UMS Concert Program, Friday Oct. 15 To 31: University Musical Society: Fall 2004 - Friday Oct. 15 To 31 --

Season: FALL 2004
University Of Michigan, Ann Arbor

FALL 2004 SEASON
UNIVERSITY MUSICAL SOCIETY
OF IKE UNIVERSITY OF MICHIGAN I ANN ARBOR
university musical society
fall 04
University of Michigan Ann Arbor
2 5 Letters from the Presidents Letter from the Chair
UMS leadership 6 12 13 Corporate LeadersFoundations UMS Board of DirectorsSenate Advisory Committee UMS StaffTeacher Advisory Committee
UMS services 15 16 General Information Tickets
19 www.ums.org
UMSannals 21 22 23 UMS History UMS Choral Union Venues & Burton Memorial Tower
UMSexperience 27 30 33 126th UMS Season UMS Education Programs UMS Preferred Restaurant & Business Program
UMSsupport 35 35 37 39 48 Advisory Committee Sponsorship & Advertising Internships & College Work-StudyUshers Support UMS Advertisers
Front Cover Mikhail Baryshnikov in Forbidden Christmas or The Doctor and The Patient (Michal Daniel). Whirling Dervishes of Damascus, Yuri Temirkanov. Measha Bnjeggergosman (Lome Bridgeman)
Back Cover Laurie Anderson. The Bad Plus (Marcelo Krasilcic). Akira Kasai (Hideyo Tanaka and Takahiro Hachikubo). The Elephant Vanishes {Robbie Jack)
FROM THE U-M PRESIDENT
The University of Michigan joins the University Musical Society (UMS) in welcoming you to its 200405 season. We are proud of the wonderful partnership between our two organizations and of the role
of the University as co-sponsor of several educa?tional events connected to this season's calendar. These jointly sponsored events are wonderful opportunities for University of Michigan stu?dents and faculty to learn about the creative process and the sources of inspira-
tion that motivate artists and scholars.
We are delighted to be working with UMS again to help sponsor educational activities throughout the 200405 season. Some highlights of our fall educational co-presentations include some of the great artists UMS will present this season, such as Ravi Shankar, Paul Taylor Dance Company, and Akira Kasai, along with remark?able productions of Forbidden Christmas or The Doctor and Tlie Patient with Mikhail Baryshnikov, and Complicite's The Elephant Vanishes, which has received extraordinary reviews at Lincoln Center.
Last year, we were honored to welcome UMS back to Hill Auditorium for their 125th anniversary season. Seeing the magnificent Hill Auditorium for the first time was an amazing experience. Watching the national coverage of the re-opening of Hill and hearing hundreds of stories about its astonishing artistic legacy and
rich history with UMS made me appreciate all the more how important both the University and UMS has become in the cultural life of our country. We have another great example of the marvelous opportunities our University and UMS can provide to our community in the production of The Elephant Vanishes in October this production will only be seen in New York, Paris, London, and Ann Arbor!
This year, we have also launched our ambi?tious capital campaign for the future of the University of Michigan, titled The Michigan Difference. One of the areas we have highlight?ed for support is the arts. We provide experi?ences, both in the classroom and throughout our museums and theaters, to stimulate creativ?ity, engage tomorrow's performers and artisans, and showcase the world from diverse points of view. I hope you will join me and many others in moving our University to even greater levels of excellence and aspiration.
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 UMS during this exhilarating 200405 season, and we share the goal of mak?ing our co-presentations academic and cultural events that benefit the university community and the broadest possible constituency.
Mary Sue Coleman
President, University of Michigan
FROM THE UMS PRESIDENT
Thank you for attending this UMS per?formance. We hope we'll see you at other UMS events throughout our 126th season. For a list of performances, visit page 27 in this program book or check out our website at www.ums.org.
UMS is able to bring you world-class per?formances because we have a lot of help from our partners. There are the artists' managers around the world -the people artists and ensembles retain to manage their careers -with whom we negotiate the terms of the artists' engagements on the UMS season. Then there are our venue partners, the institutions that own the places we rent for our performances, includ?ing the University of Michigan, Eastern Michigan University, Michigan Theater, and St. Francis of Assisi Catholic Church. Other arts organizations, some across the globe, collabo?rate with UMS to present performances, com?mission new work, and create new productions. The men and women of the Local 395 of the International Alliance of Theatrical Stage Employees (IATSE) do an outstanding job unloading the trucks, constructing the sets, set?ting the stage, and doing everything else neces?sary to assure a smooth production before, during, and after a given performance. Our media partners help us spread the word about our events, and our corporate, foundation, and government partners contribute the additional financial support we need to balance the budget.
Our most important partner, however, is you. Without your attendance at our events we would have no reason to bring the artists to our community, and without the additional finan?cial support many of you provide through your UMS membership, we wouldn't be able to afford them. Thank you for all of your support.
There are a variety of other partners with whom we serve young people throughout the region, enrich our performances with educa?tional programming, deepen our links to the community, promote our events, develop new audiences, and inform and enlighten our staff. These include area public and private K-12 schools; colleges, institutes, and centers at the University of Michigan; other area colleges and universities; and community organizations like Neutral Zone, The Links, Inc., and ACCESS.
A special word about ACCESS, the Arab Community Center for Economic and Social Services. UMS began a relationship in the late
(l-r) Ken Fischer. Congressman John Dingell. and ACCESS Executive Director Ismael Ahmed.
1990s with ACCESS, an award-winning Dearborn-based community organization that serves the region's large Arab American com?munity. After getting to know one another and developing a relationship of trust and respect, UMS and ACCESS wrote a proposal in June 2001 for funds to plan and carry out a three-week residency featuring Palestinian-American composer and musician Simon Shaheen. It would include performances, visits to the schools, workshops on Arabic music for area musicians, artists' interviews, and educational sessions. The project would also include ACCESS providing Arab immersion experiences for L'MS staff and L'MS providing production workshops for ACCESS staff. When 911 occurred, we agreed that the project was more important than ever since its objectives also included our respective audiences gaining a greater understanding and appreciation of the diverse cultures of the Arab world. The project took place in December and January of last season, culminating in a lanuary 31 concert at the Michigan Theater by Simon Shaheen, his group Qantara. and leading Arab musicians from southeastern Michigan, that included the world premiere of Shaheens Arboitesquc. The successful project led to our planning this sea-
son's Arab World Music Festival, which is co-presented by ACCESS and UMS and supported by a distinguished Honorary Committee and by foundation grants and corporate sponsorships. For UMS, ACCESS has become an exemplary partner as we've sought to build our relation?ship based on the principles of communication, cooperation, vulnerability, and reciprocity.
It's wonderful to have you with us for this performance. I hope that we'll see you at some of the Arab World Music Festival concerts and other UMS performances throughout the season. 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.
p&k
Kenneth C. Fischer UMS President
LETTER FROM THE CHAIR
I am so pleased to welcome you to the 200405 UMS season. It promises to be as exciting as always. This year we are bringing The New York Philharmonic, a semi-staged concert performance of
A Midsummer Nights Dream with the Orchestra of the Age of Enlightenment con?ceived for the concert hall by Tim Carroll of Shakespeare's Globe Theatre, a five-concert Arab World Music Festival, vocalist Audra McDonald,
and terrific theater and jazz among the 50 pre?sentations you will find in your UMS season program.
UMS is undertaking its largest fundraising campaign ever, which is incorporated within the S2.5 billion Michigan Difference Campaign of the University of Michigan. UMS's campaign goal is S25 million, to be achieved by the end of 2008. The campaign's objective is to assure that
UMS will continue to be one of the most dis?tinctive presenting organizations in the country by securing its financial future. I invite you to join us in achieving this important objective. There are many ways to participate, and gifts at all levels are welcomed. For more information, please call the UMS Development Office at 734.647.1178.
I wish to thank all of our UMS members whose financial support over and above their ticket purchases helps us fulfill our mission of presentation, education, and creation at the highest level. Their names are listed beginning on page 39 of this program book. And a special thanks to our corporate sponsors whom we recognize on the next few pages.
Enjoy the performance!
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 brilliant people. In order to get people with world-class talent 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 things that define the quality of life here, UMS would be at or near the very top. Pfizer is honored to be among UMS's patrons."
Douglass R. Fox
President, Ann Arbor Automotive "We at Ann Arbor Automotive are pleased to support the artistic variety and program excellence given to us by the University Musical Society."
David C. Sharp
Publisher, The Ann Arbor News "The people at The Ann Arbor News are pleased and honored to partner with and support many community organizations, like the University Musical Society, that as a whole create one of the most vibrant, diverse, and interesting cities throughout this region."
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 200405 season."
Erik W. Bakker
Senior Vice President, Bank One, Michigan "Bank One is honored to be a partner with the University Musical Society's proud tradition of musical excellence and artistic diversity."
Habte Dadi
Manager, Blue Nile Restaurant "At the Blue Nile, we believe in giving back to the community that sustains our business. We are proud to support an organization that provides such an important service to Ann Arbor."
Greg Josefowicz
President and CEO, Borders Group, Inc. "As a supporter of the University Musical Society, Borders Group is pleased to help strengthen our community's commitment to and appreciation for artistic expression in its many forms."
Len Niehoff
Shareholder, Butzel Long
"UMS has achieved an international reputation for excellence in presentation, education, and most recently creation and commissioning. Butzel Long is honored to support UMS, its distinctive and diverse mission, and its important work."
Clayton Wilhite
Managing Partner, CFI Group, Inc. "We're pleased to be in the group of community businesses that supports UMS Arts and Education. We encourage those who have yet to participate to join us. Doing so feels good."
Rhonda Davenport
Group Manager & First Vice President of Ann Arbor Region, Comerica Incorporated "Our communities are enriched when we work togeth?er. 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."
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 season. They need your support-more than ever--to continue their outstanding pro?gramming and educational workshops."
Yousif Ghafari
Chairman, The Ghafari Companies 'The Ghafari Companies are pleased to support the University Musical Society and its multicultural pro?gramming. We are especially pleased to be part of the Arab World Music Festival."
Mohamad Issa
Director, Issa Foundation
'The Issa Foundation is sponsored by the Issa family, which has been established in Ann Arbor for the last 30 years, and is involved in local property management as well as area public schools. The Issa Foundation is devoted to the sharing and acceptance of culture in an effort to change stereotypes and promote peace. UMS has done an outstanding job bringing diversity into the music and talent of its performers."
Erin R. Boeve
Director of Sales, Kensington Court Ann Arbor 'The Kensington Court Ann Arbor is a proud supporter and sponsor of the University Musical Society. The dedication to education through the arts is a priceless gift that continually enriches our community."
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 superior and diverse cultural events, which for 125 years, has brought inspiration and enrichment to our lives and to our community."
Robert J. Malek
Community President, National City Bank "A commitment to quality is the main reason we are a proud supporter of the University Musical Society's efforts to bring the finest artists and special events to our community."
Joe Sesi
President, Sesi Lincoln Mercury Volvo Mazda "The University Musical Society is an important cultural asset for our community. The Sesi Lincoln Mercury Volvo Mazda team is delighted to sponsor such a fine organization."
Don Hawkins
Senior Vice President, Director of Community Affairs, TCFBank
"TCF Bank is pleased to join the University Musical Society to make the arts accessible to students of diverse backgrounds. How thrilling to see children's faces, experiencing their first performance as only UMS can present."
Nicholas C. Mattera
Assistant Vice President, TIAA-CREF Individual and Institutional Services, Inc.
"TIAA-CREF is proud to be associated with one of the best universities in the country and the great tradition of the University Musical Society. We celebrate your efforts and appreciate your commitment to the performing arts community."
Thomas B. McMullen
President, Thomas B. McMullen Co., Inc. "I used to feel that a U-M-Ohio State football ticket was the best ticket in Ann Arbor. Not anymore. UMS provides the best in educational and artistic entertainment."
Yasuhiko "Yas" Ichihashi
President, Toyota Technical Center, USA Inc. "Toyota Technical Center is proud to support UMS, an organization with a long and rich history of serving diverse audiences through a wide variety of arts program?ming. In particular, TTC supports UMS presentations of global performing arts -programs that help broaden audiences' interest in and understanding of world cultures and celebrate the diversity within our community."
FOUNDATION AND GOVERNMENT SUPPORT JMS gratefully acknowledges the support of the following foundations and government agencies.
SI00,000 and above Community Foundation for
Southeastern Michigan Doris Duke Charitable Foundation The Ford Foundation JazzNet Michigan Council for Arts and
Cultural Affairs The Power Foundation The Wallace Foundation The Whitney Fund
S50,000-99,999
Anonymous
The Japan Foundation
S10.000-49.999
Chamber Music America
Maxine and Stuart Frankel Foundation
National Endowment for the Arts
$1,000-9,999 Akers Foundation Altria Group, Inc. Arts Midwest Caim Foundation Heartland Arts Fund The Lebensfeld Foundation Martin Family Foundation Mid-America Arts Alliance The Molloy Foundation Montague Foundation THE MOSAIC FOUNDATION
(of R. and P. Heydon) National Dance Project of the New England
Foundation for the Arts Sams Ann Arbor Fund Vibrant of Ann Arbor
UNIVERSITY MUSICAL SOCIETY of the University of Michigan
UMS BOARD OF DIRECTORS
Prudence L. Rosenthal,
Chair Clayton E.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 Deborah S. Herbert
Carl W. 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 A. Douglas 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 J. 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
Raquel Agranoff, Chair Norma Davis, Vice Chair Louise Townley, Past Chair Lois Baru, Secretary Lori Director, Treasurer
Barbara Bach Tracey Baetze! Paulett M. Banks Milli Baranowski Kathleen Benton Mimi Bogdasarian Jennifer Boyce Mary Breakey
Jeannine Buchanan Victoria Buckler Heather Byrne Laura Caplan Cheryl Cassidy Nita Cox
H. Michael Endres Nancy Ferrario Anne Glendon Alvia Golden Ingrid Gregg Kathy Hentschel Phyllis Herzig Meg Kennedy Shaw
Anne Kloack Jean Kluge Kathy LaDronka lill Lippman Stephanie Lord Judy Mac
Morrine Maltzman Mary Matthews Joann McNamara Candice Mitchell Danica Peterson Lisa Psarouthakis Wendy Moy Ransom Theresa Ann Reid
Swanna Saltiel leri Sawall Penny Schreiber Suzanne Schroeder Aliza Shevrin Alida Silverman Maryanne Telese Mary Vandewiele Dody Viola Enid Wasserman 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
Patricia Hayes, Senior Accountant John Peckham, Information Systems
Manager Alicia Schuster, Gift Processor
Choral Union
Jerry Blackstone, Conductor and
Music Director
Jason Harris, Assistant Conductor Steven Lorenz, Assistant Conductor Kathleen Operhall, Chorus Manager Jean Schneider, Accompanist Donald Bryant, Conductor Emeritus
Development
Susan McClanahan, Director
Lisa Michiko Murray, Manager of
Foundation and Government
Grants M. Joanne Navarre, Manager of the
Annual Fund and Membership Mamie Reid, Manager of Individual
Support Lisa Rozek, Assistant to the Director
of Development Shelly Soenen, Manager of Corporate
Support Cindy Straub, Advisory Committee
and Events Coordinator
EducationAudience Development
Ben Johnson, Director Rowyn Baker, Youth Education
Manager Bree Doody, Education and Audience
Development Manager William P. Maddix, Education
Manager
MarketingPublic Relations
Sara Billmann, Director Susan Bozell, Marketing Manager Nicole Manvel, Promotion Coordinator
ProductionProgramming Michael J. Kondziolka, Director Emily Avers, Production Operations
Director
Jeffrey Beyersdorf, Technical Manager Suzanne Dernay, Front-of-House
Coordinator Susan A. Hamilton, Artist Services
Coordinator Mark Jacobson, Programming
Manager Douglas C. Witney, Interim
Production Director Bruce Oshaben, Dennis Carter,
Brian Roddy, Head Ushers
Ticket Services
Nicole Paoletti, Manager
Sally A. Cushing, Associate
Jennifer Graf, Assistant Ticket Service
Manager
Alexis Pelletier, Assistant John M. Steele, Assistant
Work-Study
Kara Alfano Nicole Blair Stephan Bobalik Bridget Briley Patrick Chu Elizabeth Crabtree Bethany Heinrich Rachel Hooey Cortney Kellogg Lena Kim Ryan Lundin Natalie Malotke Brianna McClellan Erika Nelson Fred Peterbark Omari Rush Sean Walls Amy Weatherford
Interns
Kristen Armstrong
David Wilson
President Emeritus Gail W. Rector
UMS TEACHER ADVISORY COMMITTEE
Fran Ampey Lori Atwood Robin Bailey Joe Batts Kathleen Baxter Gretchen Baxtresser Elaine Bennett Lynda Berg Gail Bohner Ann Marie Borders
David Borgsdorf Sigrid Bower Susan Buchan Diana Clarke Wendy Day Jacqueline Dudley Susan Filipiak Lori Fithian Jennifer Ginther Brenda Gluth
Barb Grabbe Joan Grissing Carroll Hart Susan Hoover Linda Jones Rosalie Koenig Sue Kohfeldt Laura Machida Christine Maxey-Reeves Patty Meador
Don Packard Michelle Peet Wendy Raymond Katie Ryan Kathy Schmidt Debra Sipas-Roe Tulani Smith Julie Taylor Dan Tolly Barbara Wallgren
UMS services
GENERAL INFORMATION 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, Hill Auditorium, Power Center, 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, Lydia Mendelssohn Theatre, Power Center, or Rackham Auditorium please call University Productions at 734.7633213. For items lost at St. Francis of Assist Catholic Church or Michigan Theater please call the U.MS 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. L'MS 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 0405 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 www.ums.org.
Refreshments
Refreshments are available in the lobby during intermissions at events in the Power Center, in the lower lobby of Hfll Auditorium, and in the Michigan Theater. Refreshments are not allowed in the seating areas.
Smoking Areas
University of Michigan policy forbids smoking in any public area, including ihe lobbies and restrooms.
Latecomers wfli be asked to wail in the lobby until a predetermined time in the program when ushers will seat them, UMS staff worts with the artists to delennibe wfoera late mating will be the least disruptive to the artists and other concertgoers.
Retums
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 retums 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 S5-per-ticket exchange fee. Exchanged tickets must be received by the Ticket Office (by mail or in person) at least 48 hours prior to the perform?ance. You may fax a photocopy of your torn tick?ets 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 unforget?table 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 cele?bration, or just friends enjoying each other's company. The many advantages to booking as a group include:
reserving tickets before tickets go on sale to the general public
? discounts of 15-25 for most performances
? accessibility accommodation
no-risk reservations that are fully refundable up to 14 days before the performance
1-3 complimentary tkketi for the group organizer (depending on size of group). Cbmp ticket are not offered for performance with no gioup discount.
For information, contact the UMS Group
Sales Hotffime at 734,76X31 m or e-mail
Discounted Student Tickets
Since 1990, students have purchased over 150,000 tickets and have saved more than 52 million through special UMS student programs! UMS's commitment to affordable student tickets has permitted thousands to see some of the most important, impressive, and influential artists from around the world. For the 0405 season, students may purchase discounted tickets to UMS events in three ways:
1. Each semester, UMS holds a Half-Price Student Ticket Sale, at which students can pur?chase tickets for any event for 50 off the pub?lished price. This extremely popular event draws hundreds of students every fall. Be sure to get there early as some performances have limited numbers of tickets available.
2. Students may purchase up to two Rush Tickets for $10 the day of the performance at the UMS Ticket Office, or are entitled to 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 0405 season. With the UMS Student Card, students can buy Rush Tickets up to two weeks in advance, subject to availability.
