Endowed Funds
The future success of the University Musical Society is secured in part by income
from UMS's endowment. VMS extends its deepest appreciation to the many donors who have established andor contributed to the following funds. H. Gardner AckJey
Endowment Fund Herbert S. and Carol Amster
Fund Catherine S. Arcure
Endowment Fund Carl and Isabelie Brauer
Endowment Fund Choral Union Fund Hal and Ann Davis
Endowment Fund Ottmar Eberbach Funds Epstein Endowment Fund JazzNet Endowment Fund William R. Kinney
Endowment Fund NEA Matching Fund Palmer Endowment Fund Mary R. Romig-deYoung
Music Appreciation Fund Charles A. Sink Memorial Fund Catherine S. ArcureHerbert
E. Sloan Endowment Fund University Musical Society
Endowment Fund
In-Kind Gifts
A-l Rentals, Inc.
Raquel and Bernard Agranoff
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
The Back Alley Gourmet
Barnes Ace Hardware
Lois and David Baru
Baxter's Wine Shop
Kathleen Beck
Bella Ciao Trattoria
Kathy Benton and Bob Brown
Bivouac
The Blue Nile Restaurant
Bodywise Therapeutic Massage
Mimi and Ron Bogdasarian
Borders Book and Music
Janice Stevens Botsford
Susan Bozell
Tana Breiner
Barbara Everitt Bryant
By the Pound
Cafe Marie
Margot Campos
Cappcllos Hair Salon
Coach Me Fit
Bill and Nan Conlin
M.C. Conroy
Hugh and Elly Cooper
Cousins Heritage Inn
Roderick and Mary Ann Daane
D'Amato's Italian Restaurant
David Smith Photography
Peter and Norma Davis
Robert Derkacz
The Display Group
Dough Boys Bakery
The Earle
Eastover Natural Nail Care
Katherine and Damjan Farrell
Ken and Penny Fischer
Food Art
Sara Frank
The Gandy Dancer
Beverley and Gerson Geltncr
Great Harvest Bread Company
Linda and Richard Greene
Nina Hauser
John's Pack & Ship
Steve and Mercy Kasle
Cindy Keilerman
Kerrytown Bistro
Kilwin's Chocolate Shoppe
King's Keyboard House
Kinko's Copies
Laky's Salon
Ray Lance
George and Beth Lavoie
LeDog
Leopold Bros. Of Ann Arbor
Richard LeSueur
Carl Lutkehaus
Doni Lystra
Mainstreet Ventures
Ernest and leanne Merlanti
John Metzger
Michael Susanne Salon
Michigan Car Services, Inc. and
Airport Sedan, LTD Moe Sport Shops Inc. Robert and Melinda Morris Joanne Navarre Nicola's Books, Little Professor
Book Co.
Paesano'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 Rumelhart Safa Salon and Day Spa Salon Vertigo Rosalyn Sarvar Maya Savarino Penny and Paul Schreiber Shaman Drum Bookshop Loretta Skewes Dr. Elaine R. Soller Maureen Stoeffler STUDIOstxteen Two Sisters Gourmet Van Bovens
Washington Street Gallery Whole Foods Weber's Restaurant Zanzibar
UMS Cecilia Bartoli
presents
Mezzo-soprano
Orchestra of the Age of Enlightenment
Gelosia
from Ottone in Villa Antonio Vivaldi
Gelosia,
Tu gia rendi l'alma mia
Dell'inferno assai peggior.
Ma se pria
La vendetta io non faro, Non m'uccidere, no, no, Mio crudele aspro dolor.
Di questa cetra
from Parnaso confitso
Christoph W. Gluck
Di questa cetra in seno
Pien di dolcezza, e pieno
D'amabili deliri
Vieni, e t'ascondi, Amor. E tal di questa or sia
La tenera armonia,
Che immerso ognun sospiri
Nel tuo felice ardor.
Jealousy
You are making my soul
Suffer the worst hell.
But if before I don't seek revenge Don't kill me, no, no With this cruel, bitter pain.
Cupid, within this lyre
Filled with sweetness, and filled
With loving rapture,
Come and conceal yourself. And now let the tender harmony
Of it be such
That all may sigh, absorbed
In your happy passion
Translation: Decca 2001, Kenneth Chalmers
Antonio Salieri
Vi sono sposa e amante
from La Fiera di Vcnezia, Act III, scene 3
(Giovanni Gastone Boccherini)
Calloandra
Vi sono sposa e amante: Siate ancor voi costante, E ognor piu di me stessa Fedel v'adorero. E pur che ognor concessa Mi sia la vostra grazia Piu in la della Dalmazia Ancor vi seguiro.
I am both wife and lover;
As long as you are faithful
I shall always adore you faithfully
More than 1 love myself.
And as long as I am allowed
To enjoy your favor
I shall follow you
Even beyond Dalmatia.
E non degg'io seguirla.-.Lungi da tc.Forse, chi sa...Vieni a me sull'ali d'oro
from Arinida, Act II, scene 2 (Marco Coltellini)
Kmalcto
E non degg'io seguirla! Ah senza Armida
Son secoli gl'istanti. A che mi giova
II ridente soggiorno e dove or sono
Tante varie bellezze, onde 1'adorna
La prodiga natura agl'occhi miei
Ah che vicino a lei
Tutto e lieto, e giocondo;
Ride il cielo, ride il mondo,
Ma cuopre un fosco velo,
Se s'allontana Armida, e terra, e cielo;
E diventa per me da lei diviso
Un deserto d'orror l'istesso Eliso.
Lungi da te ben mio, Se viver non poss'io, Lungi da te, che sei Luce degl'occhi miei, Vita di questo cor; Venga, e in un dolce sonno Se te mirar non ponno, Mi chiuda i lumi Amor.
Forse, chi sa verranno
Con un leggiadro inganno
In sembianza d'Armida i lieti sogni
A lusingar mia sorte
In questa dolce immagine di morte.
Oh inganno fortunato,
Che le piu care idee finga il pensiero,
E da un finto piacer lo chiami al vero.
Vieni a me sull'ali d'oro Lusinghier sogno amoroso, Ingannando il mio riposo In sembianza del mio ben. Trovi in te per pochi istanti II mio cor qualche ristoro, Fin che amor del mio tesoro Faccia poi svegliarmi in sen.
And 1 must not follow her Ah, without Armida
Each moment lasts a century. What pleasure is there
For me in this charming place And where now
Are the host of beauties that adorned it,
Offered by generous nature to my gaze
Ah, beside you
All is happy and cheerful;
The heavens and the earth smile.
But when Armida is far away, both heaven and earth
Are covered in a veil of darkness.
When I am apart from her, even Elysium
Turns into a gloomy desert.
Far from you, beloved,
If I cannot live
Far from you, who are
The light of my eyes,
The life of my heart,
May Love come to me,
And if I cannot see you,
May he close my eyes in gentle sleep.
Perhaps, who can tell,
Sweet dreams will come
With gentle deception in the form of Armida
To soothe my fate
In this sweet image of death.
Oh happy deception
That assumes the form of my dearest thoughts
And from a false pleasure recalls the reality.
Come to me on golden wings,
Flattering dream of love,
Soothing my sleep
With the image of my beloved.
May my heart find relief
For a few moments,
While you awaken in my breast
Love of my treasure.
Sulle mie tempie
from La Secchia Rapita, Act II, scene 4
(Boccherini)
Gherarda
Sulle mie tempie in dono Di puri gigli un serto Nel tempio suo la Gloria Mi porgera da se. Io sedero per merto Di casto cedro in Trono, Ed al mio nome accanto Gia perderanno il vanto Penelope, Lucrezia, Virginia, Dido, Alceste, Ersilia, e le Sabine. Ed Artemisia, e Porzia, E Claudia, e le Vestali, Saran donne triviali Al paragon di me.
Upon my brow
Glory herself in her temple
Will place a wreath
Of pure lilies as her gift.
I shall deserve to be seated
On a throne of chaste cedar,
And beside my name
Penelope, Lucretia,
Virginia, Dido, Alcestis,
Ersilia and the Sabine women
Will lose their fame.
Artemisia and Portia,
And Claudia and the Vestal virgins
Will seem quite vulgar
Compared to me.
Antonio Salieri
Se lo dovessi vendere
from La Finta Scema, Act II, scene 1
(Giovanni de Gamerra)
Ninetta
Se lo dovessi vendere Vorrei cercare un giovine, Ma lo vorrei cosi. Costante ed amoroso, Con buona educazione, Non goffb, ne buffone Non rozzo, ne incivile, Ma affabile e gentile, Ricco, grazioso, e bello, E pieno di cervello Si raro ai nostri di. Se lo dovessi vendere Vorrei cercare un giovine, Ma lo vorrei cosi.
If 1 have to sell my heart,
I'd like to look for a young man,
And this is how I'd like him:
Faithful and loving,
Well-mannered,
Neither clumsy nor foolish,
Neither coarse nor rude,
But friendly and polite,
Rich, elegant and handsome,
And with a good brain,
Rare enough nowadays.
If I have to sell my heart,
I'd like to look for a young man,
And I'd like him to be like this.
Or ei con Ernestia...Ah sia gia
from La Scuola Dei Gelosi, Act II, scene 14 (Caterino Mazzola)
La Contessa
Or ei con Ernestina... Andiam si corra...
