UMS Concert Program, Wednesday Jan. 12 To 17: University Musical Society: Winter 2005 - Wednesday Jan. 12 To 17 --

Season: WINTER 2005
University Of Michigan, Ann Arbor

ums
WINTER 2005 SEASON
UN I UNIVERSITY MUSICAL S0C I EH
OF IHl UNIVERSITY OF MICHIGAN I ANN ARBOR
university musical society
W I M T 6 I UO University of Michigan Ann Arbor
UMS leadership
UMS services
UMSannals
UMSexperience
UMSsupport
2 Letters from the Presidents
5 Letter from the Chair
6 Corporate LeadersFoundations
12 UMS Board of DirectorsSenate Advisory Committee
13 UMS StaffTeacher Advisory Committee
15 General Information
18 Tickets
21 www.ums.org
23 UMS History
24 UMS Choral Union
25 Venues & Burton Memorial Tower
29 126th UMS Winter Season
32 UMS Education Programs
35 UMS Preferred Restaurant & Business Program
37 Advisory Committee
37 Sponsorship & Advertising
39 Internships & College Work-StudyUshers
41 Support
52 UMS Advertisers
Front Cover Lorin Maazel (Chris Lee), Engraving of A Midsummer Nighfs Dream, Malouma Back Cover Anne-Sophie Mutter, Robert Lepage's The Far Side of the Moon, DJ Spooky, Soweto Gospel Choir
FROM THE U-M PRESIDENT
The University of Michigan joins the University Musical Society (UMS) in welcoming you to the spectacular array of events scheduled for the Winter 2005 Season. We are proud of our wonderful partnership, which
provides outstanding oppor?tunities for University of Michigan students and faculty to learn about the creative process and to enjoy these extraordinary performances.
We are delighted to be working with UMS to help sponsor educational activi?ties, especially the events
related to the visit of the New York Philharmonic on February 5 and 6. Specifically, we are joining UMS in offering master classes for young musi?cians at the University and in the community, in addition to providing an opportunity for Maestro Lorin Maazel to work with our advanced conducting students.
It is hard to believe that an entire year has passed since we re-opened the historic and splendid Hill Auditorium. This year, we will continue our great tradition of brilliant perform?ances with the return appearance of soprano Audra McDonald in January, our first presenta?tion of the South African Soweto Gospel Choir in February, and the other-worldly The Far Side of the Moon in March, by Quebec-based director Robert Lepage and his Ex Machina theater company, with soundscape by the notable per?formance artist Laurie Anderson, the first artist-in-residence at NASA in 2003.
We are also honored to be joining UMS in presenting DJ Spooky's powerful Rebirth of a
Nation and the extraordinary dancing and chore?ography of Ronald K. BrownEvidence, both presented as part of the University's commemo?ration of the birthday of Martin Luther King, Jr. in January.
At the end of February, we look forward to a semi-staged concert performance of Shakespeare's A Midsummer Night's Dream with the Orchestra of the Age of Enlightenment, conceived for the concert hall by Tim Carroll of Shakespeare's Globe Theatre. This unique production, which will also take place at Lincoln Center, will be presented at Hill Auditorium on February 25.
In 2004, we launched our ambitious capital campaign for the future of the University of Michigan, titled "The Michigan Difference." We have highlighted the arts as a specific area for support. We provide experiences, both in the classroom and throughout our museums and theaters, to stimulate creativity, engage tomor?row'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 excel?lence 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 the University Musical Society dur?ing the exhilarating 0405 season. We share the goal of celebrating the arts in an exciting academic milieu.
Mary Sue Coleman
President, University of Michigan
FROM THE UMS PRESIDENT
Thank you for attending this performance. I hope we'll see you at other UMS per?formances this winter. Take a look at our complete event listing on p. 29.
The UMS mission includes education,
creation, and presentation. With respect to education, UMS is committed to serving people of all ages. We have a Youth Education Program that each year serves more than 10,000 K-12 students and their teachers. The young people attend UMS youth performances
in area theaters, teachers participate in work?shops that help them make the connections between the arts on the stage and the curricu?lum of the school, and artists make themselves available for post-performance discussions, seminars with students, and in-school visits to classrooms and assemblies. UMS also provides many opportunities for adult patrons who par?ticipate in our study groups, artists' interviews, preand post-concert Meet the Artists sessions, and other learning opportunities.