Gift Certificates Looking for that per?fect meaningful gift that speaks voimnes about tout taste
Tired of giving flowers, tie or jcwdry Giwe a UMS Gift Certificate! AradaMe in any amount and redeemable for any of more Ann 79 events throughout our seaton, wrapped and delivered with your personal message, the UMS Gift Certificate it ideal for wedding, birthdays, Christmas, Hamikkah, Mutter's and Rsdjsrs Days, or even as a bonsewjiuuiiig present wten new friends mote to town.
from the date of pmdme sad & mat expire at the end of the season.
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WWW.UMS.ORG
oin the thousands of savvy people who log onto www.ums.org each month!
Why should you log onto www.ums.org
Last season, UMS launched a new web site, with more information for your use:
Tickets. Forget about waiting in long ticket lines. Order your tickets to UMS performances online. You can find out your specific seat loca?tion 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.
Maps, Directions, and Parking. To help 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. A list of all UMS per?formances, educational events, and other activi?ties 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 audio record?ings and view video clips and interviews 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. Archived 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 a commitment to Presenta?tion, Education, and the Creation of new work, the University Musical Society (UMS) serves Michigan audiences by bringing to our com?munity 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 community has placed UMS in a league of internationally recognized performing arts presenters. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich and varied history, bal?anced by a commitment to dynamic and cre?ative visions of where the performing arts will take us in this new millennium. Every day UMS seeks to cultivate, nurture, and stimulate public interest and participation in every facet of the live arts.
UMS grew from a group of local university ind townspeople who gathered together for the itudy of Handel's Messiah. Led by Professor Henry Simmons Frieze and conducted by Professor Calvin Cady, the group assumed the lame The Choral Union. Their first perform-mce 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 mem-ers abo belonged to the University, the Jnhersny Musical Society was established in December 1880. UMS included the Choral Jnion and University Orchestra, and through-
out the year presented a series of concerts fea?turing 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 theater. Through educational endeavors, com-
Every day UMS seeks to cultivate, nurture, and stimulate public interest and participation in every facet of the live arts.
missioning of new works, youth programs, artist residencies, and other collaborative proj?ects, UMS has maintained its reputation for quality, artistic distinction and innovation. UMS now hosts over 70 performances and more than 150 educational events each season. UMS has flourished with the support of a gen?erous community that this year gathers in six different Ann Arbor venues.
While proudly affiliated with the UmVersny of Michigan, housed on the Ann Arbor
and a regular collaborator with manr University units, UMS is a separate not-for-profit organi-zation that supports itself from ticket safes, corporate and individual contributions, foun-dation and government grants, special projiect 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 performances of large-scale works for chorus and orchestra. Eleven years ago, the Choral Union further enriched that tradition when it began appearing regularly with the Detroit Symphony Orchestra (DSO). Among other works, the chorus has joined the DSO in Orchestra Hall and at Meadow Brook for sub?scription performances of Stravinsky's Symphony of Psalms, John Adams' Harmonium, Beethoven's Symphony No. 9, Orff's Carmina Burana, Ravel's Daphnis et Chloe and Brahms'
Participation in the Choral Union remains open to all by audition. Members share one common passion--a love of the choral art.
Ein deutsches Requiem, and has recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd.
In 1995, the Choral Union began accepting invitations to appear with other major regional orchestras, and soon added Britten's War Requiem, Elgar's The Dream ofGerontius, the Berlioz Requiem, and other masterworks to its repertoire. During the 199697 season, the Choral Union again expanded its scope to include performances with the Grand Rapids Symphony, joining with them in a rare presen?tation of Mahler's Symphony No. 8 (Symphony of a Thousand).
Led by newly appointed Conductor and Music Director Jerry Blackstone, the 200405 season includes a return engagement with the DSO (Orff's Carmina Burana, to be presented
in Orchestra Hall in Detroit in September), Handel's Messiah with the Ann Arbor Symphony (returning to Hill Auditorium this December), and Haydn's Creation (with the Ann Arbor Symphony in Hill Auditorium in April 2005).
The culmination and highlight of the Choral Union's 200304 season was a rare per?formance and recording of William Bolcom's Songs of Innocence and of Experience in Hill Auditorium in April 2004 under the baton of Leonard Slatkin. Naxos plans to release a three-disc set of this recording this October, featuring the Choral Union and U-M School of Music ensembles. Other noted performances included Verdi's Requiem with the DSO and the Choral Union's 125th series of annual performances of Handel's Messiah in December.
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 information about membership in the UMS Choral Union, e-mail choralunion@umich.edu or call 734.763.8997.
VENUES 8 BURTON MEMORIAL TOWER Hill Auditorium
Pfter an 18-month $38.6-million dollar renovation overseen by Albert Kahn Associates, Inc. and historic preservation archi?tects Quinn EvansArchitects, Hill Auditorium has re-opened. Originally built in 1913, reno?vations have updated Hill's infrastructure 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 barrier-free ramp and loading dock, and improvements 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 3,575.
Power Center
The Power Center for the Performing Arts grew out of 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 was 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 "a new theater" was men?tioned. The Powers were immediately interest?ed, realizing that state and federal governments
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 achieved the seem?ingly contradictory combination of providing a soaring interior space with a unique level of intimacy. Architectural features included 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 presently features two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes (Arabesque) by Pablo Picasso.
The Power Center seats approximately 1,400 people.
Attar Springs Water Company is generously providing complimentary water to UMS artists backstage at the Power Center throughout the 0405 season.
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 strong?ly in the importance of the study of human his?tory 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 ambitious 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 performing three concerts in as many days, and the current Chamber Arts Series was born in 1963. Chamber music audiences and artists alike appreciate the intimacy, beauty, and fine acoustics of the 1,129-seat auditorium, which has been the location for hundreds of chamber music concerts throughout the years.
Lydia Mendelssohn Theatre
Notwithstanding an isolated effort to estab?lish a chamber music series by faculty and students in 1938, UMS recently began present?ing artists in the Lydia Mendelssohn Theatre in 1993, when Eartha Kitt and Barbara Cook graced the stage of the intimate 658-seat theater as part of the 100th May Festival's Cabaret Ball. This season the superlative Mendelssohn Theatre hosts UMS's return of the Song Recital series and continues to serve as the venue of choice for select chamber jazz performances.
Michigan Theater
The historic Michigan Theater opened January 5, 1928 at the peak of the vaude?villemovie palace era. Designed by Maurice Finkel, the 1,710-seat theater cost around $600,000 when it was first built. As was the custom of the day, the theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ. At its opening, the theater was acclaimed as the best of its kind in the country. Since 1979, the theater has been operated by the not-for-profit Michigan Theater Foundation. With broad community support, the Foundation has raised over SS million to restore and improve the Michigan Theater. The beautiful interior of the theater was restored in 1986.
In the fell of 1999, the Michigan Theater opened a new 200-seat screening room addi?tion, which also included expanded rest room facilities 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 dedicat?ed 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 dedi?cation, a commitment to superb liturgical music and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the church a gathering place for the enjoyment and contem?plation of sacred a cappella choral music and early music ensembles.
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 fourth year of the merger of the UMS Ticket Office and the University Productions Ticket Office. Due to this 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 N. University Avenue. The UMS Ticket Office phone number and mailing address remains the same.
ums
A of the University of Michigan, Ann Arbor
Fall 2004
Event Program Book Friday, October 15 through Sunday, October 31,2004
General Information
Children of all ages are welcome at UHS Family and Youth Performances. Parents are encour?aged not to bring children under the age of three to regular, full-length UHS performances. All children should be able to sit quietly in their own seats throughout any UMS perform?ance. Children unable to do so. along with the adult accompanying them, will be asked by an usher to leave the auditorium. Please use dis?cretion in choosing to bring a child.
Remember, everyone oust have a ticket regardless of age.
While in the Auditorium
Starting Time Every attempt is made to begin concerts on tne. latecomers are asked to wait in the lobby until seated by ushers at a prede?termined tme in the program.
Cameras and recording equipment are prohibited in the auditorium.
If you have a question, ask your usher. They are here to Mp.
Please take this opportunity to exit the 'infor?mation stapoUinay ahfle you are enjoying a UHS ewnt tlectnmk-beeping or chiming dig?ital watdtes. rimgmg cetlalor phono, beeping pagers ami dxJanq portable tomputtn JttoiM be turned nfflF ttarn fafanmcti. In case of enagBK afcfee yaw parw, service of audv toriau and! seat isaUm m wm Arfwr venues. and ask them to at Umcn Security at 734.7e.M3IL
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Gewandhaus Orchestra of Leipzig 5
Friday, October 15,8:00 pm Hill Auditorium
Marcel Khalife and the 13
Al Mayadine Ensemble
Saturday, October 16,8:30 pm Hill Auditorium
Complicite 17
The Elephant Vanishes
Wednesday, October 20,8:00 pm Thursday, October 21,8:00 pm Friday, October 22,8:00 pm Saturday, October 23,8:00 pm Power Center
Forbidden Christmas or 31
The Doctor and The Patient
Wednesday, October 27,8:00 pm Thursday, October 28,8:00 pm Friday, October 29, m pm Saturday, October 30,2.-00 pm Saturday, October 30,8:00 pm Sunday, October 31,210 pro Power Center
It is with great pride that I invite you to attend the many offerings in this year's Arab World Music Festival, which UMS is presenting in part?nership with the Arab Community Center for Economic and Social Services (ACCESS). Over four years in development, this festival represents UMS's commitment both to presenting outstanding performing arts from around the world and to fostering greater cultural understanding through the arts. Lebanese composer and oud master Marcel Khalife and the Al Mayadine Ensemble open the festival on October 16 in Hill Auditorium.
A word about ACCESS: UMS began a relationship in the late 1990s with this highly respected Dearborn-based community organiza?tion that serves the region's large Arab American com?munity. After getting to know one another and developing a relationship
of trust and respect, UMS and ACCESS co-presented last season's three-week residency featuring Palestinian-American composer and musician Simon Shaheen, as well as this festival. For UMS, ACCESS has become an exemplary partner, and we are indebted to its executive director Ismael Ahmed and his wonderful staff for their support and friendship.
This festival is designed to pay tribute to the rich cultural diversity and artistic variety that is currently practiced, performed, and discussed by artists in the Arab World and in the local
community. Special attention is being paid to engaging established traditional artists and art forms as well as new and emerging artists who represent the next generation. Since we could not present all artists from every country in a single festival, we selected leading representa?tives of different popular, traditional, classical, contemporary, and religious musical genres this year. We look forward to introducing you to more outstanding artists from the Arab World in the years ahead.
A special thanks to the University of Michigan's International Institute, its Center for Middle Eastern and North African Studies, and every member of the Arab World Festival Honorary Committee for their involvement in making this one-of-a-kind festival special.
This festival is not seeking to solve the polit?ical problems that currently exist in the world. It is about presenting in an authentic manner the rich and diverse artistic expressions found throughout the Arab World and providing educational programming that enables our community to come to know the people, the culture, and the history that influence this art. We celebrate, of course, every time one's engagement in the arts touches the soul and opens one's mind and heart to new ways of thinking and behaving.
I hope you will join us for the events of the Arab World Music Festival.
Kenneth C. Fischer UMS President
UMS
presents
Program
Johannes Brahms
Gewandhaus Orchestra of Leipzig
Herbert Blomstedt, Conductor Mikhail Pletnev, Piano
Friday Evening, October 15, 2004 at 8:00 Hill Auditorium Ann Arbor
Concerto No. 1 in d minor for Piano and Orchestra, Op. 15
Maestoso
Adagio
Rondo: Allegro non troppo
Mr. Pletnev, Piano INTERMISSION
Brahms
Symphony No. 2 in D Major, Op. 73
Allegro non troppo
Adagio non troppo
Allegretto grazioso, quasi andantino
Allegro con spirit
10th Performance of the 126th Annual Season
126th 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.
Support for this performance provided by the Catherine S. Arcure and Herbert E. Sloan Endowment Fund.
Media partnership provided by WGTE 91.3 FM and Observer & Eccentric Newspapers.
The Steinway piano used in this evening's performance is made possible by William and Mary Palmer and by Hammell Music, Inc., Livonia, Michigan.
The Orchestra's 2004 US tour has been generously sponsored by Verbundnetz Gas AG and supported by Stadtwerke Leipzig GmbH, Sparkasse Leipzig, Siemens AG Leipzig, Aventis Foundation, and Buna Sow Leuna Olefinverbund GmbH.
The Gewandhaus Orchestra of Leipzig appears by arrangement with Columbia Artists Management LLC.
Personal direction for Mr. Pletnev is provided by ICM Artists, LTD.
Large print programs are available upon request.
Concerto No. 1 in d minor for Piano and Orchestra, Op. 15
Johannes Brahms
Born May 7, 1833 in Hamburg, Germany
Died April 3, 1897 in Vienna
I have always thought that some day, one would be bound suddenly to appear, one called to articulate in ideal form the spirit of his time, one whose mastery would not reveal itself to us step by step, but who, like Minerva, would spring fully armed from the head of Zeus. And he is come, a young man over whose cradle graces and heroes have stood watch. His name is Johannes Brahms...and he [bears] even outwardly those signs that proclaim: here is one of the elect.
These prophetic words were written by none other than Robert Schumann, in an article titled "New Paths" that was to end almost 20 years of his activities as a music critic (includ?ing quite a few as the main editor) at the Neue Zeitschrift fiir Mtisik. The date was October 28, 1853. Brahms was only 20 years old and had not composed anything but piano music and songs, but these already included the three magnificent piano sonatas; in addition, his piano playing was unusually expressive. A single visit by Brahms to Dusseldorf was enough to convince Schumann that "here was one of the elect."
Schumann didn't make it very easy for his young colleague with this glowing review. Brahms felt that he had yet to live up to those prophetic words by writing a truly great work. He made sketch after sketch, filled notebook after notebook, but was dissatisfied with every?thing he wrote. Two of the large-scale composi?tions started during this time were finished 20 years later the Piano Quartet in c minor in
1875, and Symphony No. i, also in c minor, in
1876. The third one, and the first to reach com?pletion, was what eventuaUy became the Piano Concerto in d minor.
Brahms himself played the piano part at the first performance of the concerto on
during his years ot struggle with the concerto, was certainly a decisive influence. Among the many unforgettable moments in the first move?ment are the extended, hymn-like piano solo in a slower tempo and the haunting horn solo fol?lowing shortly thereafter. (Both are later repeated in the recapitulation.) The retums of the dra?matic initial theme punctuate the movement, which retains its power and energy to the end.
The second-movement "Adagio" is one of Brahms' most intimate musical statements. In the original manuscript, the movement bore the heading "Benedictus qui venit in nomine Domini" (Blessed is He who cometh in the name of the Lord). The expressive theme, played by strings (violins muted) and bassoons, is taken over by the piano, which embellishes it with ornaments and figurations. The clarinets introduce a second theme, which leads to a brief forte exclamation. The first theme then retums and, after a short and dream-like cadenza, the movement ends with the sudden entrance of the timpani, silent throughout the "Adagio". The fact that the timpani does not play the 'D,' the pitch of the home key, but its dominant 'A,' results in a strange suspense at the moment of the movement's end.
The third-movement "Rondo" has analo?gies with both Bach's d-minor Clavier Concerto and Beethoven's Concerto No. 3: the polyphonic textures and syncopated rhythms are reminis?cent of the Bach, while there are structural sim?ilarities with the finale of the Beethoven, espe?cially in the contrapuntal episode in the mid?dle. If the first movement lacked a cadenza, the finale has two: the first marked "quasi Fantasia," is a series of figurations over a sustained pedal that is sometimes in the low, and sometimes in the middle or high register. This is followed by the modulation from gloomy and dramatic d minor to festive and serene D Major, a change that gives the "Rondo" theme an entirely new character. We barely recognize the theme when the bassoons and the oboes intone it with a dolce (sweet) sound quality. This variation on the theme leads into a brief orchestral fortissimo and then into the second cadenza (this one is also based on a sustained pedal, but w more
melodic than figurative in character). After this second cadenza, there is only a short, jubilant coda left to close the work.
Symphony No. 2 in D Major, Op. 73
Brahms
It took Brahms almost 20 years to complete his Symphony No. 1. After the successful premiere of that work in November 1876, however, the ice was broken and Symphony No. 2 was written in a single summer the following year.
Symphony No. 2 is usually considered an "idyllic" work (musicologist Reinhold Brinkmann has called his book-length study of the symphony Late Idyll). Yet the usual cliche about the Symphony No. 2, that it is Brahms' "Pastorale," is misleading. It is true that this symphony is the happiest of the four Brahms symphonies, but there is no programmatic intent as in Beethoven's Symphony No. 6. Also, the rhythm of the first movement's opening theme recalls, if anything, the first theme of Beethoven's Eroica, and the triumphant trum?pet fanfares of the closing measures resemble the end of the Egmont Overture, one of the most glorious examples of Beethoven's heroic style.
In fact, Symphony No. 2 describes a rather unique emotional curve, from a soft-spoken and lyrical, indeed somewhat pastoral-like first movement, to this exuberant ending, with a melancholy "Adagio" and a graceful "Allegretto" in between. In addition, each movement departs from its bask character to encompass other ideas; it is hard to attach a single descrip?tive label to the symphony.
The first movement is mostly gentle and sweet, and contains some of Brahms' warmest melodic thoughts. But there are also some "dim and spectral effects," as Karl Geiringcr calk them. At the beginning of the symphony, the trombones and tuba (the latter not used in any of the other Brahms symphonies) make then-presence fdt by their somber chord progres?sions, punctuated by soft timpani roflk. Brahms
soon "rocks the boat" as he introduces the first of many rhythmical irregularities. Before long, we hear some martial dotted rhythms a typi?cal Brahmsian moment, made special in this case by the asymmetry between the two halves of the phrase. In the development section there are moments of intense drama, but then the recapitulation eases these tensions and the coda even adds a gentle smile as one of the main theme's derivatives is given a new accompani?ment by pizzicato (plucked) strings.
The second-movement "Adagio non trop-po" (the only full-fledged adagio in the Brahms symphonies) begins with an expansive cello melody that does not obey any Classical rules of articulation; the listener may never be sure when the phrase will come to a rest. After the melody has been repeated in a fuller instru?mentation, a haunting horn solo leads into a more animated middle section, culminating in a dense forte passage. The recapitulation that follows still seems to be under the spell of the excitement that has not completely passed, and includes a second outburst of emotion after which the movement dies away with a brief clarinet solo and a soft orchestral chord.
The third movement is a lyrical intermez?zo, similar to the analogous movement in Brahms' Symphony No. 1. The alternation of two contrasting thematic materials (ABABA) is an idea borrowed from scherzo form. The "B" section (or trio) is in a faster tempo than the opening allegretto, and its theme is a variant of the latter. The second time, the 24 meter of the Trio is changed to 38. The final repeat of the allegretto theme is somewhat extended, with a digression to a remote key; a beautiful, bitter?sweet new idea appears in the violins just before the end.
The finale begins in a subdued piano as a unison melody; harmonies and counterpoint are added later as the full orchestra enters and the volume increases to forte. The broad second theme is played by violins and violas in parallel sixths. The development section opens with the main theme in its original form, giving the impression for a moment that the whole move?ment is starting all over again (a procedure that
Herbert Blomstedt
Orchestra, the New York Philharmonic, and the Chicago Symphony Orchestra. In 1992, he received Columbia University's Ditson Award for distinguished service to American music. Herbert Blomstedt has served as the con?ductor of the Gewandhaus Orchestra of Leipzig since 1998 and has continued to uphold their tradition of excellence. His collaboration with the orchestra has already produced a number of highly praised recordings, including recent releases on the Decca label of Brahms' Symphony No. 4 and Bruckner's Symphony No. 9.
This evening's performance marks Maestro Herbert Blomstedt's fourth appearance under VMS auspices. Maestro Blomstedt made his VMS debut leading the Dresden Staatskapelle Orchestra in November 1979 in Hill Auditorium.