Ma che giova che pro Povere stanze
Da quel che foste un giorno
Quanto siete diverse!... A me vicino,
Tenero, ed amoroso
Dolcemente lo sposo
Passava i giorni interi. Oh come oh Dio!
D'un anno il solo giro
Come tutto cambio! Nella mia stanza
Solinga, disprezzata,
In compagnia de' tristi miei pensieri
Passo Tore piangendo; ed egli intanto,
Favellando d'amor sta d'altra accanto.
Del Tenente il consiglio
Si segua. II ciel pietoso
Deh renda al primo amor il caro sposo.
Ah sia gia de' miei sospiri Sazio il fato, e sazio il ciel. Abbastanza a suoi martiri Mi serbo destin crudel. Fra gli orror d'awersa sorte Dovrei sempre i di passar II tormento della morte Men terribile mi par. Torna, torna amato sposo Al desio del primo amor, E bei giorni di riposo Sien compenso al mio dolor.
Now he is with Ernestina... let us go... hurry.
But what good is it What for Poor rooms,
How different you are
From what you once were! At my side,
Tenderly and gently loving,
My husband
Used to spend whole days. Oh how, O God!
In the passage of a single year
How everything has changed! Alone in my room,
Scorned, despised,
With the company of my sad thoughts
I spend the hours weeping. And he, meanwhile,
Is with another, speaking of love.
I shall follow
The Lieutenant's advice. Ah, may merciful heaven
Restore my dear husband to his first love.
Ah, may fate and heaven
Both be satisfied with my sighs!
Cruel destiny
Has tormented me long enough.
Must I always spend my days
Amidst the horrors of a hostile fate
The horror of death
Seems less dreadful to me.
Return, beloved husband,
To the longing of your first love,
And may fair days of peace
Reward me for my sorrow.
Contro un'alma sventurata
from Palmira, Regitw Dei Persia, Act I, scene 6 (de Gamerra)
Dunque anche il cielo
Congiura a danni miei
E di che mi punite, eterni Dei
Contro un'alma sventurata Deh non siate piu rubelle, E calmate, o awerse stelle Un si barbaro rigor. A che giova la virtude Se ostinate al par che crude Opprimete un fido cor!
Se spiegar si potessi appieno
from La Finta Scema, Act III, scene 2 (de Gamerra)
Se spiegar potessi appieno Quell' ardor, che 1" alma accende, Vi farei destar nel seno Qualche tenera pieta.
So even heaven
Conspires to harm me
And what are you punishing me for, eternal gods
Against an unfortunate soul,
Oh do not continue to be hostile,
And calm, you hostile stars,
Such cruel harshness.
What is the use of virtue
If you persistently
And cruelly torment a faithful heart
If I could fully explain it, This ardour, which inflames the soul, I would arouse in your breast Some tender pity.
E void a buon marito...Non vo gik che vi suonino
from La Cifra, Act II, scene 8
(Lorenzo da Ponte, recitative; Boccherini, aria)
Lisotta
E voi da buon marito
Pensate a divertirmi: io voglio tutti
II di delle mie nozze
I possibili gusti, e feste, e giochi,
E ballo a piu di mille,
E invito a piu di cento:
E una musica poi da far spavento.
Non vo' che gia vi suonino Pive, sampogne, o pifferi, Chitarre, o callascioni, Tamburi, lire, o nacchere, Ne sveglie, ne bussoni, Ribecche, o dabbudda. Ci voglio li violini, Arpe, oboe, salterj, Viole, e violoncelli, Flauti traversieri, Fagotti, e contrabbassi E i clarinetti, e i timpani, E le trombette, e i corni, E tutti gli stromenti Che s'usano in citta.
And you, like a good husband,
Must think how to amuse me. I want everything
On my wedding day
That could appeal, with feasting, games,
A thousand dances,
Hundreds of invitations,
And music to raise the roof.
I don't want anyone playing Bagpipes, fifes, Guitars or lutes, Drums, lire or castanets, Pipes or big drums, Rebecs or zithers. I want violins, Harps, oboes, psalteries, Violas and cellos, Transverse flutes, Bassoons and double basses, And clarinets and timpani, And trumpets and horns, And all the instruments They play in town.
Translation: Decca, Andrew Huth
DIALOGUES
Emotional Power and Human Frailties
I am delighted to welcome you to the Guthric Theater's 2004 tour. We are thrilled to be part of the National Endowment for the Arts' Shakespeare in American Communities initiative. Touring has become a vital part of our annual program and to combine that with Shakespeare allows us to really share the strength of the Guthric with other communities. As we develop our plans for the future, this will be an increasingly important part of our mission. The Guthric Theater has been and remains a flagship theater and a resource for audiences, students and teachers from the whole Upper Midwest. A national tour allows us to bring our resources to a wider audience and forms a step on the path to becoming a national center for theater arts and theater education.
Othello is a play of emotional power and psychological insight rather than of spectacle and epic grandeur. Shakespeare was more interested in Othello the man rather than the soldier, and Iago, whose evil permeates the play, is one of his most fascinating characters whose motives have been the subject of much critical speculation through the ages. In mounting a production at the Lab and for tour, it is my intention to focus on the human weaknesses and frailties that make this story so timeless and profound. I think Othello is one of the most accomplished of Shakespeare's tragedies because, while it contains some of the truly greatest poetry in the Shakespeare canon, it also has the most wonderfully compelling plot and the characters arc so rich. Desdcmona, daughter of a Venetian aristocrat, is a rebel, who breaks conventions and marries outside the tribe; therefore in many ways, she comes to pay the price of defying the boundaries of her culture. Her husband, the noble Moor Othello, is the greatest soldier of his day yet he has deep insecurities about his place in Venetian society. The case with which Iago can dupe him is proof of his feelings of being an outsider in a very enclosed society. Like all outsiders who
excel, he must prove himself better than any of the Venetians. They admire him and need him to fight their wars, but woe betide him when he wants to marry one of them.
However, I don't essentially see this play as being about racism. There are many, many racial elements to it. There are slurs thrown at Othello, and there are characters that arc distinctly racist. Racism is a pernicious creed and a destructive force within a society and is certainly evident in Shakespeare's Venice. But the actual core of the play how Iago fools Othello and destroys not only his happiness but his life -is much more complex than simply a matter of racial prejudice. At no point does Iago suggest that his hatred of the Moor is because of his race. The fascinating part of our exploration has been to go beyond the obvious and to find the complexities of human behavior that motivate the tragic events of the play. In this exploration I have been blessed with a wonderful cast led by Lester Purry and Bill McCallum.
As the Guthrie continues to expand and grow, we are so pleased that you have joined us to be part of this amazing journey.
Enjoy the show.
Joe Dowling Artistic Director January 1, 2004
A Fast-Moving Tragic Plot
CERTAINLY OTHELLO RANKS AMONG Shakespeare's most widely popular plays. After 400 years it continues to engage audiences everywhere. Rossini (1816) and Verdi (1887) turned it into operas; more than a dozen movies based on it were produced, from a 1922 silent German film to Orson Welles' adaptation (1952) to Oliver Parker's version starring Laurence Fishburn and Kenneth Branagh (1996); for countless great actors: Richard Burbage, Edmund Kean, Ira Aldrige, Tommaso Salvini, Paul Robeson, Laurence Olivier, Patrick Stewart, the title role highlights outstand?ing careers.
TIjc Tragedy of Othello, the Moor of Venice was written after Hamlet and prior to
King Lear and Macbeth. Its source a 1565 collection of Renaissance 'novellas'
by Giraldi Cinthio entitled Hecatommithi must have been familiar to
Shakespeare; Measure for Measure, dated around 1604, uses another narrative by
Cinthio. Shakespeare brilliantly re-imagined the original and gave it unsurpassed
depth. It is a testimony to the indelible touch of his genius that his tale of tragic
love ruined by the "green-eyed monster" of jealousy has engendered an array of
memorable, diverse, even controversial interpretations.
The target of the fast-moving plot unstoppable as a brushfire is the valiant
general Othello who loves and marries Desdemona despite her father's
opposition. Soon though he succumbs to the demons of suspicion unleashed by
Iago, a jealous man himself, plagued by his own fears of being a cuckold and bent
on revenge after being passed over in the military hierarchy. The villain's
manipulations exploit racist prejudices against an interracial marriage, yet Iago's
scheme would have been no less pernicious had he taken aim at a white man. He
ensnares the Moor in a web of innuendoes and seemingly plausible accusations
while he cunningly wears the mask of absolute honesty. Virtually no one escapes
this evil scheme: Othello's lieutenant Cassio, Desdemona's hopeless suitor
Roderigo, and Iago's own wife, Emilia. Eventually Desdemona's innocence and
Othello's murderous outburst meet the same fate in death.
The tragedy reveals how complex human vulnerability is. Shakespeare's poetic language gives voice to stunningly fresh psychological insights in a compelling cautionary tale about the beauty and fragility of love. Othello himself has a keen premonition of the tragic inevitability and agonizing dilemma at the center of the play: "when I love thee notChaos is come again."
THERE ARE PEOPLE DEDICATED TO EVIL in the world; ... without their perverse example we should not know the good. Evil is not a mistake but a fact in itself. ... I believe merely that, from whatever cause, a dedication to evil, not mistaking it for good, but knowing it as evil and loving it as evil, is possible in human beings who appear agreeable and normal. I think now that one of the hidden weaknesses of our whole approach to dramatic psychology is our inability to face this fact to conceive, in effect, of Iago.