I want to focus this letter on our work with college and university students. We serve them in many ways. We encourage student attendance at UMS performances with many discount ticket options, from our Half-Price Ticket Sales twice a year to our Rush Ticket program where students can obtain unsold tickets for $10 on the day of performance (or the Friday prior to weekend events). Faculty members purchase discounted
group tickets for their classes, and U-M's Mentorship Program and Arts at Michigan program promote student attendance at UMS events. More and more UM faculty members throughout the entire campus are becoming UMS partners as they provide intellectual, cultural, or historical context about what UMS puts on the stage for their students.
As the New York Philharmonic appears on our series this winter, I'm reminded of one of the most memorable experiences for U-M stu?dents when Leonard Bernstein made his final Ann Arbor appearance on October 29, 1988. Bernstein was for many years the music direc?tor of the New York Philharmonic. His 1988 appearance, however, was with the Vienna Philharmonic in a gala concert celebrating his 70th birthday and the 75th anniversary of Hill Auditorium. On the Friday night a week before the concert, students began to line up outside Burton Tower 14 hours before 550 $10 student tickets would go on sale. The regular ticket prices were $25-$ 125. While waiting in line for the ticket office to open, the inventive U-M students wrote "Messages to Lenny" on a clipboard they circulated. UMS sent more than 100 messages and photographs of the students to Bernstein, who was impressed that a new generation of young people were taking an interest in him.
James Duderstadt had just become president of the University on October 1. He and his wife Anne said they would be pleased to host a post-concert reception for Bernstein, and then made the wonderful suggestion that the other guests be 30 U-M students who would enjoy meeting
Leonard Bernstein talking to students at the U-M President's home in 1988.
David Smith
the Maestro. President Duderstadt left the selection of students to then School of Music Dean Paul Boylan and me. Paul chose 20 stu?dents who, like Bernstein at their age, were studying piano, conducting, and composition. I chose the first 10 students in the ticket line, the ones who had spent the night outside Burton Tower, nearly all of whom were freshmen.
After the concert, which included works of Beethoven, Brahms, and Bernstein, the Maestro held court with the 30 students at the President's Home, answering questions and telling stories until 1:30 a.m. At that time, sensing that it would be good to let the Duderstadts get some sleep, Bernstein invited all the students to join him as they would move the party to the Full Moon on Main Street. The upperclassmen drove their cars, and Bernstein invited all the others to jump into his limo for the ride. The student maestro 'dialogue' continued until 4:30 a.m.
In the spring of 1992, three students stopped by my office, asking for a few minutes of my time. I did not recognize them. They intro?duced themselves and told me they would be
graduating soon. They shared that they had had a marvelous experience at Michigan. They had learned a lot in their stud?ies, seen their basketball team win a national championship, and met life-long friends. What they stopped by to tell me was that, for them, the
peak experience of their life at Michigan was their evening with Leonard Bernstein back in 1988. They were freshmen back then and were near the front of the ticket line. The students also noted that, with Bernstein's death in 1990, the same experience they had would no longer be available to any other students, making their time with him much more special. Their visit made my day.
I'd love to hear your stories about UMS events that have had special meaning to you. I also want you to feel free to speak or write to me about anything related to UMS that you think I should know. Look for me in the lobby, call me at 734.647.1174, or send me an email message at kenfisch@umich.edu.
Very best wishes,
Kenneth C. Fischer UMS President
LETTER FROM THE CHAIR
I am so pleased to welcome you to the 2005 Winter UMS season. It promises to be as exciting as always. This winter we are bringing The New York Philharmonic, a semi-staged concert performance of
A Midsummer Night's Dream with the Orchestra of the Age of Enlightenment conceived for the concert hall by Tim Carroll of Shakespeare's Globe Theatre, a multi-concert Arab World Music Festival, vocalist Audra
McDonald, and terrific theater and jazz among the more than 30 presentations you will find in your UMS winter season program.
UMS is undertaking its largest fundraising campaign ever, which is incorporated within the $2.5 billion Michigan Difference Campaign of the University of Michigan. UMS's campaign goal is $25 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 41 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
eadership
CORPORATE LEADERS FOUNDATIONS
Sandra Ulsh
President, 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."
Timothy G. Marshall
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."
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."
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 is 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."
Alan Aldworth
Chairman and CEO, ProQuest Company "ProQuest Company is honored to be a new supporter of the University Musical Society's educational programs. 1 believe UMS is a major contributor to the cultural richness and educational excellence of 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."
Paul A. Phillips
Vice President Business Development, Standard Federal Wealth Management "Standard Federal appreciates and understands the value that arts and music bring to the community. We are proud to be supporters of the University Musical Society."
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."
Robert R. Tisch
President, Tisch Investment Advisory "Thank you, Ann Arbor, for being a wonderful community in which to live, raise a family, and build a successful business."
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."