Russian pianist Mikhail Pletnev was launched into an internation?al career when, at the age of 21, he won the 1978 Tchaikovsky International Piano Competition. Since then he has performed both as a soloist and recitalist in the cultural capitals of Europe, Asia, and North America. In November 2000 he was heard as a recitalist in Chicago and in New
Mikhail Pletnev
York's Carnegie Hall. His performances as a soloist with the National Symphony Orchestra in Washington, DC under Leonard Slatkin earned him rave reviews.
Mr. Pletnev is one of the acknowledged music masters of the 20th century and his impressive repertory includes a vast array of styles. He has performed cycles of the complete works for piano and orchestra by both Rachmaninoff and Tchaikovsky. His numerous recordings of a wide-ranging repertory draw consistent critical acclaim. His piano transcrip?tions of Tchaikovsky's Nutcracker Suite and Sleeping Beauty, as well as his performances of the same composer's Piano Concerto No. 2 and The Seasons were included on the 1998 Phillips Classics anthology Great Pianists of the 20th Century. His EMI-Virgin Classics album of Scarlatti's keyboard sonatas received a Gramophone Award in 1996. Mr. Pletnev has since become an exclusive recording artist for Deutsche Grammophon.
Mikhail Pletnev was born in Archangel, Russia, the child of musicians, and displayed exceptional talent from an early age. In 1988, he was invited by President Gorbachev to perform at the superpower summit in Washington, DC and the resulting friendship gave Mr. Pletnev the opportunity to realize his long-held dream
of forming an orchestra independent of the government. Attracted by Mr. Pletnev's reputa?tion and to his vision of a new model for the performing arts in Russia, many of the finest musicians in the country joined him in launch?ing the Russian National Orchestra (RNO) in 1990. Under his leadership as music director and principal conductor, the RNO has become one of the world's leading orchestras.
This evenings performance marks Mikhail Pletiiev's third appearance under UMS auspices, yet only his first appearance as solo pianist. Mr. Pletnev has appeared twice under UMS auspices as conductor and music director of the Russian National Orchestra and made his UMS debut in March 1998.
The Gewandhaus Orchestra of Leipzig is one of the world's most celebrated musical ensembles. With a history extending back more than 250 years, the orchestra holds an integral place in the development of music in the Western world. Not content to rest on past laurels, the Gewandhaus' roster of illustrious music directors, guest conductors, and the cata?log of its important musical premieres continue unabated. Presenting the works of past com?posers while fostering contemporary repertoire maintains a polio' first implemented by Felix Mendelssohn, who launched a series of concerts in 1835 to revive public interest in the work of a composer whose music had languished most?ly unperformed since his death; the composer was). S. Bach.
Under the leadership of its current Music Director, Herbert Blomstedt, who was appoint?ed in the 199899 season, the Gewandhaus is forging its rich heritage into a third century of great musk-making.
The present day Gewandhaus Orchestra evolved from Leipzig's first professional orches?tra founded in 1743. In 1781, the ensemble was formally dubbed the "tjewandbaus in honor of
its new concert hall, former home to the City's prosperous linen merchants. In 1884, the orchestra moved to the second Gewandhaus, a hall of superior acoustics which accommodated its appreciative audiences until it was destroyed during a bomb raid in 1944, a catastrophe which displaced the ensemble until the third and current hall was inaugurated in 1981.
Since its official appointment as "munici?pal orchestra" in 1840, the Gewandhaus Orchestra has occupied a central position in Leipzig's cultural life. Of the orchestra's roster of 200 musicians who perform in the subscrip?tion and special concerts held in its own hall, only 150 participate in its overseas touring, allowing 50 members of the orchestra to remain in Leipzig throughout the year. The orchestra also maintains nine string quartets, three chamber orchestras, four wind quintets, a brass ensemble and a period instrument group. The Gewandhaus' motto, first adopted in 1781, and still prominently displayed, is clearly fit?ting: res severa verum gaudium (real pleasure is a serious matter).
The list of the Gewandhaus' 17 illustrious music directors include Kurt Masur, whose 27-year tenure earned him the title of Honorary Conductor upon his retirement; Bruno Walter, who was removed from his post by the Nazis in 1933 and had to emigrate to the US; Vaclav Neumann, who was also forced to leave the podium under political duress; Wilhelm Furtwangler; Arthur Nikisch, under whose direction the orchestra championed the works of Brahms, Bruckner, and Richard Strauss; Carl Reinecke; and Felix Mendelssohn, who lead the orchestra from 1835 to 1S47 and whose influ?ence continues to reverberate to this day.
77i?s ewning's performance marks the Gewandhaus Orchestra of Leipzig's eighth appearance and 19th performance under UMS auspices. The Orchestra made its UMS debut in October 1974 under the baton of Maestro Kurt Masur in Hill Auditorium. 77ie Ordiestra later appeared in residency in Ann Arbor during the 1987,1989, and 1991 May Festivals.
Gewandhaus Orchestra of Leipzig
Herbert Blomstedt, Gewandhauskapellmeister
First Violin Sebastian Brcuninger,
Principal Concertmaster Stefan Arzberger,
Concertmaster
Hartmut Schilt, Concertmaster Hiltrud Ilg Wolfram Fischer Hans-Rainer Jung Heinz-Peter PUschel Susanne Hallmann Thomas Tauber Dorothea Vogel Gunnar Harms Eva Burmeister Christian Krug Bettina Freitag Ulrike Schmidt Theresia Vit Yan Zhang
Second Violin
Peter Gerlach, Principal
Concertmaster Horst Baumann,
Concertmaster lutta Knauff liirgen Hetzer Ludolf Kahler Beate Roth Gudrun Sporl Rudolf Conrad Dietrich Reinhold Edwin Ilg Sebastian Ude Andrea Funfstuck Lars-Peter Leser Tobias Haupt Wojciech Hazuka Alexander Butz
Viola
Adam Romer'
Bernd lacklin.
Assistant Principal Peter Borck liirgen Wipper Hermann Schickrtanz Heiner Stolle Reinhard Kleekamp Henry Schneider Katheruu Dargel Matthias Wcive Birgit Steinbach Antje Schmidt
Cello
Christian Giger Giinther Stephan,
Assistant Principal Uwe Stahlbaum Stefan Gartmayer K.irl.i Krohner Ute Tunze-Wiesenhutter Heiko Schumann Kristin Leitner Henriette-Luise Neubert Axel von Huene
Double Bass Christian Ockert Bernd Meier Waldemar Schwiertz, Assistant Principal Tobias Lampelzammer Tobias Martin Thomas Strauch Eberhard Spree Christoph Winkler
Flute
Katalin Kramarics Stephanie Winker Wolfgang Loebner Ulrich Other
Oboe
Henrik Wahlgren Susannc Hennicke Holger Landmann Roland Messinger
Clarinet Thomas Ziesch Andreas Lehnert' Ingulf Barchmann Volker Hemken
Bassoon
Thomas Kcinhardt" David Petersen Albert Kegel Gottfried Kronfeld
Horn Ralf Gbtz Bernhard Krug' lochen PleS Raimund Zell liirgen Merkert Jan Wcssely Eckhard Runge
Trumpet
Karl-Heinz Georgi Lukas Beno Peter Wettemann Bruno Bastian
Trombone Jorg Richter liirgen Schubert Hendrik Reichardt
Tuba
Jiirgen Bednarz
Timpani Marek Stefula Norbert Uhl
Percussion Wolfram HoU
' principal
Gewandhaus Director Prof. Andreas Schulz
Orchestra Manager Marco Eckertz
Assistant to Blomstedt Marie-Theres Ple6
Stage Technicians Lothar Petrausch, Stage
Manager Rainer Berendt Udo Schulz
Marketing and
Communication Patrick Schmeing
Columbia Artists
Management LLC Tour Direction: R. Douglas Sheldon, Senior
Vice President Karen Kloster, Tour
Coordinator Nathan Scalzone,
Managerial Assistant Elizabeth Ely Torres,
Program Coordinator
Ann Woodruff, Tour
Manager
React O'Banks, Backstage Peggy Ungille, Hotel
Advance im Putnam, Conductor
Driver
Sintec-Tur, Air and Cargo Maestro Travel & Touring,
Hold Arrangements
World 5tfusic festival
UMS
with
ACCESS,
The Ghafari Companies
and
Pfizer Global Research
and Development
present
Marcel Khalife and the Al Mayadine Ensemble
Marcel Khalifc, Composer, Oud, Vocals
Oumaima Al Khalil, Vocals
Rami Khalife, Piano
Peter Herbert, Double Bass
Bachar Khalife, Riq, Tabla, Mazhar, Vibraphone, Congas, Bongos
Program
Saturday Evening, October 16, 2004 at 8:30 Hill Auditorium Ann Arbor
Tonight's program will be announced by the artists from the stage.
1 lth Performance of the 126th Annual Season
Lead sponsorship provided by the Ghafari Companies and Pfizer Global Research and Development, Ann Arbor Laboratories.
Arab World Music Festival Additional support provided by the Issa Foundation.
Special thanks to Dr. David Canter of Pfizer Global Research and Development, Ann Arbor Laboratories, for his generous support of the University Musical Society.
Special thanks to Yousif Ghafari and the Ghafari Companies for their support of tonight's concert and the Arab World Music Festival.
Media partnership provided by Michigan RadioMichigan Television and Arab American News.
This performance is co-presented with the Arab Community Center for Economic and Social Services (ACCESS). Special thanks to Ismael Ahmed, Executive Director of ACCESS, for participating in this collaboration.
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
The Steinway piano used in this evening's performance is made possible by William and Mary Palmer and by Hammell Music, Inc., Livonia, Michigan.
Marcel Khalife and the Al Mayadine Ensemble appear by arrangement with the Nagam Cultural Project.
Large print programs are available upon request.
This work attempts to elevate Arabic music to a level that allows it to express profound human emotions, not by mere performance, but by empowering the music to mature and develop into a universal language of expression.
In this work I attempt to instill a new spirit in Arabic music to permit it to rise to the level of notable world music that has been inspired by local popular music. The motivation behind this music is not purely aesthetic, nor is it only an urge for the music to express itself, but rather it is a desire to observe and depict the everyday life around me.
I try to express the Arab milieu through a new musical harmony, and through rhythms and maqams (complex musical scales) that would draw near or far to be in unison with the soul and spirit of Arabic music. I do not try to accomplish this by imitating the popular musical heritage, but by carefully studying the structure and performance of Arabic music with all its elements such as tarab, mawwal, etc.
It is important for me to express through this music the tunes of life, the tunes I remem?ber from my early childhood when I used to lis?ten to various forms of music and song. These musical forms arrived in Europe from Spain through the troubadours. Subsequently, the muwashah was transformed into Lied. Additionally, the structure of the Arabic dowr resembles that of the sonata, and the Andalusian nouba became an instrumental suite and later a ballet suite.
Let the voices and instruments sway and dance, and with the language of music, let them paint the deserts of the East with the brilliance of al-Andalus until eventually they will form a musical work full of images, people, and life that will take its deserved place in international human culture.
Marcel Khalife
Marcel Khalife's song may be one of the few remaining songs of our spiritual enlightenment. By excluding cultural expression from the overall Arab decline, we in fact express a private wish to protect those parts of our spirits which have so far resisted the barrage of heavy artillery and isola?tion. So shut have our hearts become, the birds' tolerance of their skies amazes us. Marcel's song manages to lift our hearts from the wreck, cre?ating a new reality in which we could freely roam. The simplicity of his song disassembles our mental complexity and opens a window to hope. Its delicate strength is that of life during a siege of reason. Its nerve is that of men singing while taken to their death.
In Khalife's song there is useful beauty and clear purposefulness. When I wrote about my love for my mother from prison, neither she nor I realized the effectiveness of this declara?tion until Marcel's song announced it and took it beyond the personal relationship and the moment of prison. Khalife narrowed the gap, ever made wider by poets, between poetry and song. He brought back the absent emotional space needed to reconcile poetry with its alien?ated audience. Thus, poetry developed Khalife's song, while the latter mended people's relation?ship with poetry. Now, the streets sing with Marcel and words need a podium no longer.
Note by poet Mahmoud Darwish.
Lebanese composer and oud (Near Eastern lute) master Marcel Khalife is one of the world's leading Arabic musicians, reshaping traditional Arabic music into an alluring, univer?sally communicative form of expression. His haunting vocals and mesmerizing instrumental have fascinated audiences worldwide. Born in 1950, Khalife studied oud at the Beirut National Conservatory and has since injected new life into the instrument with his prolific, innova?tive, and groundbreaking compositions. In addition to performing, Khalife is a noted com?poser who is deeply attached to the lyrical text on which he relies. Through his association with great contemporary Arab poets, most notably the Palestinian poet Mahmoud Darwish, he seeks to renew the character of Arab song, breaking its stereotypes and advanc?ing the culture of the society that surrounds it. Now, Khalife has endeared and is recognized by
MOBCEL KHOLIFE
Arab World Festival Honorary Committee
Rana Abbas
Rabab Abdulhadi
Sawsan Abdulrahim
Wadad Abed
Ismael Ahmed and Peggy King
Ali Ajami
Laith Alattar
Khaled Al-Masri
Anan Ameri and Noel Saleh
Naji Arwashan
Marya Ayyash
Edward and Gail J. Bagale
Dana Baki
Nasser Beydoun and
Maysa Balbaki
Ahmad and Michelle Chebbani Tank and Helen Daoud Warren and Amal David Rep. John and Debbie Dingell Nizar and Nada El-Awar
Mario El Cid
Irma Elder
Ahmad Ezzedine
Haifa Fakhouri
Yousef and Mara Ghafari
Bob Ghannam
Steve and Sheila Hamp
Steve Heath and
Edna Martinez Heath Marcia Inhorn and Kirk Hooks Mohamad and Hayat Issa Said Issa Ryan Jaber
Wally and Samar Jadan AH and Michelle Jawad Abe and Elaine Karam Nabil and Lina Khalidi Hil.il Manaki Khader and Susan Masri Khaled Mattawa
Ernest McCarus
Lester and Jeanne Monts
Saif Omar
Mohammad and Liz Othman
Jeff and Huda Rosen
Elaine Ruman
Michael and Mariann Sarafa
Rita Sayegh
Joe and Yvonne Sesi
Farouq and Rabia Shafie
Luay Shalabi
Fr. George Shalhoub
Dr. Muaiad and Aida Shihadeh
Osama Siblani
Danielle Smith
Fawwaz Ulaby and
Jean Cunningham Stan Watson and Huda Akil Roy and Cynthia Wilbanks Mr. Amer Zahr
millions in the Arab World as a cultural icon.
From 1970 to 1975, Marcel Khalife taught at the conservatory and other local institutions. During that same period, he toured the Middle East, North Africa, Europe, and the US giving solo performances on the oud. In 1972, he cre?ated a musical group in his native village with the goal of reviving its musical heritage and the Arabic chorale. The first performances took place in Lebanon. The year 1976 saw the forma?tion of the Al Mayadine Ensemble. Enriched by the previous ensemble's musical experiences, Al Mayadine's notoriety went well beyond Lebanon. Accompanied by his musical ensem?ble, Marcel Khalife began a lifelong far-reaching musical journey, performing in Arab countries, Europe, the US, Canada, South America, Australia, and Japan.
Khalife has performed in such prestigious halls as the Place des Arts in Montreal, Symphony Space and Merkin Concert Hall in New York City, Royal Festival Hall and Queen Elizabeth Hall in London, UNESCO Palace of Beirut, Cairo Opera House (Egypt), Reciprocity and UNESCO Hall in Paris, and Yerba Buena in San Francisco. Since 1974, Marcel Khalife has been composing music for dance which gave rise to a new genre, the popular Eastern ballet.
Marcel Khalife has also composed sound?tracks for film, documentary, and fiction, pro?duced by Maroun Baghdadi and Oussama Mouhamad. His list of instrumental works includes such pieces as Symphony of Return, Chants of the East, Concerto Al Andalus, Suite for Oud and Orchestra, and Taquasim. Khalife's works have been performed by symphonies across the globe, notably the Kiev Symphony Orchestra, the San Francisco Chamber Orchestra, and the Orchestra of the City of Tunis.
Since 1982, Marcel Khalife has been writing books on music that reflect his avant-garde compositions and the maturity of his experi?ence. His challenges, however, are not only musical in character. Interpreter of music and oud performer, he is also a composer who is deeply attached to the text on which he relies. In his association with great contemporary Arab poets, particularly Palestinian poet Mahmoud Darwish, he seeks to renew the char?acter of the Arabic song, to break its stereo?types, and to advance the culture of the society that surrounds it.
Marcel Khalife currently resides in Paris, France.
This evening's performance marks Marcel Khalife and the Al Mayadine Ensemble's UMS debut.
UMS
presents
Complicite
The Elephant Vanishes
Co-Produced with the Setagaya Public Theatre, Tokyo Inspired by the collection of short stories by Haruki Murakami
Directed by
Simon McBurney
Michael Levine, Design
Paul Anderson, Lighting
Christopher Shutt, Sound
Ruppert Bohle and Anne O'Connor, Projections
Christina Cunningham, Costumes
Performers
Mitsuru Fukikoshi, Atsuko Takaizumi, Yuko Miyamoto,
Keitoku Takata, Ryoko Tateishi, Kentaro Mizuki, Yasuyo Mochizuki
Masaaki Yato, Child in the Video
Catherine Alexander, Associate Director Nick Schwartz-Hall, Production Manager Jumpei Fukuda, Technical Manager Catherine Binks, Company Stage Manager Yu Fujisaki, Stage Manager Taro Nakamura, Assistant Stage Manager Kay Basson, Sound Operator Tetsuya Yamazaki, Lighting Operator Peter Flaherty, Projectionist and Additional Video Satoshi Kuriyama, Projection Operator Roderick Wilson, Production Carpenter Naomi Shinohara and Alicia Hood, Wardrobe
Judith Dimant, Producer (Complicite)
Chieko Hosaka, Producer (Setagaya Public Theatre)
Sarah Ainslie, Tsukasa Aoki, Robbie Jack, Joan Marcus, Photographers
Wednesday Evening, October 20, 2004 at 8:00 Thursday Evening, October 21, 2004 at 8:00 Friday Evening, October 22, 2004 at 8:00 Saturday Evening, October 23, 2004 at 8:00
Power Center Ann Arbor
Performed in Japanese with English supertitles.
Tonight's performance lasts approximately 100 minutes and will not contain an intermission.
12th, 13th, 14th, and 15th Performances of the 126th Annual Season
Fifth Annual Theater Series
The photographing or sound recording of this performance or possession of any device for such photographing or sound recording is prohibited.
Media partnership provided by Michigan RadioMichigan Television and Metro Times.
A Complicite co-production with the Setagaya Public Theatre, Tokyo, and BITE:03 Barbican, London.
Complicite and the Setagaya Public Theatre are grateful for the generous support provided by The Japan Foundation; The British Council, London and Tokyo; the Great Britain Sasakawa Foundation; and the Daiwa Anglo-Japanese Foundation.
Flying by Foy.
Large print programs are available upon request.
Notes on the Program
Haruki Murakami became a national celebrity when his novel Norwegian Wood sold over four-million copies in Japan. His collection of short stories The Elephant Vanishes reveals Japan as experienced from the inside dislocating reali?ties to uncover the surreal in the everyday, the extraordinary in the ordinary.
Strange, idiosyncratic, and told with a bone-dry wit, these stories grip, disturb, provoke, and catch you by surprise. Surprise because they are so recognizable but not predictable. What we recognize in these stories is a tension. A tension that exists as much in New York as in Tokyo.