Arthur Miller, 1957 From the "Introduction" to Arthur Miller's Collected Plays, New York: Viking Press.
IN WHAT SETTING does Othello's tragedy unfold The question sounds absurd. The first act takes place in Venice, the remaining four in Cyprus. ... However, Venice and Cyprus in Othello are no more real than the cities and countries in all Shakespeare's
other tragedies and comedies. ... The action of Othello ... really takes place only on the Elizabethan stage which is also the Theatrum Mundi. On that stage ... the world is unhinged, chaos returns, and the very order of nature is threatened. ... Dcsdcmona having been murdered, apocalyptic night falls down on Othello's world: "Methinks it should be now a huge eclipseOf sun and moon, and that th'affiighted globeShould yawn at alteration." ...
Othello kills Desdcmona in order to save the moral order, to restore love and faith. ... He desperately wants to save the meaning of life, of his lift;, perhaps even the meaning of the world. ... Othello's death can save nothing. ... In all great Shakespearean dramas ... the moral order and the intellectual order arc in conflict with one another.
Jan Kott, 1964
From Shakespeare Our Contemporary, Doubleday & Company, Inc.
But jealous souls will not be answered so: They are not ever.jealous for the cause, .But jealous for they're jealous.
Emilia jj
Trust and Suspicion at Play
OTHELLO IS ALMOST A COPY-BOOK DEMONSTRATION of what happens when trust and suspicion come into contact. Othello, like David in the Hebrew Bible, like Odysseus, is a foreigner to introspection; he is what he does and what he can relate. His way of speaking is not to argue but to tell a story to the senators of Venice as much as to his future wife. And this holds right through to the end:
I pray you, in your letters, When you shall these unlucky deeds relate, Speak of me as I am.
He docs not want them to sum him up mights' warrior or black ram but to relate a
deed. ... That Othello and not Iago has the last word, in keeping with the promise of the
title, is borne out by the play's concluding line: "This heavy act with heavy heart relate."
To Iago of course this mode of being and telling is nothing more than an attempt to
dignify human affairs with "bombast circumstance". ... For him we are alone in a hostile
world, but if we can recognize this and not be fooled by men's rhetoric we can remain
masters of our destinies. Thus he urges Roderigo to cheer up and put money in his
purse, for "If sanctimony, and a frail vow betwixt an erring barbarian and a supersubtle
Venetian, be not too hard for my wits, and all the tribe of hell, thou shalt enjoy her."
Othello, like the oral story-teller he is, tells a tale; Iago, like a novelist, sums up the
characters of others in two words: "erring barbarian," "supersubtle Venetian." The
play, it has often been said, charts die way in which Iago's language gradually infects that
of Othello and how, when that happens, Othello is doomed. That is true; but it
also charts the way in which the language of a
culture of suspicion infects the language of a culture of trust.
Iago sows the seeds of suspicion in Othello's mind by asking him to interpret, to get to the bottom of things. The ancient tragedian and the oral story-teller answer the question: what happened The novelist and the modern playwright answer the question: what really happened A small difference, it might be thought, but, in effect, a monumental one.
Gabriel Josipovici, 1999
From On Trust: Art and the
Temptation of Suspicion,
Yale University Press.
The danger with all Iagos is that they make Othello seem too credulous. Unless we find their lies plausible, the play becomes a tale of an oaf gulled by a con man.
Kenneth Tynan, 1966
From his account of Laurence Olivier's Othello
performance at the National Theatre in London, 1964
Think'st thou I'd make a life of jealousy, To follow still the changes of the moon With fresh suspicions No: to be once in doubt Is once to be resolved.... I'll see before I doubt, when I doubt, prove, And on the proof, there is no more but this: Away at once with love or jealousy!
Othello
IT IS FUTILE TO DEMAND motivation from the Vice, or reasons for his actions, for the point about evil is that it is absurd, unmotivated, and inconsistent. Such a character is Iago. ... His one object is to destroy Othello and he can have no good reason for it. ... In case we should forget that Iago is the "tempter," he reminds us, telling us that he hates Othello as he hates "hell-pains."... Iago's ubiquity in the play as he skips from character to character, organizing the complicated scenario which will entrap Othello, is more than natural, as is his mad inventiveness in luring Roderigo and Cassio to their doom.
1 he action ot Othello opens out to include the audience, and their perception of the struggle of good and evil. They do not go home hoping they will never meet an Iago, but rather understanding something of the nature of evil and how soon bright things come to
confusion. ... We no longer teel, as Shakespeare's contemporaries did, the ubiquity of evil, but Iago is still serviceable to us, as an objective correlative of the mindless inventiveness of racist aggression.
Germaine Greer, 1986 From Shakespeare, Oxford University Press.
IN LOVING AND MARRYING EACH OTHER, Othello and Desdemona instinctively act according to principles of racial equality and sexual freedom which arc far from generally accepted and practiced in our own day, let alone in Shakespeare's. ...
Not the least disquieting feature of the play is the way it encourages us, through the villain's downstage intimacy with the audience, to identify more with the viewpoint and values of Iago than with Othello. The effect of this should be to compel us to confront our own collusion in Othello's tragedy, a collusion confirmed by our involuntary attraction to Iago's self-interested cynicism, and by our tacit acquiescence in the degrading mentality which finds in him such a seductive spokesman.
Kiernan Ryan, 1995 From Shakespeare, Prentice HallHarvester Wheatsheaf, a division of Simon & Schuster.
THE MARRIAGE BED is at the very heart
of the tragedy of Othello; offstage but
dramatically the center of attention in the first
scene and again in the first scene of the second act,
it is literally and symbolically at the center of the
last scene. ... The play's central theme is love -
specifically marital love. ... Othello rings changes on
the theme of male and female in a series of parallel
and contrasting couples DcsdemonaOthcllo,
EmiliaIago, BiancaCassio. ...
The play concludes, not with symmetrical
pairings off and a movement toward marriage
beds, but with one final triangle: Emilia,
Desdcmona, and Othello dead on wedding
sheets. We are made to look with Iago,
ominously a survivor, at the "tragic loading
of this bed" ... a note of arrested growth,
devastated fertility. ... The pain and division
of the ending are unmitigated, and the
clarification it offers is intolerable.
Carol Thomas Neely, 1985 From Nuptials in Shakespeare's Plays, Yale University Press.
... my love doth so approve him That even his stubborness, his checks, his frowns ... have grace and favor.
Desdemona
OTHELLO'S SUPREME CONFIDENCE in his marital bliss frees him [early on]
to cherish what is so humanly characteristic of Desdemona: her appetite for
pleasure. That appetite does not threaten him; even his awareness of his own
"weak merits" cannot draw from him "the smallest fear or doubt." ... Yet some
eighty lines later, still in the same scene, Othello has become the stereotype of the
anxious male beset by fears of womanly duplicity. The very things that have
counted so heavily in Desdemona's favorher openness and warmth of response
to the tactile pleasures of physical existence are now the basis of the most
terrible indictment against her. ... The shift is indeed breathtakingly rapid,
but ... it is prepared for in ways that make clear Othello's vulnerability and
... connect him to other anxious males in Shakespeare's plays.
David Bevington, 2002
From "Othello: Portrait of a Marriage" in Othello:
New Critical Essays edited by Philip C. Kolin, Routledge.
TO CONTEMPLATE SHAKESPEARE'S GENIUS is at once to encounter the critic's despair and the critic's ecstasy. ... Shakespeare's language is primary to his art, and is tlorabundant. He had a deep drive to coin words anew, and I am always astonished that he employed more than twenty-one thousand separate words. Of these, he invented roughly one out of twelve: about eighteen hundred coinages, many of them now in common use. ... The Shakespearean difference, the uniqueness of his genius is ... his universality, is the persuasive illusion (is it illusion) that he has peopled a world, remarkably like what we take to be our own, with men, women, and children preternaturally natural.
Harold Bloom, 2002 From Genius: A Mosaic of One Hundred Exemplary Creative Minds, Warner Books
FROM ITS VERY FIRST LINE "Tush, never tell me! I take it much unkindly..." -Othello traces the way people react to whatever they are told, the psychic sources of their credulity and the reasons why they so often at first repudiate others' suggestions ("Tush, never tell me!") only to topple into acquiescence by either mistaking the point or "tak[ing] it much unkindly." ... Shakespeare highlights the connection between fear and credulity, the way people are often as quick to believe what they are afraid of as (at other times) they arc to believe what they hope or wish. Iago's behavior all through the play exhibits both propensities, and he everywhere exploits both in other people. ...
At the heart of the play, and centered in its full realization of both Desdcmona's and Othello's anguish, is Shakcpeare's insight into the dire necessity for, and the often impossible difficulty of sustaining, a life open to doubt and uncertainty and therefore always at risk. ... Much of the power of Othello as a tragedy, I believe, is to make us acutely aware of our own needs for emotional and moral certainty, simplicity and finality our own impulse to think on two spools: blackwhite, rifrhrwrone and to cateeorize people as fair or foul in accordance with
our own hot feelings about them. ...
In thinking about Shakespeare's art in Othello it is vital not to get trapped into too-ready feelings or too-ready judgments about its "greatness" or its "limitations."
Jane Adamson, 1980 From Othello as Tragedy: Some Problems of Judgment and Feeling, Cambridge University Press.