Thomas McDermott
Senior Vice President Americas International, Western Union 'Western Union is proud to support organizations and pro?grams that showcase artistic diversity from around the world. We extend our sincere pleasure in being part of the University Musical Society season, and congratulate UMS on its commitment to fostering greater cultural understanding through the arts."
'Universal Classics Group, home of Deutsche Grammophon, Decca, and Philips Records three great labels long synonymous with the finest in classical music recordings is proud to support our artists performing as part of the University Musical Society's 126th season."
FOUNDATION AND GOVERNMENT SUPPORT UMS gratefiilly acknowledges the support of the following foundations and government agencies.
$100,000 and above Doris Duke Charitable
Foundation JazzNet Michigan Council for Arts and
Cultural Affairs The Power Foundation The Wallace Foundation
S50.000-99.999
Anonymous
The Japan Foundation
$10,000-49,999 Cairn Foundation Chamber Music America Community Foundation lor
Southeastern Michigan Maxine and Stuart Frankel
Foundation National Endowment for
the Arts The Whitney Fund
$1,000-9,999 Akers Foundation Altria Group, Inc. Arts Midwest
Heartland Arts Fund
Issa Foundation
Japan Business Society ol
Detroit Foundation Martin Family Foundation Mid-America Arts Alliance 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
UNIVERSITY MUSICAL SOCIETY of the University of Michigan
UMS ROARD OF DIRECTORS
Prudence L. Rosenthal,
Chair Clayton E. Wilhite,
Vice-Chair Sally Stegeman
DiCarlo, Secretary Michael C. AUemang,
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 I.miltStevens 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. Harm 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 ludythe H. Maugh Paul W. McCracken Rebecca McGowan Shirley C. Neuman Len Niehoff Joe E. O'Neal John D. Paul John Psarouthakis Rossi Ray-Taylor 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 Baetzel 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 Jill Lippman Stephanie Lord Judy Mac
Morrine Maltzman Mary Matthews Joann McNamara Candice Mitchell Danica Peterson Lisa Psarouthakis Wendy Moy Ransom Swanna Saltiel Jeri 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 Marnie Reid, Manager of Individual
Support Lisa Rozek, Assistant to the Director
of Development Shelly Soenen, Manager of Corporate
Support Cynthia 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 Claire C. Rice, Associate
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 Manager Alexis Pelletier, Assistant John M. Steele, Assistant
Work-Study Kara AJfano Nicole Blair Stephan Bobalik Bridget Briley Patrick Chu Elizabeth Crabtree Caleb Cummings Sara Emerson loshua Farahnik Bethany Heinrich Rachel Hooey Cortney Kellogg Lena Kim Lauren Konchel Michael Lowney Ryan Lundin Natalie Malotke Brianna McClellan Parmiss Nassiri-Sheijani Erika Nelson Fred Peterbark Omari Rush Faith Scholfield Andrew Smith Sean Walls Amy Weatherford
Interns
Kristen Armstrong Steve Hall David Wilson
Honorary Conductor of Philanthropy
Herbert E. Sloan, M.D.
UMS TEACHER ADVISORY COMMITTEE
Fran Ampey Lori Atwood Robin Bailey loe 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
JMS 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 734.763.5213. For items lost at St. Francis of Assisi Catholic Church or Michigan Theater please call the UMS Production Office at 734.615.1444.
Parking
Please allow plenty of time for parking as the campus area may be congested. Parking is avail?able in the Church Street, Maynard Street, Thayer Street, Fletcher Street, and Fourth Avenue structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. UMS members at the Principal level and above receive 10 complimentary 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.
If you have a blue or gold U-M permit with the gate controlled access feature, please consider using the new structure that has opened off of Palmer Drive! There is a light at this intersection of Palmer and Washtenaw, making it easier to access the structure, and we expect there to be less traffic through that entrance. ONLY for U-M employees with bluegold permits and AVI access. There will not be an attendant for visitor parking at that entrance.
Other recommended parking that may not be as crowded as on-campus structures: Liberty Square structure (formerly Tally Hall), entrance off of Washington Street between Division and State. About a two-block walk from most per?formance venues, $2 after 3 pm weekdays and all day SaturdaySunday.
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 Hill 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 the lobbies and restrooms.
Start Time
UMS makes every effort to begin concerts at the published time. Most of our events take place in the heart of central campus, which does have limited parking and may have sev?eral events occurring simultaneously in differ?ent theaters. Please allow plenty of extra time to park and find your seats.
Latecomers
Latecomers will be asked to wait in the lobby until seated by ushers. Most lobbies have been outfitted with monitors andor speakers so that latecomers will not miss the performance.