Director's Note: The Order of Chaos
I stand on my balcony. It is night. I see into an office. All the monitors are blue. Fluorescents blaze on every floor. Below me is a car park. For some reason it appears green. Sodium light A man moves across in the half-darkness and peers into a car. The car pulls away with a screech of tires.
The man disappears into the shadows. Further away is an overpass packed with trucks. Beneath it is another street where the taxis and cars are lined up at the red light. And below both I can see a pavement with people walking and cycling. It's 3:00 in the morning. I am in Tokyo. I cannot sleep. I am trying to make a show with a cast that speak only Japanese, with a set of short stories that I now think I do not understand. What am I doing here
This is Haruki Murakami's world a world where the city does not sleep and where the most innocuous event seems oddly potent. A world where chaos appears to have an order you cannot see or grasp.
We are all surrounded by this world. Our consciousness is changing: our sense of our
place in the world, who we are, and where we are from. As the heroine of Murakami's short story "Sleep" says, "Things are changing. Changing fast." We need more time to be able to keep up. The way she keeps up is by not sleeping for 17 days. She does not have insom?nia; she just can't sleep.
I feel like that on my balcony now, though in my case it is jet lag. Wide awake for most of the night and then, half an hour before I go to work, a sleep so deep I can hardly surface. I am trying to make sense of transforming Murakami's The Elephant Vanishes for the stage, wondering how we will tackle the next piece of the story. Yesterday, no one knew what was going on, neither the actors, the technical team, the translators or I, the director. As they looked at me, 1 realized that my mind had gone into meltdown.
Murakami almost never allows adaptations of his work. There is also the added pressure of his popularity here in Japan. Murakami is mas?sive. A contemporary Japanese Kafka, his books are now devoured all over the world, despite the notorious difficulty of translating from Japanese.
His stories are extraordinary, springing out of ordinary, mundane urban life. People iron their clothes, make dinner, go to work, watch TV, listen to Haydn and Mozart, get into bed, and start again the next day. Daily routines are of a mind-numbing banality. Yet extraordinary things happen to his characters. They cease to sleep; monsters crawl out of the ground or the television and change their lives. The effect of these intersecting events is to slice through to the heart of what it means to live in this discon?nected, ultra-consumer world of ours.
For us in the West, the sensation of reading Murakami's novels is familiar and disconcert?ing. They unfold with a Chandler-esque atmos?phere and cool humor. They compel you to read on until you are sucked in by a David Lynch-like sense of menace.
At the same time, they are dreamlike: potent and funny when you experience them, but shifting in their form and meaning when you consider them afterwards. Even his titles are strange: A Wild Sheep Chase, Hard Boiled Wonderland and the End of the World, The Fall
of the Roman Empire, The 1881 Indian Uprising, Hitler's Invasion of Poland, and Realm of the Raging Winds. That last one is a short story of three pages.
Murakami pins down the experience of modern consciousness itself. The characters' inner lives are hidden, distracted, and furiously busy. Then suddenly their streams of thought will burst into poetic visions and become hilar?ious in ways that are never revealed to others. Who they are in the outer world is merely a mask. They act as if they are in the grip of forces beyond them.
As I stand on my balcony and look down at this corner of downtown Tokyo, blazing with light, I, too, feel in the grip of something that is beyond me. I am the one who has chosen to be here, chosen the material, chosen to try to bind together a Japanese cast that does not speak English and an English team who do not speak Japanese.
How can I grasp this gossamer-like material and make something of it How can I make something that is and must be completely Japanese I mean, completely Tokyo and yet make it clear for anywhere in the world How can I sleep, for God's sake
I am about to go back into my room when another thought strikes me. I have a Japanese lesson tomorrow. I have forgotten how to greet my teacher at the door, let alone learn the adjectives she asked me to decline. Declining adjectives That is simply one of myriad com?plications that make up Japan.
After my first lesson, my teacher showed me to the subway station. I thought I was following her when she vanished into one of approxi?mately 3,000 people that cross the street in Shibuya, downtown Tokyo, on an average after?noon on an average day in May.
Without her I feverishly scanned the incomprehensible signs, written in three forms of Japanese and Chinese characters. A hand lands on my arm, the hand of a complete stranger, and, with elegance and courtesy, she steers me to the spotless subway going in the right direction. When would that happen in London or New York
This is Tokyo. Thirty million people live here. This is a city well-versed in urban living. In 1600, Shakespeare's London was a city of 200,000 people. At the same time, there were already over a million in Tokyo. What they know about how to use space, make space, and courtesy for others has been developed over a considerable length of time. It makes clear what I have always suspected: that we in the West are utterly undeveloped and uncivilized, governed by untrammeled Anglo-Saxon aggression and a brutish self-interest: a view that can only have been reinforced in the rest of the world by the monstrous nature of the war in Iraq.
When you walk through the city, you are overwhelmed. And sometimes another feeling creeps into your soul. A feeling that it is all too huge, too much, and that something is about to happen. An entity this vast cannot simply go on expanding indefinitely. It's a "hard-boiled won?derland and the end of the world." There is an indefinable sense of menace and loss. Not from the people or the society, but the sheer scale of the city, and what it consumes.
This is the feeling Murakami translates into a kind of ache that is at the center of almost all of his books. An ache that is comparable to what another Japanese writer, Junichiro Tanizaki, writing 60 years earlier, elucidated in his essay on aesthetics, "In Praise of Shadows." "What if we in the East had invented the foun?tain pen, what if we had developed our physics, what world might we have created" What if Japan had not been forced to take on every?thing that the US had insisted it did after 1945, even changing the way they counted time
On my balcony, high above the city, I am aware of this ache, this sense that something is about to happen. It seems to be present in the continuously blazing light of this unsleeping city. Suddenly, there is a flicker in the car park below. A power outage My neighbor's music seems really loud. I can feel thumping under my feet, coming up through my heart. The strut on my balcony, the concrete strut right in front of me, is swaying. There is a crash from my room as the flowers on my TV hit the floor. And I realize: I am in an earthquake. I am on
the 10th floor. I can't stand up. What do I do I totter in circles and crawl to my bed and pray, as the waves of shock hit the building. When the shaking is over, and I know that I am okay, and my stage manager excitedly phones me to tell me that the earthquake measured 5.1 on the Richter scale, all my anxieties dissolve. My body relaxes and I feel "like a lead weight in a fish's gut," as Murakami puts it. I am grateful that I will have all those problems tomorrow. I am here. This is now. I am alive. In my head, the words of one of Murakami's characters in his short story "The Second Bakery Attack" go round and round, "I myself am of the opinion that we never chose anything at all. What has happened has happened. What has not hap?pened has not happened yet."
Simon McBurney
An Elephant's Long Journey
Essay by Jay Rubin
Seated in the Setagaya Public Theatre on 4 June 2003,1 could not help but be amazed at the journey of Murakami Haruki's elephant a journey through time, through lan?guages, across two oceans, across cultures, and back again to the beginning. Murakami pub?lished the story "The Elephant Vanishes" in 1985 in Tokyo. I translated it into English in 1991 in Boston. The translation appeared in November of that year in The New Yorker, and again in 1993 in the New York publisher Alfred A. Knopf's The Elephant Vanishes along with 16 other Murakami stories, including "Sleep" and "The Second Bakery Attack". Sometime between 1993 and 2003, and probably on the other side of the Atlantic Ocean, British direc?tor Simon McBurney read The Elephant Vanishes in English. Then, working with Japanese actors in Tokyo, he and they chose those three stories out of the 17 to put on the stage in Japanese, using Murakami's own words that McBurney could neither read nor under-
stand. The result was a bold contemporary multimedia production that seemed to me to be remarkably faithful to the modern urban spirit of Murakami's original works even while it evidenced features of Japan's most traditional theater, Noh theater.
Had an Englishman not been the primary creative guide of The Elephant Vanishes, I would have been less surprised at its traditional the?atrical elements. Rather than mimetic dramati?zations, Japan's traditional performing arts con?sist of storytelling, dance and song in which, to a greater or lesser degree, the performance -whether by actors or puppets comprises a visual and auditory illusion of the text. In Kabuki, the visualisations can be wild and extravagant; in Noh, the aesthetic is closer to minimalism, the dance remains spare and abstract, mimetic action is a stylised extension of dance, and the chanting of the text underlies everything.
A similar aesthetic is to be found in the pro?duction of The Elephant Vanishes, which is less a mimetic dramatization than an imaginatively stylised yet minimalistic visual and vocal illus?tration of Murakami's text. The result feels very close to what each member of the audience has experienced in private, but in the theater we are able to share it. Murakami has said, "it is one of the greatest pleasures in my life to be able to discuss about a favourite book with someone who can share the same thought as mine." The communal pleasure afforded by The Elephant Vanishes is all the more remarkable when we consider the long, complicated journey of Murakami's elephant.
Jay Rubin has translated numerous novels and short stories by Haruki Murakami into English.
The Elephant Vanishes
The woman suddenly stops dead. Grasping her bamboo broom and dustpan in white gloved hands she stands stock-still. Along the plat?form others, almost identically dressed, stand not moving as the wind slightly ruffles their clothes. Men and women in suits and white shirts swirl past. Buying lunch boxes. Looking for platforms. Rushing for trains. Announcements overlap, mixing with a Japanese version of "My Way" that seeps out of a nearby kiosk. Standing next to this woman is a man on a mobile. Over his shoulder, I glimpse the person he is addressing on the miniature monitor on his phone. In the center of this movement the stillness of the woman is hyp?notic. An immobility of immense proportions. As if awaiting a cataclysmic event. It's not possi?ble to look away. Then It arrives.
Nose like Concorde and moving with the smoothness of a fish in water, the bullet train that is to take us to Kyoto from Tokyo draws into the station. She bows. As do all the clean?ers, for that is what they are. They bow not merely tipping their heads, but from the waist, until the head nearly touches the knees. They bow to the Train.
We are in Japan to revive Tlie Elephant Vanishes. I stand on the platform, the humid heat of Tokyo in June is like an oppressive blan?ket and I feel an outsider more than ever before.
The question about reviving a production most often asked is..."Why do it again"That question supposes that once a production is up and running after press night it is finished. The director leaves and the piece merely repeated with more or less success until it ends. We live in an age obsessed by the new. An age where progress is measured by the sheer number of novelties achieved, delivered, sold. The more we produce and the quicker we do it the more suc?cessful we are. One product after another, one project after another. An endless speeding hori?zontal line. Like the one I am on now.
We are now travelling at huge speed. But after an hour we are still only passing through the suburbs; Tokyo is immense. And I am won?dering over and over why this piece provoked so much laughter in London and so little in Tokyo last year. A whole host of questions shoot through my mind as fast as the images of the countryside flash before me from the bullet train, and I realize gradually that I am pushing away the single thought I do not want to enter?tain. That quite simply last year, here in Japan, I got it wrong. Well not entirely wrong. But cer?tainly I did not get it entirely right. And who knows if I will find answers this time. I can't even seem to master the language with any more ease.
"Japanese grammar is relatively simple."
My teacher looks at me with innocence and amusement as I raise my eyes at what she has just proposed.
"But the language at the same time can be flexible.
In English you say: 'I ate Japanese food.' Subject Verb Object. Or a more complicated sentence: 'I ate Japanese food at home with chopsticks.' The prepositions 'at' and 'with,' mark 'home' and 'chopsticks'.
In Japanese something else happens: 'I chopsticks with Japanese food ate.' Subject Object Verb. The verb always comes at the end.
But the order of the Japanese sentence is more flexible than the English order because particles, not the order, tell you the function of the different parts. So you could also say: 'I Japanese food chopsticks with ate.'"
She laughs but my mind keeps flipping back to the problem of the 'Elephant' and how to change it. How can we discover something new How can we uncover what will make it come alive for the audience here
The three stories in The Elephant Vanishes are, among other things, about discoveries. Discoveries precipitated by a sudden and unlikely event. One man discovers that because an elephant disappears into thin (or should it be thick) air, he can no longer tell the difference between the possible consequences of doing something and not doing something.
Another person discovers as a result of rob?bing a bakery that in fact we never choose any?thing at all. Not being in control of our lives is more like riding a kind of boat on a sea we do not know without sails in winds we cannot pre?dict.
In the third story a woman is unable to sleep for 17 days and nights. As a result she realises with blinding clarity she has never loved her husband or her son; or indeed any?thing about her life.
Within all of these tales is a sense of rup?ture, as if somewhere the order of things has been disturbed. The strange event is not the rupture. The rupture is what this strange event reveals. This is why each protagonist takes eva?sive action. The first man continues with his life by detaching himself from caring about any?thing at all, like an automaton. The second abandons himself to his fantasies, the third leaves her home in the middle of the night and meets her most violent and darkest fears in an empty harbour car park. The landscapes are completely real and hilariously banal. The events that occur within them are disturbing, surreal, frightening, and funny.
It is night when we arrive in Kyoto. My friends, with whom we are staying, live in a wooden house, a Buddhist temple that dates from the early-19th century. All smooth wood?en floors and sliding paper doors. I sleep better here than ahnost anywhere in the world. Here I feel, spuriously, that, despite being the stranger I am in this land, I am at home. This thought comforts as sleep sweeps over me, but rapidly disappears when the next day my friend Hitoshi Inoue takes us to a tea ceremony.
We kneel on the straw tatami matting. We bow and place our hands flat on the floor, our fingers in an oval before them. A low murmur of conversation and laughter mixes with the sound of water outside in the garden. A tray is placed before me. Tea is poured. Only enough to fill a very small spoon. I bow again, take it and place it before me. The woman serving in front of me shuffles sideways. The same action is repeated with my neighbor. Each wipe repeated. Each direction in which the pot faces
identical. But a little different. Over and over again until the end of the line is reached. We all drink. The tea is bitter. We all sigh. Oishi, we say. Delicious. Then in front of me the teapot lid is carefully removed with the right hand. It is placed to the server's left. A cloth carefully folded to her right is picked up. She grasps another pot. Hot water. She refills the first teapot. She replaces the cloth in front of her, unfolds it from its now slightly rumpled state and refolds it again and replaces it where it was before. She pours me another teaspoonful. I bow. She bows. And again it is repeated.
I have never been to a tea ceremony before. I have no idea what follows what or why things are in this order. But I know the event is beauti?ful, alive, and utterly riveting. It is a show at which the audience are the actors. Here is an event that has been repeated over and over in all its minutiae for centuries. But, as I discover, it has drifted and changed constantly as well as remaining the same.
From time to time the tea-master makes a comment about the neatness of the towel or the wiping of the cup or the pouring of the tea. Correcting each gesture. As she minutely shirts what she does, the emphasis changes. What happens is that everything appears to be more. More silent, more beautiful, more alive, more intense. As if she unlocks something invisible. Suddenly it seems to me that the meaning of the order is the same as when you cannot remember. When something is 'on the tip of your tongue'. And to find it you retrace your steps, redo what you were doing, repeat the ges?ture. And in so doing you remember and you feel connected again.
However when it is over and after an hour of kneeling on the matting, I go to stand, I decide I will skip the next bit of the formality. The sequence is about how one should stand at the end of the tea ceremony. I have been told to bring my left foot slowly forward, place it in front of me, wait, and then do the same with my right foot before I stand. But I can't be bothered, no one is watching, it is so much eas?ier to stand directly and I am dying for a pee. But as I go to stand my legs buckk and I fall
forward, spilling tea and tray over the straw matting. Everyone breaks into peals of laughter.
"Stand in the order," says the tea master through his hilarity.
There is no blood in the legs after kneeling.
I kneel and begin again as 1 am instructed and I find I can now stand with ease. And then I understand. The sequence is the thing. The order is all.
Perhaps all projects can be found within the one project. That is to say progress or 'develop?ment1 can be vertical as well as horizontal. Perhaps one can discover as many new things by doing the same thing over and over as you can find by doing one new thing after another. I think of my father. He was an archaeologist who always discovered the new by digging ver?tically down, into the earth. If you come back to something you have done before, if you repeat the same gesture again, the body is reminded of all that was not there in the first place. It is not just that you get better at it through repetition, rather that through the act of repeating, you dig down into the material and find the new under your hand where you did not know it, rather than something you consciously reach for. Auerbach has been paint?ing the same people for 30 years.
Back in Tokyo, we begin rehearsals again. What about this Murakami world What do we need to change to bring it closer to the Japanese audience Would it make a difference if we altered the language, I ask my long-suffering actors...
Silence.
"In some places, yes."
"How do we do that without rewriting" I ask.
Silence.
"Don't rewrite."
What
"Change the order."
Of course.
Change the order. Not searching for the new thing, the new idea, but what is there with?in the words, stories, gestures and images we .already have. Slight changes begin to reveal completely new facets. The language begins to reveal itself to me. The whole piece begins to
drift in another direction. It is not that the ges?tures are different really; or that new ideas are inserted to solve a scene. It is simply that what was on the tip of our tongues that we could not remember seems to be falling into place. Each moment becomes more specific, more funny, and the sense of rupture more violent, and, I think, in some indefinable way, more Japanese.
Much has been made of the cosmopolitan nature of Murakami's writing that the stories could take place anywhere. But I believe he con?stantly touches on what is Japanese. When we think of Japan, we see bullet trains, Japanese visitors to the West, thousands in Shinjuku sta?tion, extraordinarily developed technology; in other words a level of affluence rarely surpassed by any other economically developed nation in the world. But if we go back only to the early 1930s the images would be utterly different. We would see a relatively poor agrarian society in which the majority of the population lived in farming villages. This rapidity of change has produced an uncertainty everywhere, even about the success of the nation. When Koizumi Jun'ichiro assumed the post of Prime Minister in early 2001, he was the 1 lth man to hold the position in 13 years. No one during that inter?val held the prime minister's post for even three years, and one man held it for a little as two months.
Uncertainty is at the heart of these stories. When the man who has seen The Elephant Vanishing says that he no longer knows if he can judge the probable results of doing some?thing or not doing it, Murakami, who is hidden in the persona of the narrator, seems to suggest that the people he describes are split. They have been able to slip on the external garb of materi?alist consumers, but have yet to internalize comfortably the meaning of affluence and to reconcile it with their lives and their past, either individually or collectively. Somewhere there is a question of sequence. That is not to say that the sequence of things as they were was always right. Murakami would never suggest that. But he is none the less fascinated by this question: what happens when the sequence is ruptured For what is certain is that the sequence of
things in Japan has been ruptured. And I believe this is one of the reasons we are attract?ed to Murakami. Because although what he puts his finger on with such tact is particularly Japanese, we feel something of the same thing. What was continuous is so no longer. Something is lost. A space has opened up in time. The order of things has been broken. As the narrator in the eponymous story says, "The elephant has vanished... he will never be coming back."
O Simon McBurney, August 2004
Catherine Alexander {Associate Director) studied drama at Manchester University (where she received a Prudhoe award and a Zochonis scholarship to work on theater projects in Poland and Russia) and trained at Ecole Jacques Lecoq and the Laboratoire d'Etude du Mouvement, Paris. Her work for Complicite includes The Chairs, The Caucasian Chalk
Circle, and Out of a house walked a man__
Alexander is artistic director of her own theater company, Quiconque, for whom she has direct?ed Last Laughs, and Big Bad Duvet Terror, she performs in their latest show, Biscuits of Love. Complicite is presenting a tour of Quiconque's production Hideaway this year. Alexander has taught extensively for Complicite as well as for the Royal Academy of Dramatic Arts, Goldsmiths, Central School of Speech and Drama, and Central St. Martins College of Art.