Both Hamlet and Othello arc told of
terrible wrongs that have been committed. Othello responds with easy belief, and then finds that he is responsible for a horrible wrong. Hamlet doubts and probes and questions, and finds that the killing continues, of the guilty and innocent alike. It's in the nature of tragedy. How to test or trust ... Othello sets out to prove faithfulness, demands "ocular proof" and, tragically, fails. Of course, love and faithfulness cannot be proved (nor bought); when found, they are freely given and must be
accepted on trust.
Archibald Leyasmeyer, 1993
From the essay "Love, Trust & Destruction in a Murky World," written for and published in the Guthrie Study Guide.
BIOGRAPHIES
Robert O. Berdahl Cask)
At the Guthrie Othello, Pride and Prejudice, Three Sisters, Wintertime, All My Sons, Antony and Cleopatra, Amadeus, Twelfth Night, A Midsummer Night's Dream, The School for Scandal
Theater Park Square Theatre: Art, Music Box Theater, Temple for the Performing Arts, Horton Grand
Theater: Triple Espresso, Lyric Theater: Staggerford Murders; Bryant-Lake Bowl Theater: Warm Beer Cold Women; Great American History Theatre: A Time on Earth, Hope Repertory Theater: Romeo and Juliet, Anything Goes, Our Town, Little Shop of Horrors, Hey City Stage: Forever Plaid; Playhouse Square; Michigan Ensemble Theater; State Theater, Michigan; Theatre in Old Town; Main State Music Theater
FilmTelevision Great Lakes, Private Eyes, "House of Four Doors" Training Gustavus Adolphus College; California Institute of the Arts
Virginia S. Burke
Emilia
At the Guthrie Othello, Pride and Prejudice, Once in a Lifetime, Summer and Smoke, Lysistrata Theater American Players Theatre: Hamlet, The Beaux' Stratagem, The Learned Ladies, Minnesota Festival Theatre: Dracula, Pregones Theatre: Rosario's Barrio; Great American History Theatre: Songcatcher, Frank
Theatre: The Taming of the Shrew, Etta Jenks, Machinal, Tottering House, The Chekhov Project, Actors Theater of Minnesota: The Weir; New Classic Theatre: Four Dogs and a Bone, Teatro Latino de Minnesota; Northern Sign Theatre: Antigone, Cricket Theatre: fine Women Wearing the Same Dress; Park Square Theatre: Macbeth, Merton of the Movies, On Borrowed Time; The Playwrights' Center FilmTelevision The Homestead, Truth, Fascinating, Overnight Delivery, "Unsolved Mysteries"
James Cada
Gratiano
At the Guthrie Othello, A Midsummer Night's Dream, Great Expectations
Theater The Children's Theatre Company: Mr. A's Amazing Maze Plays; The Cricket Theater: Terra Nova; Actors Theatre of St. Paul: Tartuffe, The Three Sisters, Have You Anything to Declare; Chanhassen
Dinner Theatres: 7ie Musk Man, The Sound of Music, Old Log Theater: The Foreigner, Brave New Workshop: Nine improvisation-based shows (diredoractor); Elitch Theater, Denver: Dear Ruth FilmTelevision The Straight Story, Iron Will. Untamed Heart, Drop Dead Gorgeous, Grumpier Old Men, Wild Rose, Crossing the Bridge; made-for-televisions movies: Chance of Snow (Lifetime), Lucky Day (ABC); 'Trie Faculty," ?Married... with Children," "Real Monsters" (cartoon voiceover)
Cheyenne Casebier
Desdemona
At the Guthrie Othello, Pride and Prejudice, Twelfth Night, A Midsummer Night's Dream Theater New York: Connelly Theatre: Can't Let Go (world premiere); Kraine Theatre: Chicks with Dicks; HERE: Lesbian Pulp-O-Rama; Interact: Misogamy; Colorado Shakespeare Festival: Troilus and Cressida, Romeo and Juliet
FilmTelevision Love the Hard Way, First We Take Manhattan, "All
My Children," "Guiding Light"
Awards International Artistic Fellowship at Shakespeare's Globe,
London: Guthrie recipient
Training M FA, The Professional Theater Training Program,
University of Delaware; Pacific Conservatory of the Performing Arts
Paul Doepke
Understudy
At the Guthrie Othello, Amadeus, Once in a Lifetime, Black No More Theater Mixed Blood Theatre: Joanne!, To Be Young, Gifted and Black, They're Coming to Make It Brighter, Santos Y Santos, Good News About Third World Shoes, Maria! Maria, Maria, Maria, Bee-luther-hatchee; The Children's Theatre
Company: A Mark Twain Storybook (national tour); Peopled Theatre: Hamlet, Park Square Theatre: Romeo and Juliet, New Tradition Theatre Company: Bleacher Bums, The Road to Mecca, Educating Rita, Oliver!, Black Comedy, A Walk in the Woods, Sleuth Other Theatre I'Homme Dieu, Alexandria: guest artist (10 years); industrial videos and radio commercials Training B.A., Theater and Drama, Lawrence University
Scan Michael Dooley
Messenger, Officer, Citizen of Cyprus
At the Guthrie Othello, A Christmas Carol, Ah, Wilderness!, Twelfth Night, A Midsummer Night's Dream Theater Door Shakespeare: A Midsummer Night's Dream, Much Ado About Nothing; Romeo and Juliet; Great American History Theatre: A Christmas Schooner; Match Light Theatre: The Woolgatherer, Old Log Theater: A
Perfect Wedding, Moon Over Buffalo; Illusion Theater: Celebrating Diversity. University of Minnesota: Hair, The Importance of Being Earnest, The Tempest
Training M.F.A., University of Minnesota; B.A., University of Wisconsin, Eau Claire
Charles Fraser
Understudy
At the Guthrie Othello, The Comedy of Errors, Ah, Wilderness! Theater Minnesota Shakespeare Project: A Midsummer Night's Dream; Minnesota Festival Theatre: Guys and Dolls, Time of Your Life, Godspell, The Nerd; Theatre de la Jeune Lune: Tartuffe; Mystery Cafe: six seasons
BIOGRAPHIES
including let's Kill the Boss, Trial by Jury, Till Death Do Us Part, Disney Cruise Line's M.S. Disney Magic: Off Beat Comedy Club; Brave New Workshop; Illusion Theater; Southern Festival of Theatre: Much Ado About Nothing, The Taming of the Shrew, Lincoln Amphitheatre: Young Abe Lincoln, Big River Television "Trigger Happy TV-Recordings Young Abe Lincoln cast recording Training B.F.A., University of Mississippi
Nathaniel Fuller
Brabantio
At the Guthrie Othello, Six Degrees of Separation, A Christmas Carol, Ah, Wilderness!, Amadeus, Twelfth Night, Molly Sweeney, A Midsummer Night's Dream, The Magic Fire, The Importance of Being Earnest, A Month in the Country, Much Ado About Nothing, The Playboy of the Western World, Blithe Spirit, You
Can't Take It With You, She Stoops to Conquer, Philadelphia. Here
I Come!, The Royal Family, K: Impressions of The Trial by Franz
Kafka, King Lear, The Play's the Thing, A Woman of No
Importance, Too Clever by Half, Fantasio, Henry IV. Henry V,
Richard III, Candida (17 Guthrie seasons, 1987-2004)
Theater Los Angeles Free Shakespeare Festival; Great Lakes
Shakespeare Festival; Drury Lane; Cricket Theatre; Chanhassen
Dinner Theatres
Training University of Southern California; B.A., Dartmouth
College
Brian Goranson
Lodovico
At the Guthrie Othello, Macbeth, A Christmas Carol
Theater Jungle Theater: Orange Flower Water, Pillsbury House Theatre: Mr Bundy, Angels in America, The Sign in Sidney Brustein's Window, Dutchman, Sexual Perversity in Chicago, [sic]. Burn This, Extremities; Illusion Theater: Good 'N'
Plenty, Angel-Headed Hipster, Lloyd's Prayer, Great American
History Theatre: Main Street, World War II Stories
Teaching University of Minnesota
Training M.F.A., Theater Arts, University of Minnesota
Brian A. Grandison
Herald, Officer, Citizen of Cyprus
At the Guthrie Othello, The Stuff of Dreams, Merrily We Roll Along, Dream on Monkey Mountain, The Skin of Our Teeth, Troilus and Cressida, The History Plays, Anything Goes, A Christmas Carol Theater Off-Broadway: Adrienne Kennedy workshop; Brooklyn Academy of Music: Suite Saturday Nite;
Goodman Theatre: Cry the Beloved Country, The Rover, Mixed
Blood Theatre; Chanhassen Dinner Theatres; Great American
History Theatre; national tour: Sounds of Blackness (director)
Other As author: screenplay for Showtime cable network; Stages
Theatre: And a Child Shall Lead Them: Brown vs. Board of
Education
FilmTelevision Very Bad Things, Crossing the Bridge, "Picket
Fences," "Chicago Hope," "C-16"
Draining M.F.A., University of Georgia; Stella Adler Conservatory
Shawn Hamilton
Montano
At the Guthrie Othello, Twelfth Night, A Midsummer Night's Dream, Gross Indecency, Many Colors Make the Thunder-King, Big White Fog, Mother Courage, MaratSade, The Tempest, The Illusion, Troilus and Cressida, Henry V, A Christmas Carol, The Skin of Our Teeth
Theater Trinity Repertory Theatre:
The Illusion: Yale Rep: Troilus and Cressida. Pill Hill; Dallas Theater Center: Theophilus Maitland, All the King's Men; Mixed Blood Theatre: La Ayuda, Six Degrees of Separation; The Children's Theatre Company: Beggars' Strike. Boundless Grace, Crow and Weasel, The Jungle Book (national tour); Jungle Theater: Orson Welles Rehearses Moby Dick, Hapgood; Penumbra Theatre Company: Seven Guitars, Black Nativity; Great American History Theatre: The Meeting, The Brotherhood
Ann Kim