The late seating break is determined by the artist and will generally occur during a suit?able repertory break in the program (e.g., after the first entire piece, not after individual movements of classical works). There may be occasions where latecomers are not seated until intermission, as determined by the artist. UMS makes every effort to alert patrons in advance when we know that there will be no late seating.
UMS tries to work with the artists to allow a flexible late seating policy for family per?formances.
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 deduc?tion. 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 photocopy of your torn tickets to 734.647.1171.
Single Ticket Exchanges
Non-subscribers may exchange tickets for a $5-per-ticket exchange fee. Exchanged tickets must be received by the Ticket Office (by mail or in person) at least 48 hours prior to the
performance. You may fax a photocopy of your torn tickets to 734.647.1171. Lost or misplaced tickets cannot be exchanged.
Group Tickets
When you bring your group to a UMS event, you will enjoy the best the performing arts has to offer. You can treat 10 or more friends, co-workers, and family members to an 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 accommodations
no-risk reservations that are fully refundable up to 14 days before the performance
1-3 complimentary tickets for the group organizer (depending on size of group). Comp tickets are not offered for performances with no group discount.
For information, contact the UMS Group Sales Hotline at 734.763.3100 or e-mail umsgroupsales@umich.edu.
Discounted Student Tickets
Since 1990, students have purchased over 150,000 tickets and have saved more than $2 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 per valid student ID. For weekday performances, $10 Rush Tickets are available the day of the per?formance between 9 am and 5 pm in person only at the Michigan League Ticket Office. For weekend performances, $10 Rush Tickets are available the Friday before the performance between 9 am and 5 pm in person only at the Michigan League Ticket Office. Students may also purchase two 50 Rush Tickets starting 90 minutes prior to a performance at the perform?ance venue. 50 Rush Tickets are 50 off the original ticket price. All rush tickets are subject to availability and seating is at the discretion of the ticket office.
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 perfect meaningful gift that speaks volumes about your taste Tired of giving flowers, ties or jewelry Give a UMS Gift Certificate! Available in any amount and redeemable for any of more than 70 events throughout our season, wrapped and delivered with your personal message, the UMS Gift Certificate is ideal for weddings, birthdays, Christmas, Hanukkah, Mother's and Father's Days, or even as a housewarming present when new friends move to town.
UMS Gift Certificates are valid for 12 months from the date of purchase and do not expire at the end of the season.
J
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.
UMS annals
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 and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Simmons Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Their first perform?ance of Handel's Messiah was in December of 1879, and this glorious oratorio has since been performed by the UMS Choral Union annually.
As a great number of Choral Union mem?bers also belonged to the University, the University Musical Society was established in December 1880. UMS included the Choral Union 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 University of Michigan, housed on the Ann Arbor campus, and a regular collaborator with many University units, UMS is a separate not-for-profit organi?zation that supports itself from ticket sales, corporate and individual contributions, foun?dation and government grants, special project support from U-M, and endowment income.
UMS CHORAL UNION
Throughout its 125-year history, the UMS Choral Union has performed with many of the world's distin?guished orchestras and conductors. Based in Ann Arbor under the aegis of the University Musical Society, the 150-voice Choral Union is known for its definitive performances of large-scale works for chorus and orchestra. Eleven years ago, the Choral Union further enriched that tradition when it began appearing regularly with the Detroit Symphony Orchestra (DSO). Among other works, the chorus has joined the DSO in Orchestra Hall and at Meadow Brook for subscription performances of Stravinsky's Symphony of Psalms, John Adams' Harmonium, Beethoven's Symphony No. 9, Orff's Carmina Burana, Ravel's Daphnis et Chloe and Brahms'
Participation in the Choral Union remains open to all by audition. Members share one common passion--a love of the choral art.
Ein deutsches Requiem, and has recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd.
In 1995, the Choral Union began accepting invitations to appear with other major regional orchestras, and soon added Britten's War Requiem, Elgar's The Dream ofGerontius, the Berlioz Requiem, and other masterworks to its repertoire. During the 9697 season, the Choral Union again expanded its scope to include per?formances with the Grand Rapids Symphony, joining with them in a rare presentation of Mahler's Symphony No. 8 (Symphony of a Thousand).
Led by newly appointed Conductor and Music Director Jerry Blackstone, the 0405 season includes a return engagement with the DSO (Orff's Carmina Burana, presented in
Orchestra Hall in Detroit in September), Handel's Messiah with the Ann Arbor Symphony (which returned to Hill Auditorium last December), and Haydn's Creation (with the Ann Arbor Symphony in Hill Auditorium in April).
The culmination and highlight of the Choral Union's 0304 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 theatei 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 & BURTON MEMORIAL TOWER Hill Auditorium
Rfter 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 10 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.