Paul Anderson (Lighting) trained at Mountview Theatre School and York College of Arts and Technology. His work for Complicite includes Measure for Measure, Strange Poetry, The Noise of Time, Light, Mnemonic, and The Chairs. Anderson has also worked on Simon McBurney's production of The Resistible Rise of Arturo Ui (New York). Other lighting design includes Lenny Henry's So Much Things To Say (West End); Cyrano and The Birds (National Theatre); A Servant to Two Masters (Royal Shakespeare Company); Twelfth Night (400th anniversary production for Shakespeare's Globe at Middle Temple Hall); Singer, Americans, and
The Inland Sea (Oxford Stage Company); The Taming of the Shrew (Salisbury Playhouse); 20,000 Leagues Under the Sea, Shoot to Win, Red Riding Hood, Aladdin, and Cinderella (Theatre Royal Stratford East); Simply Heavenly, Arabian Nights, As I Lay Dying, Twelfth Night, Guys and Dolls, and West Side Story (Young Vic); and Pinocchio, The Threesome, and Lyric Nights (Lyric Hammersmith). He has also lit The Christie Brown Exhibition (Fragments of Narrative at the Wapping Hydraulic Power Station); Rediscovering Pompeii (Academia ItalianaIBM Exhibition); and fashion shows for Lancome, ghd, and AI international. In 2001 Anderson received Drama Desk and Lucille Lortel awards for his lighting design in Mnemonic.
Kay Basson (Sound Operator) trained at Bretton Hall. Her work as a sound operator includes Putting It Together, Cabaret (Chichester Festival Theatre), and Little Shop of Horrors (Haymarket Theatre, Basingstoke). Her work as a sound designer includes Shirley Valentine (Derby Playhouse); Forgotten Voices of the Great War (The Pleasance); Grandads Big Adventure, In Celebration, Secret Rapture, Stairs to the Roof, The Misanthrope, and The Lady's Not for Burning (Chichester Minerva); When the World was Green and Beauty Sleeps (Young Vic); and Neville's Island, A Christmas Carol, and Deadly Maneuvers (Haymarket Theatre Basingstoke).
Catherine Binks (Company Stage Manager) For Complicite: Measure for Measure, Strange Poetry, Light, The Chairs, The Caucasian Chalk Circle, and The Three Lives ofLucie Cabrol. She began her career at the Royal Court Theatre Upstairs and subsequently worked with Opera Factory, Mecklenberg Opera, Womens' Playhouse Trust, Donmar Warehouse, Michael White Productions, Young Vic, Shakespeare's Globe, and Plymouth Theatre Royal. Binks was resident company stage manager at the Royal Court from 1998-2002 and has since worked there on the productions A Number, Iron, and Blood.
Ruppert Bohle and Anne O'Connor (Projections) studied photography at the Ecole Nationale de la Photographie in Aries, France. Their work for Complicite includes The Noise of Time as video technicians; also projections for
Simon McBurney's production of The Resistible Rise ofArturo Ui (New York). Other projection design includes 36 Views (Berkeley Repertory TheaterThe Public Theater); Passion Play (Minetta Lane Theatre); and Love Song of]. Robert Oppenheimer (Cincinnati Playhouse). As pro?grammer and consultant, Bohle worked with Jan Hartley, Batwin and Robin, and others at venues including Lincoln Center, The Public Theater, and the Apollo Theater. Bohle was nom?inated for a Drama Desk award for 36 Views.
Christina Cunningham (Costume) For Complicite: Measure for Measure, Strange Poetry, The Noise of Time, Light, Mnemonic, and The Street of Crocodiles (costume supervisor). Cunningham also worked on Simon McBurney's production of The Resistible Rise ofArturo Ui (New York). Other costume design credits include Americans (Oxford Stage Company); Prophet in Exile (Chelsea Centre); De Profundis and Just Not Fair (National TheatreBirmingham Repertory Theatre); and Fire Raisers (Riverside Studios). As costume supervisor: So Long Life (Theatre Royal Bath); The Misanthrope, Hurly Burly, and Prayers ofSherkin (Peter Hall Company); and Personals, The Boyfriend, and Hey Mr. Producer (Lyceum).
Peter Flaherty (Projectionist and Additional Video) directs, designs video projections, and constructs interactive video systems for per?formances and installations internationally. Recent theater credits include Alladeen (The Builders AssociationMoti Roti) and Die Schwartze Spinne (Gotham Chamber Opera); and, as Chris Kondek's associate video designer, Epigraph for a Condemned Book (Houston Grand Opera), Hot Water (Robert WilsonSingapore Arts Festival), and Lumiere Brisee (Centre Pompidou, Paris). Recent installations include post, an interactive video piece with audio by Heaven Phillips, at Fleisher-Ollman Gallery Philadelphia; and Diced Nature, commissioned by Agnes Gund, President Emerita of Museum of Modern Art (MoMA), for which he created custom real-time video software. Previous video installations have been shown at venues including Rosenwald-Wolf Gallery Philadelphia, The Church Gallery Minneapolis, Collision
Festival at MIT Media Lab Cambridge, and Oni Gallery Boston.
Yu Fujisaki (Stage Manager) trained at the Super Staff Yanya. His theater credits include Story of the Two, The Love Story of the Witch, Love Letters, Girls' Time, The Rocky Horror Show, Good, Cinderella Story, and A Classic Act.
Jumpei Fukuda (TechnicalManager) studied at Goldsmiths College, London, and has worked extensively at Setagaya Public Theatre. His theater credits include Alice in Wonderland, Nenem, Roberto Zucco, Les Paravents, Amerika, and Bella e Bestia (a co-production with Teatro Kismet).
Mitsuru Fukikoshi (Performer) has performed in various productions for Wahaha Hompo Theatre Company and Fukikoshi Solo Act Live for which he devises, designs, and performs. His other credits include Gansaku Tsumi to Batsu and Right Eye (written and directed by Hideki Noda); and Ningen Gowasan (written and directed by Suzuki Matsuo). His film credits include White Out and Twilight Samurai.
Alicia Hood (Wardrobe) trained at Glasgow University and Wimbledon School of Art. Her credits include Singer and Americans (Oxford Stage Company); and The History Boys and Buried Child (National Theatre). She has also worked with Look Out Theatre Company, Glasgow, and on several films including a Tartan short, Candyfloss, for the BBC.
Satoshi Kuriyama (Projection Operator) studied at Osaka School of Music and trained at D-Project Corp and Magnux. His theater credits include A Door To Tomorrow, SHOCK, and Dream Boy.
Michael Levine (Design) trained at Central School of Art and Design and works interna?tionally in theater, opera, dance, and film. Levine designed the set for Complicite's Mnemonic. Recent work includes The Ring Cycle (Canadian Opera), Les Boreades (Paris Opera), and Imaginary Friends (Barrymore Theater). With Peter Nigrini, he designed the set for The Orphan of Zhao (English) for Lincoln Center
Festival 2003. Levine's forthcoming work includes Capriccio (Paris Opera) and Elektra by Strauss (Japan). His additional design credits include Paris Opera, Vienna State Opera, English National Opera, Metropolitan Opera, Welsh National Opera, Scottish Opera, San Francisco Opera, National Theatre, Royal Shakespeare Company, the West End, and Broadway. In Canada he has designed for the Shaw Festival, Canadian Stage, Tarragon Theatre, Ex Machina, and Dancemakers. Levine has won a Gemini award, a Paris Critics' prize, Edinburgh Festival drama and music awards, a Dora award, and Toronto Arts award.
Simon McBumey (Director) has performed extensively for theater, radio, film, and TV. His feature films include Sleepy Hollow, Tom and Viv, Being Human, Mesmer, Cousin Bette, Onegin, Eisenstein, Skaggerak (Dogme), and Bright Young Things. Most recently McBurney has worked on The Human Touch, The Reckoning, and The Manchurian Candidate (directed by Jonathan Demme) all for release this year. Co-founder and artistic director of Complicite, he has devised, directed, and per?formed in over 30 Complicite productions and has collaborated on diverse projects including The Vertical line for Artangel with John Berger in the disused Aldwych tube; French and Sounders Live in 2000; The Resistible Rise of Arturo Ui in New York with Al Pacino in the title role; and Lenny Henry's West End debut, So Much Things To Say. For Complicite, he recently directed Measure for Measure at the National Theatre and Strange Poetry, created for the Los Angeles Philharmonic Orchestra in Los Angeles.
Yuko Miyamoto (Performer) has performed in Les Miserables (Cozette), Peter Pan (title role), Kindertransport (Eva), Closer (Alice), The Seagull (Nina, directed by Yukio Ninagawa), Greeks (Iphigenia, directed by Ninagawa), A Midsummer Night's Dream (Hermia), Zeami (Shirabyoshi), Relatively Speaking, and Candide (Pacquette, directed by Amon Miyamoto). Miyamoto has won the following awards: Yomiuri theater award for "Best Newcomer," Sugimura Haruko award for Kindertransport, and Kinokuniya theater award for The Seagull.
Kentaro Mizuki (Performer) studied at Toho College and trained with the En Theatre Company Acting Studio. His theater credits include The Duchess ofMalfi, Electre, Don Doko Don, Makropulos, Watashino Kaneko Misuzu, and A Woman Goes to the East.
Yasuyo Mochizuki (Performer) trained at Ecole Jacques Lecoq. She studied contemporary dance with Peter Gosse and Saburo Teshigawara, butoh with Yukio Waguri, Japanese dance at Hanayagi School, and mime with Company Mine Han. Her work for Complicite includes Strange Poetry. Her other theater cred?its include Monono Kokoro (Festival Extreme-OrientL'Espace Culturel Bertin Poiree), Figures of Women (Masaki IwanaFestival Mimos), How Men Adored the Stars (Compagnie Le Petit ChevalTheatre Gerard Philippe), Seitaigo (Etoko SakaguchiEdinburgh Fringe), and Don Quixote in the Garden Shed (Company Mine Han).
Taro Nakamura (Assistant Stage Manager) studied directing at Nihon University (Tokyo), performance arts at Middlesex University, and trained in technical theater arts at Royal Academy of Dramatic Art. Nakamura was an assistant stage manager for H.M the Queen's Golden Jubilee Procession. Most recently, he has been teaching part-time in Tokyo in Nihon University's theater department.
Nick Schwartz-Hall (Production Manager) previously worked with Complicite on Strange Poetry, The Noise of Time, and Mnemonic (New York). He also worked on Simon McBurney's production of The Resistible Rise of Arturo Ui (New York). His theater credits include Hollywood Arms (Harold Prince); My Old Lady and La Cuadra de Sevilla's Carmen (Richard Frankel Productions); The Persians and Right You Are (National Actors Theater); Engaged; Pericles (BAM); Don Juan, Julius Caesar, The General from America, Andorra, and Cymbeline (Theatre for A New Audience); and Alladeen (The Builders AssociationMoti Roti). His opera credits include The Silver River (TheatreWorks, Singapore). He was also an associate producer for Elizabeth Streb's Action Heroes, production manager for The Public TheaterNY Shakespeare
Festival (1997-2000), and general manager for The American Music Theater Festival (1994-96). He is a partner in The Illustrious Company (UK), with Martyn Ware and Vince Clark; cre?ative associate of The Flying Machine; and a board member for New Georges.
Naomi Shinohara (Wardrobe) trained at the Shochiku Co., Ltd. Her credits include Minatomachi Chigire Gumo, Mitsuya Sezaemon Zan Nichiroku, Doll's House, Ashura Castle's Eyes, A Black Lizard, Susanoo, and The Magic Flute.
Christopher Shutt (Sound) has worked with Complicite on Measure for Measure, Strange Poetry, The Noise of Time, Mnemonic, The Caucasian Chalk Circle, The Three Lives ofLucie Cabrol, Out of a house walked a man..., The Street of Crocodiles, The Winter's Tale, and The Visit. Shutt also worked on Simon McBurney's production of The Resistible Rise of Arturo Ui (New York). Shutt was formerly head of sound at Bristol Old Vic and the Royal Court Theatre where his work includes Serious Money and Road. For 14 years Shutt was sound supervisor at the National Theatre, where work includes Mourning Becomes Electra, Play Without Words, The PowerBook, Humble Boy, Life x 3, Hamlet, Albert Speer, and Not About Nightingales. Shutt won Drama Desk awards for outstanding sound design for Mnemonic and Not About Nightingales.
Keitoku Takata (Performer) trained with Shuji Terayama's Theatre Laboratory "Tenjosajiki." Takata is the founder of Theatre Laboratory Banyuinryoku, for which he has directed and performed extensively. His theater credits include King Lear, Lemming, Roberto Zucco, Twin Star, and Arnerika.
Atsuko Takaizumi (Performer) studied at Waseda University. She is the founder of Yukikai Zenjido Theatre. Her writing and per?formance for that theater include La Vita, Club of Alice, The Dining Table Under The Tree, and A La Carte. Other theater credits include Metamorphosis (directed by Steven Berkoff), The Cherry Orchard (directed by Tadashi Suzuki), and Urinetown (directed by Amon Miyamoto).
Ryoko Tateishi {Performer) trained at the En Theatre Company Acting Studio. Her theater credits include Kean, Macbeth, Greeks, and Shibuya Kara Tooku Hanarete (directed by Yukio Ninagawa); Much Ado About Nothing (directed by Terrence Nap); and Hedda Gabbler (directed by David Leveaux). Her film credits include Izakaya Choji and Ring, Ring, Ring.
Roderick Wilson {Production Carpenter) has worked with Complicite on Strange Poetry, Light, and Mnemonic. His other theater credits include Arlecchino (Battersea Arts Centre) and The Weir (Royal Court). Wilson also does proj?ects for European Opera, Grange Park Opera, and Opera Factory. His TV credits include The Snap, Trauma, Pirates, Mike and Angelo, and The Tomorrow People. His film credits include Blue juice, Without You, and Resurrection Man.
Tetsuya Yamazaki {Lighting Operator) trained at Oba Lighting Laboratory. His theater credits include King Lear, And the World Goes Around, Sweeney Todd, Les Miserables, Man of La Mancha, The King and I, Fiddler on the Roof, The Magic Flute, Madam Butterfly, and Candide.
Complicite celebrates 21 years in 2004. A constantly evolving ensemble of performers and col?laborators led by Simon McBurney, Complicite works in a variety of different media. Pieces range from entirely devised productions to theatrical adaptations and revivals of classic texts. The Elephant Vanishes is part of a celebratory body of work that marks 21 years and includes Strange Poetry in collaboration with the Los Angeles Philharmonic Orchestra at the Walt Disney Concert Hall (January 2004), Measure for Measure at the National Theatre, London (May to July 2004), a revival of The Noise of Time with the Emerson String Quartet in Moscow and Paris (June 2005), and an ambitious project to make a production in an abandoned theater in Alexandra Palace, London (2005).
Setagaya Public Theatre is a non?profit theater funded by the city of Setagaya, the second largest borough in central Tokyo. Since its opening in 1997, Setagaya has become highly acclaimed for producing theater in Japan. Setagaya Public Theatre owns two theaters, the Main Theatre and the Theatre Tram. Its aim is both to produce and present major national and international drama and dance. Visiting artists include Peter Brook, Complicite, Robert Lepage, William Forsythe, Philippe Decoufle, Maggie Marin, Joseph Nadj, the National Theatre (London), and Vidy Theatre (Lausanne). Setagaya Public Theatre is currently collaborat?ing on several new international projects with Simon McBurney and Complicite, Joseph Nadj, French directors (Frederic Fisbach and Antoine Caubet), and East Asian artists. Mansai Nomura has been Artistic Director since 2002.
These performances oThe Elephant Vanishes mark Complicite and the Setagaya Public Theatre's UMS debut.
For Complicite
Artistic Director, Simon McBurney
Producer, Judith Dimant
Administrator, Anita Ashwick
Education and Marketing, Natasha Freedman
Finance, Sharon Kwan
Project Coordinators, Sadie Cook, Polly Stokes
Administrative Assistant, Laura Pickard
Trustees, Catherine Bailey, Roger Graef (Chair), Tom Morris,
Martin Smith, Stephen Taylor Patrons, Terry Gilliam, Sir Jeremy Isaacs, Jonathan Miller
Complicite is funded by Arts Council England and supported by the British Council.
For more information on Complicite, please visit www.complicite.org or e-mail email@complicite.org.
For Setagaya Public Theatre
Managing Director, Taeko Nagai Artistic Director, Mansai Nomura Technical Director, Jun Mano General Producer, Hiroshi Takahagi Producer, Chieko Hosaka Legal Advisor, Kensaku Fukui
For more information on Setagaya Public Theatre, please visit www.setaRaya-ac.or.ipsept.
Acknowledgements
Complicite would like to thank:
Annabel Arden, Simon Auton, Clive Bell, Steven Canny,
Victoria Gould, Niall Black, Tim McMullan, Hideki Noda,
Manabu and Chieri Noda, David Elliott and Shihoko Gomyo at
the British Council Tokyo, Kyoko Yamada, and Flying by Foy.
Music credits
Nils Petter Molvaer: "On Stream""Tlon"O ECM Records 1997;
"Vilderness,"
"Kakonita,""Dead Indeed" O ECM Records 2000. Edmundo Ros: "Corcovado" (RixnerDunn) used courtesy of EMI
Music Publishing.
Atsuhiro Ho: "unnamed track 7" used by permission from Atsuhiro Ito. "From This Moment" and "Persis" by Brian Eno and Peter J. Schwalm,
published by Opal Music, London and BMG. Master licensed by
VirginEMI. "Plateau on Plateau" (p) 2002, taken from the album The Boy and the
Tree,"Shinsen,""Saku"(p) 1999, taken from the album Sakura, writ?ten and produced by Susuma Yokota, published by copyright control
Skintone Records, Japan, under exclusive license to the Leaf Label,
Ltd. Underworld: "Confusion the Waitress" and "Pearl's Girl" written by Karl
Hyde, Richard Smith, and Darren Emerson; "Rowla," and "Stagger"
written by Karl Hyde and Richard Smith, published by Chrysalis
Songs on behalf of Smith Hyde Productions (BMI). Tetuzi Akiyama: "Lethargic" used by permission from "A Bruit Secret"
Record Label. "Himilayan Flight" (Ravi) taken from the album Spirals by The
Overtone Choir. Used by permission, www.theovertonechoir.net Philip Sheppard: "Rain, Steam and Speed" used by permission from
Blues Now Records.
Thomas Koner: "Nuuk" used by permission from Thomas Koner. "Rise" and "Childhood" by Craig Armstrong, EMI Virgin Music, Inc.
Used by permission. Shostakovich Cello Concerto No. 2, "Largo," performed by Mstislav
Rostropovich. Used by permission from Universal Music Group. Koji Asano: "Last Shade of Evening Falls 14" used by permission from
Asano Productions. Paul Schutze: "Writing on Water" used by permission from Paul
Schutze.
Wagner Tannhauser Overture performed by lanowski Philharmonia. "Black Chamber" by David Toop (composed by David ToopTom
Recchion), published by Quartz Publicationscopyright control,
2003, originally released on "Black Chamber" by David Toop (Sub
Rosa SR205,2003). "Harry & Dolly" (HookerDavisMahalRogers) from The Hot Spot film
soundtrack. Used courtesy of Universal Music Group. "Bullitt" (Lalo Shifrin), Warner-Tamerlane Publishing Corp. (BMI) Ail
Rights Reserved. Used by permission.
Angina P: "Sidetracked" used by permission from Chillscape Records. Ryuichi Sakamoto: "Vivre" used by permission from Midi Records. Ryoji Ikeda: Opus 1, third movement. Used courtesy of Touch Music
Forbidden Christmas or The Doctor and The Patient
Written, Directed, and Designed by
Rezo Gabriadze
Cast
Mikhail Baryshnikov
Pilar Witherspoon
Jon DeVries Gregory Mitchell Yvonne Woods
Rezo Gabriadze, Scenic DesignSound CollageCostume Design
Jennifer Tipton, Lighting Design
Ryan McKittrick and Julia Smeliansky, Script Translation
Luis Perez, Choreography
Dmitry Troyanovsky, Assistant Director
David Meschter, Sound Design
Executive Producers Baryshnikov Dance Foundation David Eden Productions Ltd.