Bianca
At the Guthrie Othello. The Stuff of Dreams
Theater The Children's Theatre Company: Dragonwings, Pippi Longstocking, Mississippi Panorama, Pinocchio, Starry Messenger, Cinderella, A Village Fable, Whale, How the Grinch Stole Christmas,
Afternoon of the Elves', Mixed Blood
Theatre: Primary English Class, The History of Bowling, League of Nations, I Don't Need No Stinkin' Badges, Trumpeting the Gateway, Boy, Maria! Maria, Maria, Maria, Eastern Parade (tour); Eye of the Storm Theatre: Stop Kiss; Theater Mu: Internment Voices, Fax Shangri-La; Pangea World Theater: The Winged Seed; Hartford Children's Theater: A Wrinkle in Time Teaching Neighborhood Bridges at The Children's Theatre Company and School Partnership Program: actoreducator Training B.A., English, Columbia University
Bill McCallum
lago
At the Guthrie Othello, Three Sisters, Six Degrees of Separation, A Christmas Carol, All My Sons, Antony and Cleopatra, Who's Afraid of Virginia Woolf, The Invention of Love, Twelfth Night, The Plough and the Stars, Misalliance, Ah, Wilderness!, Gross Indecency, Much Ado About Nothing, Racing Demon,
A Midsummer Night's Dream, She Stoops to Conquer, The Cherry Orchard
Theater Goodman Theatre; American Players Theatre: seven sea?son company member; Great American History Theatre; Minnesota Festival Theatre; Madison Repertory Theatre; Northlight Theatre; Body Politic Theatre; New American Theatre; The Minnesota Orchestra; Frank Theatre Film The Straight Story, Joe Somebody Training North Carolina School of the Arts
BIOGRAPHIES
Ron Mcnzel
Understudy
At the Guthrie Othello Theater City Theatre, Pittsburgh: Fair Game, Jungle Theater: Orson Welles Rehearses Moby Dick, Macbeth, Eye of the Storm Theatre: Fair Game, Stop Kiss, Ten Thousand Things: 77ie Furies, The Tempest, The Unsinkable Molly Brown; Frank Theatre: Sell-Defense, or Death of Some Salesmen;
Minnesota Shakespeare Project: Hamlet. Romeo and Juliet, Pericles; Hidden Theatre: Isaac, Hedda Gabler, Huldufolk Theatre: W.A.S.P.; Seattle Children's Theatre: An Evening of Washington Irving, Dark Horse Theater: 7ie Dumb Waiter, Terra Nova, Spoon River Anthology Film Vernie, New World Symphony, The Coast
Peter Moore
Duke of VeniceFight Choreographer
At the Guthrie Othello, Six Degrees of Separation, Antony and Cleopatra, Twelfth Night, Julius Caesar, As fight director: Thief River, In the Blood, Twelfth Night
Theater As an actor: Mixed Blood Theatre: The Boys Next Door, Spinning Into Butter, Chanhassen
Dinner Theatres: A Walk in the
Woods, The Rainmaker, Frank Theatre: Measure for Measure; Park Square Theatre: Art, Harvey, Illusion Theater: Miss Evers'Boys; New Classic Theatre: Bum This, All in the Timing; Meadow Brook Theatre, Detroit; Utah Shakespearean Festival. As fight director: Broadway: The Lion King, Marlowe; Off-Broadway: Sweet Prince, The Rover, A Cry of Players; La Jolla Playhouse: Twelfth Night, Dallas Theater Center: Hate Hamlet
Film The Cure, Overnight Delivery, Trauma, "ABC Afterschool Special"; Stunt Coordinator: Embrace of the Vampire, With or Without You, Old Explorers
Kris L. Nelson
Rodengo
At the Guthrie Othello, Three Sisters, Six Degrees of Separation, A Christmas Carol, Antony and Cleopatra, Amadeus, Once in a Lifetime, Twelfth Night, To Fool the Eye, The Plough and the Stars, Mr. Peters' Connections, The School for Scandal, Summer and Smoke, Julius Caesar, The Venetian Twins, Much
Ado About Nothing, The Playboy of the Western World, A
Midsummer Night's Dream
Theater Jungle Theater: The Blue Room; Salt Lake Acting
Company: Sight Unseen; Creede Repertory Theatre: Voice of the
Prairie, Bedroom Farce. Antigone; Shakespeare Theatre,
Washington, D.C.: Richard II, Julius Caesar, Romeo and luliet,
Babcock Theater: Edward II, Three Sisters, MaratSade, As You Like
It, Leonce and Lena
Training University of Utah Actors Training Program
Lester Purry
Othello
At the Guthrie Olhelb. The Darker Face of the Earth, Big White Fog Theater Penumbra Theatre Company: King Hedleyll, The Darker Face of the Earth, Blues for an Alabama Sky, The Piano Lesson, Fences,
A photograph: Lovers in motion, Two Trains Running, The Last Minstrel Show, Buffalo Hair, Spell 7, Shine, Dutchman, Pill Hill, The Mojo and the Sayso, Waiting in Vain; Center Stage, Studio Theatre, Philadelphia Theatre Company, Dallas Theatre Company, Alabama Shakespeare Festival, Arden Theatre Company, Sundance Theatre Institute, Illusion Theater, Mixed Blood Theatre, The Children's Theatre Company, The Minnesota Opera, Savannah Theater Company, S.A.R.T
Stacia Rice
Understudy
At the Guthrie Othello Theater Fifty Foot Penguin Theater: Cat on a Hot Tin Roof, Dogg's Hamlet, Cohoot's Macbeth, I Married Odin, Parallel Lives, Escape from Happiness; Park Square Theatre: An Experiment with an Airpump, The Women; Illusion Theater: Kuwait; Piq's Eye Theater: House of Yes, A
Few Good Men, Laughter on the 23rd Floor, The Director's Theater: 77e Maiden's Prayer, Baby with the Bathwater, Outward Spiral Theatre Company: David's Redhaired Death, A Bright Room Called Day, Eye of the Storm Theatre: Hazaard County, Bald Alice Theater: Gospel of the Messiah Widow, The Children's Theatre Company: 77ie Little Match Girl
Film A Day in the Life of Andrew Hiskler, Descent of Woodpeckers, Medea's Guilt, Blue Through the Night Teaching Comedy improvisation
ARTISTIC STAFF
Joe Dowling
Artistic Director
At the Guthrie Othelh, Pride and Prejudice, Three Sisters, All My Sons, Amadeus, The Invention of Love, Twelfth Night, The Plough and the Stars, The School for Scandal, Julius Caesar, Molly Sweeney, The Importance of Being Earnest, Much Ado About Nothing, The Playboy of the Western World. Blithe Spirit. A Midsummer
Night's Dream, Philadelphia, Here I Cornel, The Cherry Orchard Theater Abbey Theatre, Dublin: artistic director (1978-85), artistic director of Peacock Theatre, the Abbey's second stage (1973-76), founder of the Young Abbey, Ireland's first theater-in-education group (1970); Irish Theatre Company: artistic director; The Gaiety. Dublin: managing and artistic director, founder of the Gaiety School of Acting, Ireland's premier drama school; Gate Theatre; Arena Stage; Shakespeare Theatre, Washington, DC; New York Shakespeare Festival; The Acting Company; American Repertory Theatre; Stratford Festival; Roundabout Theatre; Geffen Playhouse; Chichester Festival Theatre; Chicago Shakespeare Theater
Patrick Clark
Set and Costume Designer
At the Guthrie Othello, Three Sisters, Amadeus, The Invention of Love
Theater Stratford Festival, Ontario: Henry IVparts I and 2, As You Like It, Richard III, Juno and the Paycock, Pericles, The Comedy of
OGRAPHIES
Errors, Titus Andronicus, Romeo and Juliet, The Boyfriend, King Lear, Shaw Festival: Cuctoo in the Nest, Hit the Deck, She Loves Me; Atlantic Theatre Festival: The Matchmaker, The Constant Wife, Private Lives, Hedda Gabler, Amadeus, Macbeth; Canadian Stage: Homeward Bound, Hay Fever, To Grandmother's House We Go; Banff School: Twelfth Night, The School for Scandal, Last Comedy, Vancouver Playhouse; Theatre Calgary;
Theatre London; Neptune Theatre; Theatre New Brunswick Teaching Banff School of Fine Arts; Concordia University; St. Thomas University Training B.A., Classics, University of New Brunswick
Matthew Reincrt
Lighting Designer
At the Guthrie Othelfo. Three Sisters. Good Boys. All My Sons. Who's Afraid of Virginia Woolf. Twelfth Night. Side Man, A Midsummer Night's Dream, Misalliance, Sweeney Todd, Gross Indecency, Simpatico; Resident Lighting Department Supervisor since 1994 Theater Actors Theatre of Louisville: designs for over 15 productions, many in the Humana Festival of New American Plays and Flying Solo Festivals, Lighting Department Supervisor for more than 100 productions; Missouri Repertory Theatre; Pepsico Summerfaire; Kentucky Shakespeare Festival; Glimmerglass Opera; Chautauqua Opera; Ragamala Music and Dance Theatre; Purdue UniversityIndiana Public Television; University of Minnesota; Western Michigan University; University of Missouri, Kansas City; Iowa State University
Education M.F.A., University of Missouri, Kansas City; B.A., Iowa State University
Scott W. Edwards
Sound Designer
At the Guthrie More than 40 productions including Othello, A Christmas Carol, The Night of the Iguana, Pride and Prejudice, Three Sisters, Wintertime, The Comedy of Errors, Resurrection Blues, All My Sons, The Canterbury Tales, Antony and Cleopatra. Merrily We Roll Along, Amadeus, Once in a Lifetime, In the Blood, Who's Afraid of Virginia Woolf. Twelfth Night, Blood Wedding, To Fool the Eye, Hedda Gabler