Forbidden Christmas or The Doctor and The Patient was created by Rezo Gabriadze in collaboration with the company.
Wednesday Evening, October 27, 2004 at 8:00 Thursday Evening, October 28, 2004 at 8:00 Friday Evening, October 29, 2004 at 8:00 Saturday Afternoon, October 30, 2004 at 2:00 Saturday Evening, October 30, 2004 at 8:00 Sunday Afternoon, October 31, 2004 at 2:00
Power Center Ann Arbor
This performance is approximately 100 minutes in length and does not contain an intermission.
16th, 17th, 18th, 19th, 20th, and 21st Performances of the 126th Annual Season
Fifth Annual Theater Series
The photographing or sound recording of this performance or possession of any device for such photographing or sound recording is prohibited.
Support for the Friday evening performance provided by Dody Viola and Loretta Skewes.
The Saturday evening performance is sponsored by Elastizell Corporation of America.
Media partnership provided by Michigan RadioMichigan Television and Metro Times.
Large print programs are available upon request.
Cast
In order of appearance
Ermonia and various roles
Chito
Tsisana and various roles
Mother, Nunu, and various roles
The Doctor
Gregory Mitchell Mikhail Baryshnikov Pilar Witherspoon Yvonne Woods Jon DeVries
Time and Place
Christmas Eve, 1952. The Soviet Republic of Georgia.
Forbidden Christmas or The Doctor and The Patient premiered on May 13,2004 at the Guthrie Theater, Minneapolis, MN.
About The Story
From childhood to this day I have been enthralled by the company of doctors. I lived in Kutaisi, a town in western Georgia, in a well-known artists courtyard where apart from our family and actors, two remarkable families lived: those of Doctor Lordkipanidze and Doctor Gelovani, great experts in their profession and crystalline persons.
The people of Kutaisi of my childhood remember well one patient who believed that he was a car. In my story his name is Chito.
For the action of the story, I chose the most beautiful time of the year Christmas Eve. However, in those years people could not cele?brate religious holidays openly, they had to cele?brate them in secret.
I wish you many happy Holidays!
Rezo Gabriadze
Rezo Gbbriqdze
Rezo Gabriadze {PlaywrightDirectorScenic DesignerSound CollageCostume Designer) is an internationally acclaimed artist, writer, stage and screen director, producer, and puppeteer. He was born in 1936 in the Republic of Georgia and grew up in Kutaisi, western Georgia. Theater is so much a part of Georgian life that Gabriadze's 48-seat wood frame theater, which he built in 1981, is attached to his cafe For a few years, he traveled, stopping in Russia, France, and Switzerland, and in 1995, he returned to Tbilisi. In 1996, Mr. Gabriadze began to create The Battle of Stalingrad-., the highly acclaimed premiere of this work took place in Dijon, France, and that same year received critical raves at festivals in Weimar, Berlin, Avignon, and Paris. Since then, the production has toured worldwide and received its US premiere at the Kennedy Center in Fall 2000. In addition to his skills as a theatrical and cinematic writer and director, Mr. Gabriadze is an established painter, sculptor, and master of book illustrations. His exhibits have been shown in Moscow, St. Petersburg, Lausanne, Rome, Paris, and Berlin. He was a participant in Munich's From Eisenstein to Tarkovsky exhibition. His paintings, graphics, and sculptures are found in numerous state and private collections in the US, Russia, Germany, Israel, Japan, and France. For his film work, Mr. Gabriadze has won the Grand Prize of the International Moscow Film Festival and the Nike Prize. Among his many distinguished awards, he is the recipient of the Commander of the French Republic Award, The Golden Sofit, The Golden Mask, Laureate of Government Honors of the USSR, and one of Russia's highest honors, The Triumph.
Jennifer Tipton (Lighting Designer) is well known for her work in theater, dance, and opera. Her recent work in opera includes Martin David Levy's Mourning Becomes Electra at the New York City Opera, Janacek's Osud at Bard's Fisher Performing Arts Center, and Don Giovanni at La Monnaie in Brussels. Her recent work in dance includes Paul Taylor's Le Grand Ptippetier and Trisha Brown's Present Tense and Winterreise. In theater her recent work includes Craig Lucas' Small Tragedy at Playwrights Horizon, Harold Pinter's The Birthday Party at the American Repertory, and Poor Theater for the Wooster Group. Ms. Tipton teaches lighting at the Yale School of Drama. She received the Dorothy and Lillian Gish Prize in 2001 and the Jerome Robbins Prize in 2003.
Dmitry Troyanovsky (Assistant Director) most recently staged Frank Wedekind's Spring Awakening at the NYU Tisch School of the Arts. Other recent projects included Diirrenmatt's The Visit and On the Water (his own adaptation of Chekhov's The Seagull). New plays under his direction include The Goldberg Variations and 7248 (an exploration of life in the Israeli military prison). Some of Mr. Troyanovsky's more noted productions were Strindberg's Miss Julie, Heiner Midler's Medeamaterial and the Russian-language premiere of Shepard's Fool for Love at the Pushkin Theatre in Moscow. He is a graduate of the A.R.T. Institute for Advanced Theatre Training at Harvard University. Mr. Troyanovsky is on the faculty at Bard College's theater program.
Luis Perez (Choreographer) is a native of Florida. He was a principal dancer with the Joffrey Ballet for seven years before switching to Broadway where he has been a performer and choreographer. His choreography credits include the Broadway productions of Man of La Mancha, starring Brian Stokes Mitchell and Mary Elizabeth Mastrantonio and The Civil War, directed by Jerry Zaks. He was also fight director on Wild Party, Marie Christine, and Dangerous Games. Off-Broadway, he choreo?graphed Open Hearts, written by and starring Robby Benson; Thunder Knocking..., The Spitfire Grill, Carson McCullers, and Light Years. Other notable productions are Pokemon Live! (director, choreographer) at Radio City Music Hall; Venecia for George Street Playhouse starring Chita Rivera; The Threepenny Opera at ACT, San Francisco star?ring Bebe Neuwirth; and Don't Stop the Carnival (choreographer), written by Jimmy Buffett and Herman Wouk. For film, Mr. Perez choreographed Random Hearts, starring Harrison Ford and Liberty Heights, starring Bebe Neuwirth and Joe Montegna.
David Meschter (Sound Designer) received a degree in audio technology from American University in Washington, DC. He was the sound consultant and repertory musician with the Merce Cunningham Dance Company from 1981 to 1988. He has created sound designs for many organizations and artists including John Cage, LaMonte Young, Pandit Pran Nath, Philip Glass, the American Ballet Theater, Lincoln Center, and Houston Grand Opera. His recent sound designs include The Peony Pavilion,
the epic 18-hour opera revived and reconstructed by Chen Shi-Zheng and Lincoln Center; Edda: Viking Tales of Lust, Revenge and Family, and Obon: Tales of Rain & Moonlight, by Ping Chong. Also Atlas, The Politics of Quiet, Magic Frequencies, and Mercy by Meredith Monk; and Medea on Broadway with Fiona Shaw, directed by Deborah Warner. Mr. Meschter is the sound supervisor for the Lincoln Center Festival.
Mary-Susan Gregson (Stage Manager) has pro?duction coordinated for eight seasons at Lincoln Center Festival, including Peony Pavilion and the Harold Pinter, Brian Friel, and Beckett festivals. At the New Victory, she has stage-managed a dozen shows from the Opening Celebration to The Gruffalo. Other New York credits include Reel to Real, The Prince & The Pauper, The Jazz Nativity, Breaking the Code, and Les Liaisons Dangereuses. Regional credits include McCarter Theatre, Yale Rep, Williamstown Theater Festival, and the Huntington. She has toured with Dance Theatre of Harlem, Elisa Monte, Jennifer Muller, and Pilobolus.
Cindy Tolan (Casting Director) Broadway: Avenue Q, A Year With Frog and Toad, Medea (additional casting). Off-Broadway: Big Bill, The Carpetbagger's Children (Lincoln Center Theater), The Resistible Rise ofArturo Ui (National Actors Theatre), Necessary Targets (Variety Arts), Vienna: Lusthaus (New York Theatre Workshop), In the Blood, Tartuffe, Tongue of A Bird (Public Theatre). Ms. Tolan has been the Vineyard Theatre casting director since 1999. Film: Loggerheads, Duane Hopwood, Kinsey, The Ballad of Jack and Rose, King of the Corner, Casa de los Babys, Personal Velocity, Angela. Television: Wonderfalls (New York Casting). She is a member ofCSA.
Actors
Mikhail Baryshnikov (Chito) was born in Riga, Latvia of Russian parents, where he began studying ballet. He was accepted by the Vaganova School in Leningrad and studied under the renowned teacher Alexander Pushkin. At 18, he entered the Kirov Ballet as a soloist and remained with the company from 1968 to 1974, when he left Russia. From 1974 to 1979, he danced with ballet and
modern companies around the world. He was a principal dancer with the New York City Ballet from 1979 to 1980, and from 1980 until 1989 he was artistic director of American Ballet Theatre. iFrom 1990 to 2002, Mr. Baryshnikov was director and dancer with the White Oak Dance Project, which he co-founded with choreographer Mark Morris. His most recent awards are the Kennedy Center Honors, the National Medal of Arts, the Commonwealth Award, and Yale University's high-jest honor, the Chubb Fellowship. He has starred in several films and has appeared in television and on Broadway. Presently, he is involved in creating the Baryshnikov Arts Center, scheduled to open Winter 2005 in New York City.
Jon DeVries (The Doctor) was most recently seen in the National Actors Theater's production of The Persian ("Dazzling", New York Times). Prior to that, he performed in Richard Nelson's The General From America at the Alley Theatre (in Houston), and in New York City. Broadway: Devour the Snow, Major Barbara, Execution of Justice, Agammenon, Loose Ends, The Cherry Orchard, Inspector General. Off-Broadway: Sight Unseen, Goodnight Children Everywhere, Kit Marlowe, One Flea Spare, Oedipus, The Scarlet Letter, Fragments of a Trilogy, The Good Woman ofSetzuan. Movies and Television: Lianna, City of Hope, Fatman and Littleboy, Joy Luck Club, First Deadly Sin, Sarah: Plain and Tall, Skylark, Pathway to Paradise, Law and Order, Lincoln, Now and Again. Mr. DeVries is also an artistic advisor to the American National Theater.
Gregory Mitchell (Ermonia and various roles) is Brooklyn born and a Juilliard graduate. His Broadway credits include last year's Man of La Mancha (Pedro), Chicago (Casely, Flynn), Dangerous Games (Orfeo), Chronicle of a Death Foretold (Pedro), Steel Pier (Dom), and the Queen's companion (to Chita Rivera's Queen) in Merlin. Television credits include recurring roles on three soap operas, Cosby Mysteries, and Law & Order. Mr. Mitchell's film credits include Carlito's Way, Random Hearts, Cradle Will Rock, Everyone Says I Love You, and Catherine Zeta-Jones' 'late' husband, Charlie, in the Oscar winning Chicago. He originated the role of Chita Rivera's love inter?ests in the Terrence McNallyGraciela Daniele workshop based on Chita's life to open on Broadway
next year and will soon be seen in the upcoming Marc Forster film, Stay.
Pilar Witherspoon {Tsisana and various roles) Off-Broadway: Nia in Fighting Words for the Underwood Theatre at Playwrights Horizons; Elaine in the American premiere of One Good Beating at the Jose Quintero Theatre; Sandra in Beautiful Thing at the Cherry Lane Theatre; AzraGlenna in DestiNation (workshop produc?tion) for 2nd Stage; Adele Natter in Schnitzler's Far & Wide at the Mint Theatre; Solange in The Maids; Lili in Why We Have a Body. Regional cred?its: Lady Macbeth in Macbeth for the Shakespeare Festival of St. Louis; Helena in All's Well That Ends Well at Playmakers Repertory Theatre. At the Shakespeare Theatre in Washington DC: Macbeth starring Stacy Keach, and the Chorus in Michael Kahn's production of Henry V. For the St. Louis Repertory Theatre: Laura in The Glass Menagerie and Regina in Ghosts. At the Alabama Shakespeare Festival: Viola in Twelfth Night; Margaret Moore in A Man For All Seasons; and Maggie Cutler in The Man Who Came to Dinner. At the Indiana Repertory Theatre: Madame George Sand in the world pre?miere of Les Trois Dumas. Other regional credits: The Sundance Theatre Lab, The Sundance Play-wrighting Lab, and the Idaho Shakespeare Festival. Television: Third Watch, Law & Order, and Law & Order: Special Victims Unit. Ms. Witherspoon received her training at The Juilliard School.
Yvonne Woods {Mother, Nunu, and various roles) Off-Broadway: Franny's Way, Playwrights Horizons; Left, New York Stage & Film; The General From America, Theater For A New Audience. Other the?ater credits: Goodnight Children Everywhere, American Conservatory Theater, San Francisco; The General From America, The Alley Theater, Houston; Life's A Dream, Court Theater, Chicago; Madame Melville, The Promenade Theater; Slag Heap, The Cherry Lane Alternative; Bad Juju, Greenwich Street Theater; and a summer at the Williamstown Theater Festival. Television: Law & Order: Criminal Intent. Ms. Woods received her training at The Juilliard School.
Baryshnikov Dance Foundation {Co-Executive Producer) is a 501(c)3 not-for-profit organization dedicated to foster the development of new and experimental work. Under Baryshnikov's active artistic leadership, an international center for interdisciplinary experimentation and collabora?tion will come to life in Winter 2005. Located in the new performing arts complex in New York City, 37th Street Arts, the Baryshnikov Arts Center will provide a unique opportunity for the profes?sional development of emerging and mid-career artists across disciplines, as well as accomplished international artists whose work is lesser known in the US. The Foundation's $30-million capital and endowment campaign for the Baryshnikov Arts Center is now underway.
To find out more information about the Center, please visit www.baryshnikovdancefounda-tion.org.
David Eden Productions, Ltd. (Co-Executive Producer) has been one of the leading American organizations devoted to producing international work in the United States. In 2000 David Eden Productions (DEP) brought Rezo Gabriadze's The Battle of Stalingrad to the John F. Kennedy Center for the Performing Arts in Mr. Gabriadze's US debut. DEP was also responsible for Mr. Gabriadze's subsequent return with The Battle of Stalingrad and Autumn of My Springtime at the 2002 Lincoln Center Festival. Other highlights include: Batsheva Dance Company national tour (1998 and 2004); Declan Donnellan's Boris Godunov national tour (2003); St. Petersburg State Academic Capella national tour (2003); Bolshoi Ballet national tour (2000 and 2002); Gate Theatre Dublin's "Beckett Festival" (2000); John F. Kennedy Center for the Performing Arts: Arts of the United Kingdom (2001), Island: Arts from Ireland (2000), and Art of the State: Israel at 50 (1998); Lev Dodin's Maly Drama Theater of St. Petersburg's Gaudeamus, BAM Next Wave Festivalnational tour (1994); Brothers and Sisters, Lincoln Center Festival (2000); Kirov BalletVaganova Ballet Academy Project, BAM (1998); and "Russian Village Festival" national tour (1990, 1991, 1995, and 1997).
Baryshnikov Dance Foundation
Managing Director, Christina L. Sterner
Director of Administration & Finance, Huong Hoang
Assistant to the Managing Director, Kim Mach
Staff for Forbidden Christmas or The Doctor and The Patient
Production Supervisor, Christopher Buckley Company Manager, Travis Fritsche Stage Manager, Mary-Susan Gregson Lighting Supervisor, Leo Janks Tour Production Manager, Patrice Thomas Head Technician, Albert Chini Sound Operator, Ryan Richards Assistant PropsWardrobe, Sara Overgaard
Assistant to the DirectorInterpreter, Regina Kozakova
Technical Director for Mr. Gabriadze, Vladimer Meltser
Assistant to Mr. Eden, Erica Charpentier
Music Editor, Ellen Japaridze
Assistant Lighting Designer, Scott Bolman
Wardrobe Supervisor, Helen Rodgers
Casting, Cindy Tolan, CSA
Acknowledgments
The Baryshnikov Dance Foundation is supported, in part by The Howard Gilman Foundation. Our heartfelt thanks to them.
The co-commissioning partners of the production Forbidden Christmas or The Doctor and The Patient are the Guthrie Theater, the Spoleto Festival USA, Cal Performances, Lincoln Center Festival for the Performing Arts, The Carlsen Center at Johnson County Community College, Krannert Center for the Performing Arts, University Musical Society (UMS), The Bushnell Center for the Performing Arts, The John F. Kennedy Center for the Performing Arts, and UCLA Live.
This production is supported in part by grants from Altria, the Trust for Mutual Understanding, and the 2004 ArtsLink Independent Projects Award, a program of CEC ArtsLink. Baryshnikov Dance Foundation also thanks Movado for its support.
The Actors and Stage Managers employed in this production are members of Actor's Equity Association, the Union of Professional Actors and Stage Managers in the United States.
The Choreographer is a member of the Society of Stage Directors and Choreographers, Inc., an independent national labor union.
This Theater operates under an agreement between the League Of Resident Theatres and Actor's Equity Association, the Union of Professional Actors and Stage Managers in the United States.
Accountant, Bruce Nadell, Padell Nadell Fine Weinberger, LLP Travel Arrangement, Ilene Furgang Travel Service
MS experience
1 o c t ii ii ni p r r a o n 11
September 04 Q lease note that a complete Fri 17 Lincoln Center Jazz Orchestra listing of all UMS Educa-
with Wynton Marsalis tional Pr?grams is conveniently
_, r, cu i located within the concert pro-Thu 23 Ravi Shankar . , v
gram section or your program
San 26 Emerson String Quartet book and is posted on the
UMS website at www.ums.org.
October
Sat 2 An Evening with Dave Brubeck
Sun 3 Laurie Anderson: The End of the Moon
Fri-Sat 8-9 Paul Taylor Dance Company
Sat 9 Paul Taylor Dance Company One-Hour Family Performance
Wed 13 Akira Kasai: Pollen Revolution
Fri 15 Leipzig Gewandhaus Orchestra with Mikhail Pletnev, piano
Sat 16 Marcel Khalife and the Al Mayadine Ensemble
Wed-Sat 20-23 Complicite: The Elephant Vanishes
Wed-Sun 27-31 Rezo Gabriadze: Forbidden Christmas or The Doctor and The Patient
November
Thu 4 Le Concert Spirituel
Fri 5 Kopelman Quartet
Tue 9 St. Petersburg Philharmonic
Fri 12 Kremerata Baltica with Gidon Kremer, violin
Sat 13 E.S.T. (Esbjorn Svensson Trio) and The Bad Plus
Sun 14 Ensemble Al-Kindi and the Whirling Dervishes of Damascus
Tue 23 Measha Brueggergosman, soprano
December
Sat-Sun 4-5 Handel's Messiah
Sat 11 Anne Sofie von Otter, mezzo-soprano
January 05
Wed 12 Sam Shalabi: The Osama Project
Thu 13 Stephanie Blythe, mezzo-soprano
Fri 14 D.J. Spooky: Rebirth of a Nation
Sun-Mon 16-17 Ronald K. BrownEvidence
Wed 26 Lahti Symphony Orchestra with Louis Lortie, piano
Sun 30 Audra McDonald
February
Sat-Sun 5-6 New York Philharmonic
Thu 10 Netherlands Wind Ensemble
Fri-Sat 11-12 Rennie Harris Puremovement: Facing Mekka
Sun 13 Michigan Chamber Players (Complimentary Admission)
Fri 18 Soweto Gospel Choir
Sat 19 Jack Dejohnette Latin Project
Sun 20 Takacs Quartet: Complete Bartok String Quartet Cycle
Mon-Wed 21-23 Kodo Drummers
Fri 25 A Midsummer Night's Dream: A Semi-Staged Performance
March
Sat 5 Dan Zanes and Friends Family Performance
Wed 9 Florestan Trio
Thu 10 Fred Hersch Ensemble: Leaves of Grass
Thu-Sun 10-13 Robert Lepage: 77ie Far Side of the Moon
Sat 12 Oslo Philharmonic with Anne-Sophie Mutter, violin
Sat 19 James Galway, flute and Lady Jeanne Galway, flute
April
Fri-Sat 1-2 Emio Greco PC
Sat 2 UMS Choral Union: Haydn's Creation
Fri 8 Trio Mediaeval
Sat 9 Malouma
Sun 10 Songs of the Sufi Brotherhood
Wed 13 Chamber Orchestra of Philadelphia with Ignat Solzhenitsyn, piano
Thu 14 La Capella Reial de Catalunya and Le Concert des Nations
Wed 20 Felicity Lott, soprano and Angelika Kirchschlager, mezzo-soprano
Thu 21 John Scofield Trio and Brad Mehldau Trio
Thu 28 Jerusalem Quartet
May
Sat 14 Ford Honors Program: Artist to be Announced
UMS EDUCATION PROGRAMS
UMS's Education and Audience Development Program deepens the relationship between audiences and art, and raises awareness of the impact the performing arts can have on our community. The program creates and presents the highest quality arts education experience to a broad spectrum of community constituencies, proceeding in the spirit of partnership and collaboration.
The UMS Education and Audience Develop?ment Department coordinates dozens of events with over 100 partners that reach more than 50,000 people annually. It oversees a dynamic, comprehensive program encompassing com?munity receptions; artist interviews; workshops; in-school visits; master classes; lectures; youth, teen, and family programs; educator profes?sional development; curriculum development; and much more.
UMS Community Education Program
Details about educational events are posted at www.ums.org one month before the per?formance date. To receive information and e-mail reminders about UMS educational events, join the UMS E-Mail Club at www.ums.org. For immediate information, e-mail umsed@umich.edu, or call the numbers listed below.
UMS Partnership Program
If you represent an organization that would like to work in collaboration with UMS to create education events or attend performances and community receptions, please call 734.764.6179.
African American Arts Advocacy Committee -The NETWORK
If you are interested in networking with the African American community and supporting African American artistry and performance, please call 734.764.6179.
Arab World Festival Honorary Committee
If you would like to be involved in the upcom?ing Arab World Music Festival and support Arab World programming, education, and community building, please call 734.764.6179.
Educational Programs
UMS hosts a wide variety of educational opportunities that provide context and inform audiences about the artists, art forms, and cul?tures we present. For more information about this program, please call 734.647.6712 or e-mail umsed@umich.edu. Events include:
PREPs pre-performance lectures
Meet the Artists post-performance artist interviews
Artist Interviews public dialogues with performing artists
Master Classes interactive workshops
PanelsSymposia expert-led, university-based presentations
Study Clubs in-depth adult education related to a specific art form
Artist-in-Residence artists teach, create, and meet with community groups, university units, and schools.
UMS Youth, Teen, and Family Educatior
UMS has one of the largest K-12 arts educa?tion initiatives in the State of Michigan. For more information, or to become involved, please call 734.615.0122 or e-mail umsyouth@umich.edu.
200405 Youth Performance Series
These daytime performances serve pre-K through high school students. The 0405 series features special youth performances by:
Lincoln Center Jazz Orchestra with Wynton Marsalis
Paul Taylor Dance Company
DJ Spooky: Rebirth of Nation
Sphinx Competition
Ronnie Harris Puremovemeni
Dan Zanes and Friends
Malouma
Teacher Workshop Series
UMS offers two types of K-12 Educator Workshops: Performing Arts Workshops and Kennedy Center Workshops. Both types focus on teaching educators techniques for incorpo?rating the arts into classroom instruction. This year's Kennedy Center Workshop Series will feature a return engagement by noted instructor Sean Layne who will be leading two sessions:
Preparing for Collaboration: Theater Games and Activities that Promote Team-Building and Foster Creative and Critical Thinking Acting Right: Drama as a Classroom Management Strategy
Michelle Valeri, a singer, songwriter, and chil-Iren's entertainer, will lead a workshop entitled:
Story Songs for the Young Child
Workshops focusing on UMS Youth Perform?ances are:
Paul Taylor Dance Company: Dance is Art, Music, and Storytelling led by Susan Filipiak
Punch's Progress: A Brief History of the Puppet Theater led by Lawrence Baranski
Arts Advocacy: You Make the Difference led by Lynda Berg
Race, Identity and Art: Getting Beyond the Discomfort of Talking About "Normal" led by Marguerite Vanden Wyngaard and Rowyn Baker
Facing Mekka: Hip Hop in Academic and Theatrical Context led by Mark Bamuthi Joseph and members of Rennie Harris Puremovement
Malouma: The Culture, Dance, and Music of Mauritania led by Ibrahima Niang, African Cultural Ambassador, and Mame Lo Mor and Fatou Lo, members of the local Mauritanian community
K-12 Arts Curriculum Materials
UMS educational materials are available online at no charge to all educators. All materials are designed to connect with curriculum via the Michigan State Benchmarks and Standards.
Teen Tickets and Breakin' Curfew As part of UMS's teen initiative, teens may attend public UMS performances at a special discount. Visit www.ums.org to download a special Teen Ticket coupon. Breakin' Curfew is an annual event showcasing teen talent, pre?sented in collaboration with Neutral Zone.
Family Programming and Ann Arbor Family Days UMS offers reduced-priced, one-hour, family friendly performances and workshops. Ann Arbor Family Days features special family pro?gramming from numerous Ann Arbor cultural organizations. For more information, please call 734.615.0122.
UMS Teacher Advisory Committee This group is comprised of educators, school administrators, and K-12 arts education advo?cates who advise and assist UMS in determin?ing K-12 programming, policy, and professional development. To join, please call 734.615.4077 or e-mail umsvouth@umich.edu.
UMS is a partner with the Ann Arbor Public Schools and the Washtenaw Intermediate School district as part of the Kennedy Center: Partners in Education program. UMS also participates in the Ann Arbor Public School's
Partners in Excellence program.
The UMS Youth Education Program was designated as a "Best Practice" program by ArtServe Michigan and the Dana Foundation.
UMS PREFERRED RESTAURANT & BUSINESS PROGRAM
Join us in thanking these fine area restaurants and businesses for their generous support of UMS:
American Spoon
539 East Liberty997.7185
Bella Ciao Trattoria
118 West Liberty995.2107
The Blue Nile Restaurant
221 East Washington 998.4746
The Earle
121 West Washington 994.0211
The Earle Uptown
300 South Thayer 994.0222
Great Harvest Bread Company 2220 South Main 996.8890
King's Keyboard House
2333 East Stadium 663.3381
Laky's Salon
512 South Main 668.8812
Michigan Car Services, Inc.
30270 Spain Court, Romulus 800.561.5157
Paesano's Restaurant
3411 Washtenaw 971.0484
Pen in Hand
207 South Fourth 662.7276
Red Hawk Bar 8c Grill 316 South State 994.4004
Schakolad Chocolate Factory
110 East Washington 213.1700
Weber's Restaurant and Hotel 3050 Jackson Avenue 769.2500
Zanzibar
216 South State994.7777
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. 647.8009 or visit UMS online at www.ums.org.
Cast Yourself in a Starring ple
Support the University 9Ausical Society
The exciting programs described in this program book are made possible by the generous support of UMS donors--dedicated friends who value the arts in our community and step forward each year to pro?vide financial support. Ticket rev?enue covers only 56 of the costs assoaated with presenting our sea?son of vibrant performances and related educational programs. UMS donors--through their generous annual contributions--help make up the difference. In return, they 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.
Presenters Circle
J S25,000 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
? $7,500-59,999 Virtuoso ($150)
Concertmaster benefits, plus:
Guest of UMS at a special thank-you event
? $5,000-57499 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
? $3,500-$4,999 Producer ($150)
Leader benefits, plus:
Complimentary valet parking for Choral Union Series performances at UM venues
Invitation to selected Audience Youth Performances
? $2,500-53,499 Leader ($85)
Principal benefits, plus:
Opportunity to purchase prime seats 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 $500-5999 Benefactor
Associate benefits, plus:
Half-price tickets to selected performances
G $250-5499 Associate
Advocate benefits, plus:
Listing in UMS Program
J 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 fifi
Please check your desired giving level above and complete the form below or visit us online at www.ums.org.
Namels)
(Print names exactly as you wish them to appear in UMS listings) Address
City___________________________________________State____________________________________________Zip_____________________________
Day Phone_____________________________________Eve.. Phone________________________________________E-mail__________________________
Comments or Questions
Please make checks payable to University Musical Society
Gifts of $50 or more may be charged to: J VISA Q MasterCard _l Discover _l American Express
Account It_________________________________________________________________________________________________Expiration Date________
Signature______________________________________________________________________________________________________________________
Q 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 vol?unteers can lend their expertise and enthusiasm. We would like to wel?come you to the UMS family and involve you in our exciting programming and activities. We rely on volunteers for a vast array of activities, including staffing educational residency activi?ties, assisting in artist services and mailings, escorting students for our popular youth per?formances, and a host of other projects. Please call 734.936.6837 to request more information.
ADVISORY COMMITTEE
The 53-member UMS Advisory Committee serves an important role within UMS. From
ushering for our popular Youth Performances i 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. I If you would like to become involved with this
dynamic group, please call 734.647.8009.
SPONSORSHIP 8 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 the 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, please call 734.647.1176.
Internships & College Work-Study
Internships with UMS provide experience in j performing arts administration, marketing, ticket sales, programming, production, and arts I education. Semesterand year-long unpaid i 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 are 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 apart from others.
The UMS Usher Corps is comprised of over 400 individuals who volunteer their time to make your concert-going experience more pleas?ant and efficient. Orientation and training ses?sions are held each fall and winter, and are open to anyone 18 years of age or older. Ushers may commit to work all UMS performances in a spe?cific venue or sign up to substitute for various performances throughout the 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
The artistic presentations and educational programs that UMS brings to the community each season are sup?ported by generous gifts from individuals, businesses, founda?tions, and government agencies. On the following pages, we have listed those who have chosen to make a difference for UMS by supporting us with an annual gift to operations or endowment. This list includes current donors as of August 2,2004. Every effort has been made to ensure its accuracy. Please call 734.647.1175 with any errors or omissions.
SOLOISTS
$25,000 or more
Randall and Mary Pittman Philip and Kathleen Power
MAESTROS
$10,000-$24,999
Carl and Isabelle Brauer
Ralph G. Conger
Robert and Pearson Macek
Paul and Ruth McCracken
Tom and Debby McMullen
Mrs. Robert E. Meredith
Prudence and Amnon Rosenthal
Joe and Yvonne Sesi
Ann and Clayton Wilhite
VIRTUOSI
$7,500-$9,999
Maurice and Linda Binkow
Pauline De Lay
Toni M. Hoover
Edward and Natalie Surovell
CONCERTMASTERS
$5,000-$7,499
Michael Allemang
Herb and Carol Amster
Emily W. Bandera, M.D. and Richard H. Shackson
June Bennett
Kathy Benton and Robert Brown
Albert M. and Paula Berriz
Barbara Everitt Bryant
Thomas and Marilou Capo
Dave and Pat Clyde
Douglas D. Crary
Jack and Alice Dobson
Molly Dobson
Mr. and Mrs. Thomas C. Evans
Ken and Penny Fischer
Ilene H. Forsyth
Friends of Hill Auditorium
David and Phyllis Herzig
David and Sally Kennedy
Robert and Gloria Kerry
icertnmsters, com.
Leo and Kathy Legatski Dr. and Mrs.
Richard H. Lineback Charlotte McGeoch Julia S. Morris Charles H. Nave Gilbert Omenn and
Martha Darling John Psarouthakis and
Antigoni Kefalogiannis Mr. Gail W. Rector Maria and Rusty Restuccia Richard and Susan Rogel Don and Judy Dow Rumelhart Loretta M. Skewes James and Nancy Stanley Lois and Jack Stegeman Susan B. Ullrich Gerald B. and
Mary Kate Zelenock
PRODUCERS
$3,500-4,999 Robert and Victoria Buckler Dr. Kathleen G. Charla Katharine and Jon Cosovich Jim and Patsy Donahey Mr. and Mrs. George W. Ford Beverley and Gerson Geltner Betty-Ann and Daniel Gilliland Dr. Sid Gilman and
Dr. Carol Barbour Debbie and Norman Herbert Carl and Charlene Herstein Keki and Alice Irani Susan McClanahan and
Bill Zimmerman M. Haskell and
Jan Barney Newman Lois A. Theis Dody Viola
Marina and Robert Whitman Marion T. Wirick and
James N. Morgan
LEADERS
$2,500-$3,499
Bob and Martha Ause
Essel and Menakka Bailey
Karl Bartscht
Raymond and Janet Bernreuter
Suzanne A. and Frederick J.
Beutler Edward and Mary Cady
J. Michael and Patricia Campbell Mary Sue and Kenneth Coleman Lorenzo DiCarlo and
Sally Stegeman DiCarlo Dr. and Mrs. Theodore E.
Dushane
David and Jo-Anna Featherman John and Esther Floyd Michael and Sara Frank Sue and Carl Gingles Linda and Richard Greene Janet Woods Hoobler Shirley Y. and Thomas E. Kauper Dorian R. Kim
Amy Sheon and Marvin Krislov Jill M. Latta and David S. Bach Marc and Jill Lippman Sally and Bill Martin Judy and Roger Maugh Ernest and Adele McCarus Martin Neuliep and Patricia
Pancioli
Virginia and Gordon Nordby Mrs. Charles Overberger (Betty) Dory and John D. Paul Eleanor and Peter Pollack Jim and Bonnie Reece John and Dot Reed Barbara A. Anderson and
John H. Romani Alan and Swanna Saltiel Sue Schroeder Edward and Jane Schulak Helen L. Siedel Don and Carol Van Curler Karl and Karen Weick B. Joseph and Mary White
PRINCIPALS
$1000-$2,499
Dr. and Mrs. Gerald Abrams Mrs. Gardner Ackley Jim and Barbara Adams Bernard and Raquel Agranoff Dr. and Mrs. David G. Anderson Rebecca Gepner Annis and
Michael Annis Jonathan W. T. Ayers Laurence R. and Barbara K. Baker Dr. and Mrs. Robert Bartlett Bradford and Lydia Bates Astrid B. Beck and
David Noel Freedman Frederick W. Becker Ralph P. Beebe Patrick and Maureen Belden Ruth Ann and Stuart J. Bergstein Philip C. Berry
loan Akers Binkow Elizabeth and Giles G. Bole Howard and Margaret Bond Sue and Bob Bonfield Charles and Linda Borgsdorf Laurence and Grace Boxer Dr. and Mrs. Ralph Bozell Dale and Nancy Briggs Jeannine and Robert Buchanan Lawrence and Valerie Bullen Laurie Bums Letitia J. Byrd Amy and Jim Byrne Barbara and Albert Cain Jean W. Campbell Jean and Bruce Carlson Carolyn M. Carty and
Thomas H. Haug Janet and Bill Cassebaum Anne Chase
Don and Betts Chisholm Leon Cohan
Hubert and Ellen Cohen Cynthia and Jeffrey Colton Jim and Connie Cook Jane Wilson Coon and
A. Rees Midgley, Jr. Anne and Howard Cooper Susan and Arnold Coran Paul N. Courant and
Marta A. Manildi Julie F. and Peter D. Cummings Richard J. Cunningham Peter and Susan Darrow Lloyd and Genie Dethloff Steve and Lori Director Andrzej and Cynthia Dlugosz Al Dodds
Elizabeth A. Doman John Dryden and Diana Raimi Martin and Rosalie Edwards Charles and Julia Eisendrath Joan and Emil Engel Dr. and Mrs. John A. Faulkner Eric Fearon and Kathy Cho Yi-tsi M. and Albert Feuerwerker Ray and Patricia Fitzgerald Bob and Sally Fleming James and Anne Ford Marilyn G. i ..tllatin Kenneth J. Robinson Marilyn Tsao and Steve Gao Thomas and Barbara Gelehrter William and Ruth Gilkey Mr. and Mrs. Clement Gill Paul and Anne Glendon Cozette Grabb Elizabeth Needham Graham Jeffrey B. Green John and Helen Griffith
Principals, com.
Martin D. and Connie D. Harris Julian and Diane Hoff Carolyn Houston Raymond and Monica Howe Robert M. and Joan F. Howe Drs. Linda Samuelson and
Joel Howell
Dr. H. David and Dolores Humes John and Patricia Huntington Thomas and Kathryn Huntzicker Susan and Martin Hurwitz Timothy and Jo Wiese Johnson Robert L. and Beatrice H. Kahn Dr. and Mrs. Robert P. Kelch James and Patricia Kennedy Connie and Tom Kinnear Diane Kirkpatrick Philip and Kathryn Klintworth Carolyn and Jim Knake Charles and Linda Koopmann Samuel and Marilyn Krimm Michael and Barbara Kusisto Marilyn and Dale Larson Ted and Wendy Lawrence Peter Lee and Clara Hwang Donald J. and Carolyn Dana Lewis Carolyn and Paul Lichter Evie and Allen Lichter Lawrence and Rebecca Lohr Leslie and Susan Loomans Mark and Jennifer LoPatin Richard and Stephanie Lord John and Cheryl MacKrell Jeff Mason and Janet Netz Natalie Matovinovic Joseph McCune and
Georgiana Sanders Rebecca McGowan and
Michael B. Staebler Ted and Barbara Meadows Leo and Sally Miedler Candy and Andrew Mitchell Lester and Jeanne Monts Alan and Sheila Morgan lane and Kenneth Moriarty Melinda and Bob Morris Edward Nelson
Dr. and Mrs. Frederick C. O'Dell William C. Parkinson Margaret and Jack Petersen Elaine and Bertram Pitt Mrs. Gardner C. Quarton Donald H. Regan and
Elizabeth Axelson Kenneth J. Robinson Rosalie and Martin Edwards Patrick and Margaret Ross Craig and Jan Ruff Nancy and Frank Rugani Dick and Norma Sarns
Maya Savarino
Meeyung and Charles R. Schmitter
Mrs. Richard C. Schneider
Ann and Thomas J. Schriber
John J. H. Schwarz
Erik and Carol Serr
Janet and Michael Shatusky
J. Barry and Barbara M. Sloat
Kate and Philip Soper
Lloyd and Ted St. Antoine
Gus and Andrea Stager
Michael and Jeannette Bittar Stern
Victor and Marlene Stoeffler
Dr. and Mrs. Stanley Strasius
Charlotte B. Sundelson
Katharine and Jan Svejnar
Jim Toy
Joyce A. Urba and David J. Kinsella
Jack and Marilyn van der Velde
Rebecca W. Van Dyke
Florence S. Wagner
Jack Wagoner, M.D.