Theater The Children's Theatre Company: more than 40 productions; Jungle Theater: 15 productions; Penumbra Theatre Company; Mixed Blood Theatre; Illusion Theater, Arizona Theatre Company; Ballet of the Dolls (founding member); Theater Mu; Eye of the Storm Theatre; Teatro Latino; The Minnesota Opera Other Production managerlive sound engineer for Garrison Keillor's A Prairie Home Companion
Awards Helen Hayes Award nomination, You Can't Take It With You, Arena Stage
Michael Lupu
Dramaturgy
At the Guthrie (Selected productions since 1981) Othello, Three Sisters, A Christmas Carol, The Comedy of Errors, Amadeus, Twelfth Night, Blood Wedding. The Plough and the Stars, Lake Hollywood, Mr. Peters' Connections, Julius Caesar, Gross Indecency. Black No More, Much Ado About Nothing, A Midsummer Night's
Dream, The Cherry Orchard, K: Impressions of The Trial by Franz Kafka. King Lear, Home, The Broken Jug. The Sea Gull, The History
Plays, The Skin of Our Teeth, Medea, Uncle Vanya, The Imaginary
Invalid, Frankenstein Playing with Fire, The Wild Duck, The
Bacchae, Tartu'fie, Threepenny Opera, The Marriage of Figaro, Peer
Gynt, Don Juan, Our Town
Teaching University of Minnesota Department of Theater Arts and
Dance, Elderlearning Institute
Education University of Pennsylvania The Annenberg School of
Communications; University of Bucharest
Marcela Lorca
Movement
At the Guthrie Director: Blood Wedding, In Darkness, I Keep Walking on Sinking Sand, The Long Walk, Choreography: more than 20 plays; Movement: more than 60 plays since 1991
Theater Missouri Repertory Theatre: Blood Wedding (director); New York University: Mystery Plays; Long Wharf
Theatre: She Stoops to Conquer, National Opera of the Dominican
Republic: Carmina Burana; Grupo del Centra, Chilean dance
company; Jonathan Stone's Dinner, O'Shaughnessy Auditorium;
Southern Theatre; Hennepin Center for the Arts
Awards McKnight Fellowship for Theater Artists, McKnight
Choreographic Fellowship, Jerome Foundation Travel & Study
Grant, Hometown awards for direction of Dreams and Zoolook
dance videos
Other Head of movement for the GuthrieUniversity of Minnesota
B.F.A. Actor Training Program.
Andrew Wade
Voice and Language Consultant
At the Guthrie Othello, The Comedy of Errors, Antony and Cleopatra; Guthrie Experience guest faculty Theater Royal Shakespeare Company: head of voice, 1990-2003, assistant voice director, 1987-90, codirector with Cicely Berry of Journeys, Words, Words, Words and More Words, more than 170
productions with more than 80 directors Film Shakespeare in Love: verse consultant Professional Affiliations Fellow at Rose Bruford College; independent appraiser for Central School; steering committee. University of Newcastle; formerly, board member: Theatre Centre Young People's Theatre and British Voice Association; Central School: external examiner for M.A. in voice studies Teaching Mountview Theatre School; Rose Bruford College; East 15 Acting School: head of voice; master classes with theater companies in Australia, Belgium, Canada, Colombia, Denmark, France, Germany, Greece, India, Ireland, Japan, The Netherlands, Norway, Poland, Russia, Sweden, Singapore, Switzerland and the U.S.
Michaella K. McCoy
Stage Manager
At the Guthrie Othello, The Stuff of Dreams Theater Studio Arena Theatre: Greetings!, Moon Over Buffalo, The House of Blue Leaves; Studio Too!: A Tuna Christmas, How I Learned to Drive, The Children's Theatre Company: The Snow Queen, The Beggars' Strike, Charlie and the Chocolate Factory, Mississippi Panorama, The Lion, the Witch and the Wardrobe, Open Eye Figure Theatre: The Holiday Pageant; Minnesota Festival Theatre: Guys and Dolls, Crimes of the Heart, The Sunshine Boys (starring Dick Van Patten and James Van Patten); Carlyle Brown and Company: The Masks of Othello; North Star Opera: Wonderful
BIOGRAPHIES
Town; The Little Theatre on the Square: more than 20 productions including A Chorus Line, Chicago, Joseph and the Amazing Technicolor Dreamcoat, Into the Woods, Man of La Mancha, Crazy for You
Michele Harms
Assistant Stage Manager Assistant Company Manager
At the Guthrie Othello, Pride and Prejudice, Top Girls, Mrs. Warren's Profession, The Comedy of Errors, Ah, Wilderness!, Merrily We Roll Along, The Carpetbagger's Children, Molly Sweeney, as an intern: A Christmas Carol, To Fool the Eye, Hedda Gabler Theater Contemporary American
Theatre Festival: Thief River, The Late Henry Moss, The Ecstasy of St. Theresa, The Occupation; Waldorf College Theatre: The Good Person of Setzuan, Beloved Friend, The 1940s Radio Hour, You Never Can Tell, Antigone, Rosencrantz and Guildenstern Are Dead, Hamlet, Dolorosa Sanchez, Light Up the Sky Training B.A., Humanities, Theater Emphasis, Waldorf College
Rob Melrose
Assistant Director
At the Guthrie Othello Theater The Cutting Ball Theater: artistic director: Hamletmachine, As You Like It, Mayakovsky: A Tragedy, My Head Was a Sledgehammer, Roberto Zucco, The Vomit Talk of Ghosts (world premiere). Drowning Room; Perishable Theatre: All Spoken by a Shining Creature (world
premiere); Actors' Collective: Hedda Gabler; Yale School of Drama: Macbeth. Woyzeck. The Great Highway, Endgame. The Shawl; Princeton University: The Seagull. Twelfth Night, Rhinoceros. No Exit; As assistant director: American Conservatory Theatre: Indian Ink (Carey Perloff, director); Yale Repertory Theatre: Twelfth Night (Mark Rucker, director); As directing intern: The McCarter Theatre: The Glass Menagerie (Emily Mann, director) Education M FA., Yale School of Drama, B.A. Magna Cum Laude, Princeton University
ADMINISTRATION
Thomas C. Proehl
Managing Director
At the Guthrie General Manager. 1999-2003; Box office reservations and accounting department, 1984-86 Theater Signature Theatre Company: managing director. 1992-99. including the seasons of Lee Blessing, Edward Albee, Horton Foote, Adrienne Kennedy, Sam Shepard, Arthur Miller and John Guare; The Dramatists
(juild: general manager, 1989-95; Theatre for a New Audience: 1992; Playwrights Horizons: director of ticket central, 1988-89; La Jolla Playhouse: box office manager, 1986 Other Consultant to Signature Theatre Company, Foundry Theatre Company, SoHo Rep and Cherry Lane Theatre, all in New York City, and to Pillsbury House Theatre and The Playwrights' Center in Minneapolis
Professional Affiliations Executive Committee, League of Resident Theaters; treasurer, The Playwrights' Center board of directors Education M.F.A., Brooklyn College; B.A., Moorhead State University
Beth Burns
Director of Education
and Community Partnerships
At the Guthrie Othello, The Stuff of Dreams, Ah, Wilderness!, Molly Sweeney, A Midsummer Night's Dream
Other The Children's Theatre Company: public relations; MacPhail Center for the Arts: communications manager; University of St. Thomas: marketing manager
rroiessionai ATtinations Minnesota Citizens tor the Arts board
of directors; Developing Arts and Music Foundation board of
directors; panelist: National Endowment for the Arts, South Dakota
Arts Council, Metro Regional Arts Council
Teaching University of St. Thomas Center for Nonprofit
Management
Training MBA. coursework. University of St. Thomas; B.A.,
St. Olaf College
Rebecca Easton
Company Manager
At the Guthrie Othello, The Stuff of Dreams. As assistant director: Pride and Prejudice; As directing or dramaturgy intern: Who's Afraid of Virginia Woolf, A Christmas Carol, Blood Wedding, Hedda Gabkr; Tour and Residency Coordinator (2001-03) Theater Dallas Theater Center (directing intern): Dinah Was, A Christmas Carol, Inexpressible Island, The Mystery oflrma Vep, The Seagull, As director: Chaos Theories Theatre: Crave, The Skriker, Oh Dad, Poor Dad, Mamma's Hung You in the Closet and I'm Feelin' So Sad, Susurrus Theatre: 7Tie Wreck on the 5:25; Eden Prairie High School: Heart's Desire, The Day Room; Kennedy High School: The Skin of our Teeth; College of William and Mary Kindertransport. laundry & Bourbon As a dramaturg: University of Missouri Kansas City: Anything to Declare; University of Virginia: The Threepenny Opera; College of William and Mary The Hostage. As an assistant director Virginia Shakespeare Festival: Measure for Measure, Romeo S Juliet
Training B A. College of William and Mary; Manmount London Drama Conservatory
The Guthrie Theater
CHALLENGING AND DELIGHTING AUDIENCES YEAR-ROUND
Sir Tyrone Guthrie founded his name?sake theater in 1963. For 40 years, the Theater has continued Guthrie's vision to provide MinneapolisSt. Paul, the state of Minnesota and the Upper Midwest with quality theater and to set a national standard for excellence. Under the leadership of Artistic Director Joe Dowling and Managing Director Thomas C. Proehl, the Guthrie remains committed to presenting high-caliber productions of classic plays. World-renowned playwrights, directors, designers and artists join the cast of performers to challenge and delight audiences year-round.