Raven Wallace
Elise Weisbach
Robert O. and Darragh H. Weisman
Scott Westerman
Roy and JoAn Wetzel
Harry C. White and
Esther R. Redmount Max Wicha and Sheila Crowley Prof, and Mrs. Charles Witke Paul Yhouse Edwin and Signe Young
BENEFACTORS
$500-$999
Thomas and Joann Adler
Dr. and Mrs. Robert G. Aldrich
Anastasios Alexiou
Dr. and Mrs. Rudi Ansbacher
Robert L. Baird
Lisa and Jim Baker
M. A. Baranowski
Alex W. and Gloria L. Barends
Norman E. Barnett
Mason and Helen Barr
L. S. Berlin
Sara Billmann and Jeffrey Kuras
John Blankley and Maureen Foley
Donald and Roberta Blitz
Tom and Cathie Bloem
Dr. and Mrs. Ronald Bogdasarian
Susan Bozell
Paul and Anna Bradley
Morton B. and Raya Brown
June and Donald R. Brown
Dr. Frances E. Bull
Mr. and Mrs. Richard J. Burstein
H. D. Cameron
Janice A. Clark
Lois and Avern Cohn
Malcolm and Juanita Cox
Sally A. Cushing
Roderick and Mary Ann Daane
Charles and Kathleen Davenport
Judge and Mrs. S. J. Elden
Stefan S. and Ruth S. Fajans
Elly and Harvey Falit
Dr. and Mrs. John A. Faulkner
Sidney and Jean Fine
Carol Finerman
Harriet and Daniel Fusfeld
Professor and Mrs. David M. Gates
Drs. Steve Geiringer and Karen Bantel
Beverly Gershowitz
Richard and Cheryl Ginsburg
Alvia G. Golden and
Carroll Smith-Rosenberg Amy and Glenn Gottfried Mrs. Cozette T. Grabb Jenny Graf
Mr. and Mrs. Robert C. Graham Dr. John and Renee M. Greden Sharon and Lazar J. Greenfield Bob and Jane Grover David and Kay Gugala Don P. Haefner and Cynthia J. Stewart Helen C. Hall Yoshiko Hamano Mr. and Mrs. Elmer F. Hamel Susan A. Hamilton Susan Harris Sivana Heller Lee Hess
Mrs. W.A. Hiltner Sun-Chien and Betty Hsiao Mrs.V.C.Hubbs Harry and Ruth Huff Ann D. Hungerman Eileen and Saul Hymans Jean Jacobson
Emily Avers and Mark Jacobson Elizabeth Jahn Rebecca S. Jahn Lester Johns Ben M. Johnson John B. and Joanne Kennard Rhea Kish Michael J. Kondziolka and
Mathias-Philippe Florent Badin Dr. Melvyn and Mrs. Linda Korobkin Bert and Gcraldine Kruse Bud and Justine Kulka John K. and leanine Lawrence Laurie and Robert LaZebnik Richard LeSueur Julie M. Loftin E. Daniel and Kay Long Brigitte and Paul Maassen Deborah and Michael Mahoney Nicole Manvel Catherine and Edwin L. Marcus
Benefactors, com.
Ann W. Martin and Russ Larson
Carole Mayer
Micheline Maynard
Griff and Pat McDonald
Bcrnice and Herman Merte
Henry D. Messer Carl A. House
Kathryn and Bertley Moberg
Cyril Moscow
Todd Mundt
Lisa Murray and Mike Gatti
Gerry and Joanne Navarre
Marylen and Harold Oberman
Robert and Elizabeth Oneal
Kathleen I. Operhall
Nicole Paoletti
lohn Peckham
Wallace and Barbara Prince
Leland and Elizabeth Quackenbush
Margaret lane Radin
Mrs. Joseph S. Radom
Jeanne Raisler and Jon Cohn
Ms. Claudia Rast
Anthony L. Reffells and
Elaine A. Bennett Rudolph and Sue Reichert Mamie Reid
Jay and Machree Robinson lonathan and Anala Rodgers Lisa Rozek Alicia Schuster Mrs. Harriet Selin Frances U. and Scott K. Simonds Robert and Elaine Sims Irma J. Sklenar
James Skupski and Dianne Widzinski Donald C. and Jean M. Smith Shelly Soenen and Michael Sprague Dr. Hildreth H. Spencer Neela Sripathi David and Ann Staiger Bert and Vickie Steck Virginia and Eric Stein Maryanne Telese Elizabeth H. Thieme Catherine Thoburn Merlin and Louise Townley William C. Tyler Dr. Sheryl S. Ulin and Dr. Lynn T.
Schachinger Elly Wagner Don and Toni Walker Robert D. and Liina M. Wallin lohn M. Weber
Deborah Webster and George Miller Raoul Weisman and Ann Friedman Angela and Lyndon Welch Dr. Steven W. Werns Reverend Francis E. Williams Mayer and Joan Zald
ASSOCIATES
$250-$499
Michael and Marilyn Agin
Roger Albin and Nili Tannenbaum
Christine Webb Alvey
Helen and David Aminoff
Harlene and Henry Appelman
Mr. and Mrs. Arthur J. Ashe III
Dan and Monica Atkins
Barbara B. Bach
Reg and Pat Baker
Paulett Banks
Mr. and Mrs. John and Ginny Bareham
David and Monika Barera
Lois and David Baru
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 Steven 1. Bernstein and Maria Herrero Jack Billi and Sheryl Hirsch Dene and William Birge Bob and Sharon Bordeau Victoria C. Botek and William M.
Edwards
Mr. and Mrs. Richard Boyce C. Paul and Anna Y. Bradley William R. Brashear Sue and Noel Buckner Trudy and Jonathan Bulkley Frank and Kathy Cambria Valerie and Brent Carey Jean and Kenneth Casey Tsun and Siu Ying Chang Kwang and Soon Cho Dr. Kyung and Young Cho Reginald and Beverly Ciokajlo Brian and Cheryl Clarkson Dr. and Mrs. Harvey Colbert Theodore and Sandra Cole Wayne and Melinda Colquitt Edward f. and Anne M. Comeau Carolyn and L. Thomas Conlin Lloyd and Lois Crabtree Mr. Michael J. and Dr. loan S. Crawford Merle and Mary Ann Crawford Peter C. and Lindy M. Cubba Mary R. and lohn G. Curtis Marcia A. Dalbey Sunil and Merial Das Art and Lyn Powrie Davidge Ed and Ellie Davidson Hal and Ann Davis John and lean Debbink Nicholas and Elena Delbanco Elizabeth Dexter Judy and Steve Dobson Cynthia Dodd Heather and Stuart Dombey Rev. Dr. Timothy J. Dombrowski Thomas and Esther Donahue Cecilia and Allan Dreyfuss Elizabeth Duell Aaron Dworkin
Morgan H. and Sara O. Edwards
Dr. Alan S. Eiser
Dr. Stewart Epstein
John W. Etsweilcr III
Phil and Phyllis Fellin
Dr. James F. Filgas
Susan FilipiakSwing City Dance Studio
Herschel and Adrienne Fink
Paula L. Bockenstedt and David A. Fox
Howard and Margaret Fox
Jason I. Fox
Dr. Ronald Freedman
Lynn A. Freeland
Dr. Leon and Marcia Friedman
Philip and Renee Frost
Lela J. Fuester
Mr. and Mrs. William Fulton
Ms. Patricia Garcia
Tom Gasloli
Deborah and Henry Gerst
Beth Genne and Allan Gibbard
Paul and Suzanne Gikas
Elmer G. Gilbert and Lois M. Verbrugge
Zita and Wayne Gillis
Maureen and David Ginsburg
Jack and Kathleen Glezen
Enid M. Gosling
Mr. and Mrs. Charles Goss
James W. and Maria J. Gousseff
Helen M. Graves
Mr. and Mrs. Saul A. Green
Ingrid and Sam Gregg
Bill and Louise Gregory
Raymond and Daphne M. Grew
Mark and Susan Griffin
Werner H. Grilk
Ken and Margaret Guire
Michio Peter and Anne Hagiwara
Tom Hammond
Robert and Sonia Harris
Naomi and Theodore Harrison
Henry R. and Lucia Heinold
). Lawrence and
Jacqueline Stearns Henkel Kathy and Rudi Hentschel Herb and Dee Hildebrandt James Hilton
Peter Hinman and Elizabeth Young Jeffrey and Allison Housner Mabcllc Hsueh lane H. Hughes Ms. Beverly P. Jahn Marilyn G. Jeffs Elizabeth Judson Johnson Paul and Olga Johnson Christopher P. and Sharon Johnson Dr. and Mrs. Mark S. Kaminski Olof Karlstrom and Olivia Maynard Arthur A. Kasclemas Herbert and lane M. Kaufer Allan S. Kaufman, MD Evan Cohen and Deborah Keller-Cohen Frank and Patricia Kennedy Linda Atkins and Thomas Kenncy George L. Kenyon and Lucy A. Waskell Mr. and Mrs. Roland Kibler Donald F. and Mary A. Kiel Rhea Kish
Associates, cont.
James and Jane Kister
Steve and Shira Klein
Laura Klcm
Anne Kloack
Joseph and Marilynn Kokoszka
John Koselka
Dr. and Mrs. Gerald Krause
Bert and Gcraldine Kruse
Bert and Catherine La Du
Neal and Ann Laurence
John and Theresa Lee
Derick and Diane Lenters
Sue Leong
Myron and Bobbie Levine
Jacqueline H. Lewis
Daniel Little and Bernadettc Lintz
Vi-Cheng and Hsi-Yen Liu
Dr. and Mrs. Lennart H. Lofstrom
Naomi E. Lohr
Ronald Longhofer and Norma McKenna
Florence LoPatin
Judy Mac
Pamela J. MacKintosh
Mark Mahlberg
Claire and Richard Malvin
Latika Mangrulkar
Melvin and lean Manis
Esther Martin
Chandler and Mary Matthews
Margaret E. McCarthy
Margaret and Harris McClamroch
Peggy McCracken
Michael G. McGuire
Eileen Mclntosh and Charles
Schaldenbrand Joann McNamara Nancy A. and Robert E. Meader Gerlinda S. Melchiori Ph.D. Don and Lee Meyer Robert and Sophie Mordis Ms. Patricia Morgan Frieda H. Morgcnstern Mark and Lesley Mozola Thomas and Hedi Mulford Gavin Eadie and Barbara Murphy James G. Nelson and Katherine M.
Johnson
Sharon and Chuck Newman Laura Nitzberg and Thomas Carli Arthur and Lynn Nusbaum Marysia Ostafin and George Smillie William and Hedda Panzer Karen M. Park Zoe and Joe Pearson Mr. and Mrs. Frederick R. Pickard Donald and Evonnc Plantinga Bill and Diana Pratt Jerry and Lorna Prescott Jenny Pruitt
Rebecca Minter and John Rectenwald Molly Resnik and John Martin Judith Revells Constance O. Rinehart Kathleen Roclofs Roberts Richard Z. and Edie W. Rosenfeld Mr. Haskell Rothstein Ms. Rosemarie Rowney
Ina and Terry Sandalow
Robert E. Sanecki
Michael and Kimm Sarosi
Sarah Savarino
Albert J. and Jane L Sayed
David and Marcia Schmidt
Susan G. Schooner
Paul and Penny Schreiber
Mrs. Harriet Selin
David and Eivera Shappirio
Jean and Thomas Shope
Mrs. Patricia Shure
Alida and Gene SHverman
Nancy and Brooks Sitterley
Susan and Leonard Skerker
Carl and Jari Smith
Mrs. Robert W. Smith
Arthur and Elizabeth Solomon
James A. Somers
Cheryl Lynn Soper
Yoram and Eliana Sorokin
Ralph and Anita Sosin
Jeffrey D. Spindler
Rick and Lia Stevens
Barbara and Bruce Stevenson
James L. Stoddard
Ellen M. Strand and Dennis C. Regan
Donald and Barbara Sugerman
Eva and Sam Taylor
Bruce Thelen
Carol and Jim Thiry
Edwin J. Thomas
Nigel and Jane Thompson
Patricia and Terril Tompkins
Joan Lowenstein and Jonathan Trobe
Claire and Jerry Turcotte
Bill and Jewell Tustian
Mr. James R. Van Bochove
Douglas and Andrea Van Houweling
Hugo and Karla Vandersypen
Harue and Tsuguyasu Wada
Keith P. Walker
Charles R. and Barbara H. Wallgren
Jo Ann Ward
Lawrence A. Weis
Iris and Fred Whitehouse
Nancy Wiernik and Julie Child
Beverly and Hadley Wine
Lawrence and Mary Wise
Karen "Wixson
Charlotte A. Wolfe
Frances A. Wright
David and April Wright
Robert and Betty Wurtz
Don and Charlotte Wyche
Scott Zeleznik and Nancy Bums
Gail and David Zuk
Corporate Fund
$100,000 and above Ford Motor Company Fund Forest Health Services Corporation Pfizer Global Research and Development: Ann Arbor Laboratories
S2O,OOO-S49,999
Bank of Ann Arbor
Borders Group, Inc.
DaimlerChrysler Foundation
The Ghafari Companies
KeyBank
TIAA-CREF
S10.O00-S19,999
Bank One
Brauer Investment Company
CFI Group
Comerica Incorporated
McKinley Associates
Sesi Lincoln Mercury Volvo Mazda
$5,000-59,999
Ann Arbor Automotive
Butzel Long Attorneys
Elastizell Corporation of America
Kensington Court
MASCO Charitable Trust
Miller Canfield Paddock and Stone P.LC.
National City Bank
Thomas B. McMullen Company
Total Travel Management
$l,000-S4.999
Blue Nile Restaurant
Charles Rcinhart Company, Realtors
Conlin Travel
McDonald Investments
TCF Bank
The Taubman Corporation
United Bank and Trust
S250-S999
Bennett Optometry
Coffee Express
Comcast
Edwards Brothers, Inc.
Galamp Corporation
ICM Artists Ltd.
Malloy Lithographing, Inc.
Republic Bancorp
SeloShevel Gallery
Sigma Alpha Iota
Foundation &
Government
Support
S100,000 and above Community Foundation
for Southeastern
Michigan Doris Duke Charitable
Foundation The Ford Foundation lazzNet Michigan Council for Arts
and Cultural Affairs The Power Foundation The Wallace Foundation The Whitney Fund
$50,000-$99,999
Anonymous
The Japan Foundation
SW,000-S49,999 Chamber Music America Maxine and Stuart Frankel
Foundation National Endowment for
the Arts
Sl,000-S9,999 Akcrs Foundation Altria Group, Inc. Arts Midwest Cairn Foundation Heartland Arts Fund The Lebensfeld Foundation Martin Family Foundation Mid-America Arts Alliance The Molloy Foundation Montague Foundation THE MOSAIC FOUNDATION
(of R. and P. Heydon) National Dance Project of the New England Foundation for the Arts Sarns 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 Heidi Cohan Robert Bruce Dunlap Alice Kelsey Dunn David Eklund Kenneth C. Fischer Dr. Bevcrley B. Geltner Michael Gowing Lila Green Werner Grilk Elizabeth E. Kennedy Richard Kennedy Ted Kennedy, r. Dr. Gloria Kerry Alexandra Lofstrom Joyce Malm Frederick N. McOmbcr Evelyn P. Navarre Phil and Kathy Power Gwen and Emerson Powrie Prof. Robert Putnam Ruth Putnam Mrs. Gail Rector Steffi Reiss Prue Rosenthal Margaret E. Rothstcin Eric H. Rothstein Nona R. Schneider Ruth E. Schopmeyer Prof. Wolfgang Stolper Diana Stone Peters Peter C. Tainsh Dr. Isaac Thomas III Charles R. Tieman 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 UMS in their estate plans. UMS is grateful for this important support, which will continue the great traditions of artistic excel?lence, educational oppor?tunities 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. Hilberl Beyer Linda and Maurice Binkow Elizabeth Bishop Mr. and Mrs. Pal E. Borondy Carl and Isabelle Brauer Barbara Everitt Bryant Joanne A. Cage Pat and George Chatas Mr. and Mrs. John Alden
Clark
Douglas D. Crary H. Michael and Judith L
Endres
Beverley and Gerson Geltner John and Martha Hicks Mr. and Mrs. Richard Ives Marilyn Jeffs Thomas C. and
Constance M. Kinnear Charlotte McGeoch Michael G. McGuire Dr. Eva Mueller Len Niehoff M. Haskell and
Jan Barney Newman Dr. and Mrs. Frederick C
O'Dell
Mr. and Mrs. Dennis Powers Mr. and Mrs. Michael
Radock
Mr. and Mrs. Jack W. Ricketts Mr. and Mrs. Willard L.
Rodgers Prudence and
Annum Rosenthal Mr. Haskell Rothstein Irma J. Skelnar Herbert Sloan Art and Elizabeth Solomon Roy and JoAn Wetzel Ann and Clayton Wilhite Mr. and Mrs. Ronald G.
Zollars
Endowed Funds
Tlie future success of the University Musical Society is secured in part by income from UMS's endowment. UMS extends its deepest appreciation to the many donors who have established andor contributed to the following funds:
H. Gardner Ackley Endowment Fund Herbert S. and
Carol Amster Fund Catherine S. Arcure
Endowment Fund Carl and Isabelle 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.
Acme Mercantile
Raquel and Bernard Agranoff
Alexandra's in Kerrytown
Amadcus Cafe
Ann Arbor Automotive
Ann Arbor Art Center
Ann Arbor Women's
City Club Arbor Brewing Co. Ashley Mews Avanti Hair Designers BBJ Linens
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 Books and Music Janice Stevens Botsford Tana Brcincr Barbara Evcritt Bryant By the Pound
Cafe Marie
Margot Campos Cappcllos Hair Salon Chelsea Flower Shop 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 Dcrkacz Sally Stegeman DiCarlo The Display Group Dough Boys Bakery The Earle Restaurant Eastover Natural Nail Care Katherine and Damian Farrell Ken and Penny Fischer Food Art Sara Frank The Gandy Dancer Beverley and Gerson Geltner Great Harvest Bread Company Linda and Richard Greene Claire Harding Nina Hauser
Carl and Charlene Herstein John's Pack & Ship
Sieve and Mercy Kaslc
Cindy Kcllcrman
Kerrytown Bistro
Kilwin's Chocolate Shoppe
King's Keyboard House
Klnko's Copies
Laky's Salon
Ray Lance
George and Beth Lavoie
LeDog
Leopold Bros. Of Ann Arbor
Richard LeSueur
Catherine Lilly
Carl Lutkehaus
Doni Lystra
Mainstreet Ventures
Ernest and Jeanne Merlanti
lohn Metzger
Michael Susanne Salon
Michigan Car Services, Inc.
and Airport Sedan, LTD Moe Sport Shops Inc. Robert and Mclinda Morris Music for Little People 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
Rightside Cellar
Ritz Camera One Hour Photo
Don and Judy Dow Rumelhart
Safa Salon and Day Spa
Salon Vertigo
Rosalyn Sarvcr
Maya Savarino
Penny and Paul Schreiber
Shaman Drum Bookshop
Loretta Skewes
Dr. Elaine R. Sollcr
Maureen Stoeffler
STUDIOsixtccn
Tom Thompson Flowers
Two Sisters Gourmet
Van Bovens
Washington Street Gallery
Whole Foods
Weber's Restaurant
Zanzibar
UNIVERSITY MUSICAL SOCIETY
The "Michigan Difference" mpkes p difference for ums.
The CoMPfliGN for the University Musicol Society is about the people who attend our performances and who support us. The following people are a few of our dedicated individual supporters who have made a commitment to the future of UMS through a planned gift: Carol and Herb Amster, Maurice and Linda Binkow, Carl and Isabelle Brauer, Barbara Everitt Bryant, Ken and Penny Fischer, Beverley and Gerson Geltner, Thomas and Connie Kinnear, Diane Kirkpatrick, Eva Mueller, M. Haskell and Jan Barney Newman, Prue and Ami Rosenthal, and Ann and Clayton Wilhite.
YOU CRN MflKE O DIFFERENCE, TOO.
With a charitable gift to UMS, you can preserve for future generations the quality of our artistic programming and enrich?ing educational events. University of Michigan's investment professionals will expertly manage your gift and work with you and your financial advisor to help you select the plan that's best for you. Whatever you choose, your gift will make a difference and will continue the world-class standards of the University Musical Society.
CfiLL 734-647-1178 to start a conversation with UMS about making a planned gift, or visit the UMS website at WWW.UMS.ORG.