Producing a season of 11 plays between its signature thrust stage, its second stage and on tour, recent productions have ranged from Shakespeare to modern classics, including the world premieres of Arthur Miller's Resurrection Blues and Jane Martin's Good Boys.
The Guthrie's acclaimed production of A Midsummer Night's Dream revived its touring program in 2000. The Guthrie has subsequently toured to communities big and small: Molly Sweeney, Ah, Wilderness! and The Stuff of Dreams, which was commissioned especially for the touring program. Othello is the first national tour undertaken by the Guthrie in 20 years.
In the fall of 2000, the Guthrie renewed its partnership with the University of Minnesota by launching a joint B.F.A. actor training program. The first class will
graduate from the program this spring after experiencing four rich years of master classes, classroom projects, productions and a semester of study abroad.
The Guthrie also promotes new play development, haing recently commissioned more than 30 plays for high schools, the Theater's B.F.A. program and A Guthrie Experience for Actors in Training, an intensive summer program that creates a bridge for actors between school and the professional world. A major grant from the Bush Foundation launched the Guthrie New Play Project, which provides commissioning and travel fees for nine national playwrights.
The Guthrie's WORLDStage Series presents internationally-renowned theater companies such as Shakespeare's Globe of London and Teatr Biuro Podrozy of Poland.
In May 2006, the Guthrie will move to a new three-stage complex designed by the internationally-acclaimed French architect Jean Nouvel. A landmark destination, the Guthrie's new home will serve the Upper Midwest in exciting ways, from collaborations with other national and international theaters to expanded educational programming and improved audience amenities. A variety of performance spaces combined with dedicated classroom and community space will allow the Guthrie Theater unprecedented growth.
For more information about the Guthrie Theater, visit www.guthrietheater.org.
GuthrieOnTbiir
Cross-Country Shakespeare
This production of Othello is part of an historic endeavor: the largest tour of Shakespeare in American history. The Guthrie Theater, along with The Acting Company, Aquila Theatre Company, Inc., Arkansas Repertory Theatre, Artists Repertory Theatre and Chicago Shakespeare Theater, comprise Shakespeare in American Communities, a new initiative of the National Endowment for the Arts. Shakespeare in American Communities brings professional Shakespeare productions and related educational activities to 100 small and mid-sized communities in all 50 states.
Audiences in 13 communities across the country are experiencing Guthrie on Tour thanks to the generous support of our sponsors: Shakespeare in American Communities, in partnership with Arts Midwest and Sallie Mae, Target Corporation, Marshall Field's Gives, RBC Dain Rauscher and BANKFIRST. Sponsor leadership makes it possible for young people and adults to attend performances, participate in workshops and enjoy the work of one of America's premier theaters.
But that's not the whole story. Local sponsors including businesses, government agencies, foundations and individuals -have also stepped forward to ensure that the arts flourish in their own communities. This list represents the chronology of our 2004 tour and highlights the sponsors that are making these activities possible at the local level.
January 9-10
Concordia University, St Paul, MN The performances at Concordia University, St. Paul are presented as part of Concordia University Theatre's 2003-04 Season, presenting a mix of student and professional productions in order to fulfill Concordia University Theatre's mission to provide a challenging variety of theatrical experiences that enrich the artistic, intellectual, cultural and spiritual life of the community in which we live.
January 16-17
Washington Pavilion of Arts and Science, Sioux Falls, SD
In addition to their support of the Guthrie's touring program, BANKFIRST has provided local sponsorship for this program at the Washington Pavilion. Additional support has been made by Keloland Television and MIX 97-3.
January 23-24
Jamestown College, Jamestown, ND Jamestown College offers many large school advantages quality and variety of programs along with numerous opportunities for leadership and growth in a small college setting. The college, with its $6.2 million Roland Fine Arts Center, is the home to arts events in the region, scheduling touring theater and music groups to perform for the entire community.
January 30-31
Cache Center for the Arts, Logan, UT This residency is sponsored by the George S. and Delores Dore Eccles Foundation, Marie Eccles Caine Foundation and Emma Eccles Jones Foundation.
February 5-8
Arizona Theatre Company, Phoenix, AZ The Guthrie Theater is sponsored in Phoenix by Mary Jo Ghory M.D.
February 11-15
Arizona Theatre Company, Tucson, AZ The Guthrie Theater is sponsored in Tucson by Mary Jo Ghory, M.D.
February 26-29
St. Mary's College, Notre Dame, IN This residency is sponsored locally by Summer Shakespeare at Notre Dame, The College of Arts and Letters, University of Notre Dame and Saint Mary's College.
March 4-7
University Musical Society, Ann Arbor, MI Performances at the University Musical Society of the University of Michigan, Ann Arbor are part of UMS's Fourth Annual Theater Series, made possible by the generous support of the Herbert S. Amster Fund. Individual performances are sponsored by National City and DTE Energy Foundation, with media sponsorship by Michigan Radio. The Clare Venables Memorial Youth Performance is supported by Tom and Marilou Capo and Carl and Charlene Herstein.
March 17-21
Annenberg Center for the Performing Arts,
Philadelphia, PA
The Philadelphia presentation is sponsored
in partnership with TIAA-CREF, with
additional funding provided by The William
Penn Foundation, Mid Atlantic Arts
Foundation, University Square and the
Penn Humanities Forum. Media sponsors
are WHYY-FM and Philadelphia Weekly.
March 26-27
Penn State University, University Park, PA The 2003-04 season of the Penn State Center for the Performing Arts is supported, in part, by grants from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania; the National Endowment for the Arts, a federal agency; and the Mid Atlantic Arts Foundation. Additional sponsors include M&T Bank and Media Partner WPSU.
April 2-3
University of Massachusetts Fine Arts Center, Antherst, MA
Performances and outreach activities by the Guthrie Theater are made possible, in part, by the Office of the Chancellor, Office of the Provost and the College of Humanities and Fine Arts at the University of Massachusetts; and through collaboration with the 5-College Theater Department, UMass Department of Theater and the students of Amherst College, Hampshire College, Mt. Holyoke College, Smith College and the University of Massachusetts.
April 7-10
Cutler Majestic Theatre, Boston, MA The Guthrie Theater is presented in Boston by Emerson College and is funded in part by a grant from the Massachusetts Cultural Council, a state agency.
April 29-May 2
Virginia Arts Festival, Norfolk, VA The Virginia Arts Festival welcomes the Guthrie Theater to Norfolk as part of its eighth annual season, joining some of the world's most prestigious artists such as the Alvin Ailey American Dance Theater, Joshua Bell, Cirque Eloize, Chanticleer and Emerson String Quartet. This production of Shakespeare's Othello has been made possible by a grant from the NEA as well as private and public contributions.
G U T H R I E
Board of Directors Chair
Charles A. Zelle President
Susan E. Engel Artistic Director
Joe Dowling Managing Director
Thomas C. Proehl Secretary
M. Joann Jundt Treasurer
Jay Kiedrowski Members
Linda L. Ahlers
Albert Andrews, Jr.
Martha Atwater
Karen Bachman
Y. Marc Belton
Judson Bemis, Jr.
Sue Bennett
James H. Binger
Mary K. Brainerd
Karl J. Breyer
Michael E. Cameron
Michael V. Ciresi
Jane M. Confer
John Cowles
David C. Cox
Fran Davis
Richard K. Davis
Douglas R. Donaldson
Joel A. Gibson
Archie Givens
Michael D. Goldner
David H. Goldstein
Pierson M. Grieve
Polly Brown Grose
Betsy Atwater Hannaford
Blanche Hawkins
John G. Hoeschler
Randall Hogan
Hella Mears Hueg
Ron James
John C.Junek
Peter R. Kitchak fo-ofabj
Paul R. Knapp
Anita Kunin
David M. Lilly, Jr.
Helen C. Liu
George M. Lund
Nadine McGuire
Kendrick B. Melrose
Anne W. Miller
James H. Moar
Susan Mary Shuman Okie
Tamrah Schaller O'Neil
Louise Often
Sally Pillsbury
Robert A. Rosenbaum
Steven J. Rosenstone
Stephen W. Sanger Allan L Schuman David J. Scott Nikki Sorum Douglas M. Steenland James P. Stephenson Joseph Tashjian Emily Anne Tuttle Sandra L. Vargas Mary W. Vaughan Philip Von Blon Steven C. Webster Irving Weiser Frances Wilkinson Margaret Wurtele As or"December J9, 2003
Artistic Director
Joe Dowling
Managing Director
Thomas C. Proehl
Artistic
Associate Artistic Director
John Miller-Stephany Artistic Advisor
James Houghton Artistic Administrator
Louise Burt Artistic Administrative Assistant
Jennifer Liestman Director of Company Development
Kenneth Washington Movement
Marcela Lorca VoiceSpeech
Elisa Carlson, Lucinda
Holshue
Company Development Assistant
Jennifer LeGrand Casting Consultant
Pat McCorkle, C.S.A. Company Manager
Cindy Berg
Company Management Associate
Ben Olson Company Physician
Jon Hallberg Literary Director
Michael Bigelow Dixon Senor Dramaturg
Michael Lupu Literary Manager
Amy Wegener LibrarianLiterary Specialist
Jo Holcomb
Costumes
Costume Director
Maribeth Hite Costume Workroom Manager
Amy Schmidt Costume Design Assistants
Amelia Busse Cheever,
Lynda K. Myers Costume Crafts
John Becker DyerPainter
Doreen Johnson Drapers and Tailors
Juliann Benson, Teresa
Davich, Douglas John
Stetz Draper Emeritus
Annette Garceau First Hands
Denee Anderson, Clare
Brauch, Sasha Cervenka,
Jean Jordan Stitchers
Rebecca Ballas, Brent
Barkhaus, Helen Bloom-
quist, Eleanore Chakolis,
Katrina Martin, Julie
Ann Saul, Heidi Wolf Wigmaster
Ivy Loughborough Wig Assistant
Heather Volkman Wardrobe Supervisor
Susan Fick Wardrobe Assistant
Lynda K. Myers Wardrobe Crew
Katrina Martin, Beth
Nistler CostumeRentals Manager
Deb Murphy CostumeRentals Assistant
Sarah Bissonette
Production
Production Manager
Frank Butler Production Stage Manager
Russell Johnson Assistant Production Manager
James D. Scott Production Coordinator
Beth Eiserloh Stage Managers
Chris A. Code, Michele
Harms, Martha Kulig,
Theresa Schatz, Ann K.
Terlizzi
Technical Director
Jeff Dennstaedt Assistant Technical Directors
Adriane M. Levy, Craig
Pettigrew Scene Shop Supervisor
Grant Wibben Master Carpenter
Thomas J. Truax Lead Carpenter
Michael Larson, Christopher
Sibilia Staff Carpenters
Eric Kiekhaefer, Patrick
Landers, Nathan Saul ShopperBuyer
Diana Rebholz Lead Scenic Artist
Michael Hoover Staff Scenic Artist
Denise Dooley Scenic Artists
Kathleen Carlson, James
Muirtiead, Tina Nordquist,
Elizabeth Schreiber-Sakes Lighting Supervisor
Matthew Reinert Assistant Lighting DesignerSupervisor
Ray Steveson Master Electrician
Andrew Sullivan Staff Electrician
Michael Frohling Electricians
Kyle Carson, Paul Epton Props Manager
Patricia Olive Associate Props Manager
Kate Sutton-Johnson Master Props Craffsperson
Mel X. Springer Staff Props Craftspersons
Nick Golfis, Stacey
Schwebach, John
Vlatkovich Props Craffspersons
Dana Lewman, Lisa
Powers Master Soft Props Artisan
Rozi Graham Resident Sound DesignerSupervisor
Scott W. Edwards Master Sound Technician
Paul Estby Stage Supervisor
Brian Crow
GUTHRIE THEATER STAFF
Development
Director of Development
Dianne Brennan Interim Director of Individual Giving Major Gifts
Gregory Bonine-Giles Associate Director of Individual Giving
Jonna Kosalko Individual Giving Assistant
Christina M. Newcombe Telefund and Building Manager
Kraig Rasmussen Telefund Supervising Assistant
Sarah Thompson Telefund Clerical Assistant
Ryan Solovjos Director of Corporate Giving
Douglas Nathan Associate Director of Corporate Giving
Amy Hawkins Development Assistant
Kate Lawson Associate Director of Institutional Giving
Rachel L. Smoka Campaign Coordinator
Emily Boigenzahn Development Data Coordinator
Emily Longaecker
Education and Community Partnerships
Co-Directors of Education
and Community
Partnerships
Beth Burns, Sheila Livingston
Education and Community
Partnerships Manager Catherine McGuire
Education and Community
Partnerships Associate Daniel Hershey
Teaching Artists Janet Allard, Michael Booth, Bryan Cole, Bill Corbett, Mary Alette Davis, Paul de Cordova, Vince Delaney, Sean Dooley, Elizabeth Dwyer, Laura Esping, Josh Foidy, Charles Fraser, Nathaniel Fuller, Brian Grandison, Jef Hall-Flavin, EmilHerrera,
Edward Bok Lee, Blayn Lemke, David Mann, Bill McCallum, Amy McDonald, Kris L. Nelson, Richard Ooms, Stephen Pelinski, Mark Rosenwinkel, Doug Scholz-Carlson, Buffy Sedlacek, Colin Denby Swanson, A-Yia Thoj, Matthew Vaky, Claudia Wilkens
Administration
Associate Manager
Mary Ann Ehlshlager Administrative Assistant to the Managing Director
Brooke Helgevold Human Resource Director
Bernadette Christiansen Volunteer Coordinator Human Resource Generalist
Marsha Wilson Human Resources Associate
Sara Accola
Director of Information Systems
Lou Ambrose Information Systems Associate
Pam Truesdell Information Systems Assistants
Kathy Rogers, Mark
Vaillancourt, Peter J.
Wegner Controller
Steven Bader Payroll Specialist
Rose Block Accounting Associate
Kevin Hannon Accounts Payable Specialist
Liana Kostetskaya Facilities Manager
Dan Soltys Building Engineer
Dave Sargent Custodian
Charles Brewster
Marketing
Director of Marketing
Trisha Kirk
Associate Marketing Director
Marita Meinerts Marketing and Promotions Associate
Carol Rosenblum
Marketing Associate Web Specialist
Patricia Vaillancourt Graphic Designers
Scott Reed, Holly Welch Telemarketing Supervisor
Sarah Nylander Box Office Manager
Todd Hughes Subscription Manager
Hunter Gullickson Sox Office Supervisors
Judy Petersen, Spencer
Putney, Wendy Wingard Group Sales Manager
Koleen Reed Speca Projects
Renee Gallagher, Hannah
Rediske
Communications
Director of Communications WORLDStage Series
James LL Morrison Production Press Representative
Melodie Bahan Publications Manager
Carla Steen
Theater Services
Director of Theater Services
David Russell House Manager
Barbara Hesse Assistant House Manager Bar Supervisor
Richard Holcomb Gift Shop ManagerBuyer
Bonnie Kenney Casey Stage Door Receptionist
Steve Sweere
Interns
Communications
Paul Anderton Development
Chris Worman Dramaturgy
Anne-Sophie Martin
Mondiere, Jeff Rogers Education and Community Partnerships
Yee Xiong
Acknowledgments The Guthrie Theater is a constituent of Theatre Communications Group and a member of the League of Resident Theatres.
The Guthrie Theater is a member of the American Arts Alliance and Minnesota Citizens for the Arts, gov?ernment advocacy groups at the federal and state levels, respectively.
The Actors and Stage Managers employed in this production are members of Actors' Equity Association, the Union of Professional Actors and Stage Managers in the United States.
Directors are members of the Society of Stage Directors and Choreographers.
Guthrie costume and ward?robe employees, stagehands and craftspersons are represented by International Alliance of Theatrical Stage Employees Local 13.
All of the music in this production was performed by American Federation of Musicians career profes?sional musicians who are members in good standing of the Twin Cities Musicians Union, Local 30-73.
Scenery, props and costumes are designed especially for Guthrie productions and are built in its shops. Thousands of costumes may be rented through CostumeRentals. Call 612.375.8722.
Visit the Guthrie online: www.guthrietheater.org. Find information about the Guthrie TheaterUniversity of Minnesota B.F.A. Actor Training Program, Guthrie on the River, study guides, purchase tickets and more.
Guthrie Theater 725 Vineland Place Minneapolis, MN 55403 612.347.1100
Shakespeare in
American Communities
On behalf of the National Endowment for the Arts, The Sallie Mae Fund and Arts Midwest, welcome to the Guthrie Theater's production of William Shakespeare's Othello, directed by Joe Dowling. This performance is part of Shakespeare in American Communities, the largest tour of Shakespeare in U.S. history.
Over the next year, audiences from across America will enjoy exceptional productions of Shakespeare in more than 100 cities in every state and educational programs in thousands of schools. Mrs. Laura Bush and Motion Picture Association of America President and CEO Jack Valenti are honorary co-chairs of Shakespeare in American Communities.
The National Endowment for the Arts believes a great nation deserves great art. Shakespeare in American Communities exemplifies the Arts Endowment's commitment to artistic excellence, arts education and access to all Americans.
The Sallie Mae Fund is committed to opening doors to higher education for America's children. The nonprofit is underwriting The Sallie Mae Fund Free Seats for Students program. In each city of the Shakespeare in American Communities tour, 50 complimentary tickets will be given to desening high school students and their parents
or chaperones to enjoy the performance. Enjoy the beautiful language of Shakespeare as it comes alive for a new generation and the splendid artistry of the Guthrie Theater. Thank you.

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