Arbor 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 $8 million to restore and improve the Michigan Theater. The beautiful interior of the theater was restored in 1986.
In the fall of 1999, the Michigan Theater opened a new 200-seat screening room addi?tion, which also included expanded restroom facilities for the historic theater. The gracious facade and entry vestibule was restored in 2000.
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 broker 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 tc more than 2,800 today. The present church seat: 900 people and has ample free parking. In 1994 St. Francis purchased a splendid three manual "mechanical action" organ with 34 stops and 4.1 ranks, built and installed by Orgues Letourneai from Saint Hyacinthe, Quebec. Through dedi?cation, a commitment to superb liturgical musii 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 th( University Productions Ticket Office. Due to thi: 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
f , A, of the University of Michigan, Ann Arbor
Winter 2005
Event Program Book Wednesday, January 12 through Monday, January 17, 2005
General Information
Children of all ages are welcome at UMS Family and Youth Performances. Parents are encour?aged not to bring children under the age of three to regular, full-length UMS 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 must have a ticket, regardless of age.
While in the Auditorium
Starting Time UMS makes every effort to begin concerts at the published time. Most of our events take place in the heart of central cam?pus, which does have limited parking and may have several events occurring simultaneously in different theaters. Please allow plenty of extra time to park and find your seats.
Cameras and recording equipment are prohibited in the auditorium.
If you have a question, ask your usher. They are here to help.
Please take this opportunity to exit the "infor?mation superhighway" while you are enjoying a UMS event: electronic-beeping or chiming dig?ital watches, ringing cellular phones, beeping pagers and clicking portable computers should be turned off during performances. In case of emergency, advise your paging service of audi?torium and seat location in Ann Arbor venues, and ask them to call University Security at 734.763.1131.
In the interest of saving both dollars and the environment, please retain this program book and return with it when you attend other UMS performances included in this edition. Thank you for your help.
Sam Shalabi 5
The Osama Project
Wednesday, January 12, 8:00 pm Lydia Mendelssohn Theatre
Stephanie Blythe 7
Thursday, January 13, 8:00 pm Lydia Mendelssohn Theatre
DJ Spooky's 15
Rebirth of a Nation
Friday, January 14, 8:00 pm Power Center
Ronald K. BrownEvidence
Sunday, January 16, 6:00 pm 19
Monday, January 17, 8:00 pm 2 3
Power Center
Dear UMS Family,
Happy New Year! UMS is known for so many wonderfully unique qualities and artistic and educa?tional programs, and one of the most important responsibilities for an organization of our stature is our com?mitment to the presentation of artists who are at the forefront of cutting-edge and forward-thinking performance. Creating dialogue, addressing issues, and providing commentary are the basis of their artistic inquiries. The art of "questioning" with no easy answers is an integral part of the creative and conceptual process, and the first four performances of the New Year and of the UMS 2005 Winter Season are a testament to UMS's commitment to supporting the development of intelligent, thought-provoking art-makers of the next generation.
Sam Shalabi is at the forefront of the Montreal new music scene. He was purposeful?ly selected to be part of the Arab World Music Festival to question and redefine the stereotypes of Arab music, of Arabic musicians, and of the world music genre. He refuses to be categorized solely by his Arabic descent, and often outrages his critics with his musical meditations on con?temporary world events. This one-time only concert will represent his first major appear?ance outside of Canada. The artistic platform for creation will be the PalestinianIsraeli "distopia" placed in a West Side Story frame-
work. It features live material performed on oud in addition to pre-recorded material.
Stephanie Blythe is leading the way within the international vocal world, again by breaking down stereotypes about what a mezzo-soprano can and should be like. She can perform any?thing, from Wagner to Broadway and beyond. Her brave choices in roles, her incredibly dra?matic demeanor, and beautiful velvety voice are her trademark characteristics, thus setting the standard for the vocal artist of tomorrow. But she is also well known for her lucid interpreta?tions of classic and contemporary texts, often bringing out qualities in music that have lain dormant for generations only to be uncovered by her intelligence and vivid personality. Her program for her Ann Arbor recital attests to her veracity and versatility by choosing works by Faure, Bridge, Vaughn Williams, and Slonimsky.
Also known by his underground stage name, DJ Spooky That Subliminal Kid, Paul D. Miller has propelled himself to the forefront of the avant-garde, new performance scene. Emerging from the dance music, DJ, electronic, film, and visual arts underground, Paul Miller's current work is more closely associated with the likes of Laurie Anderson and Robert Wilson than of lesser-known new musicmedia artists. For his UMS debut, Mr. Miller takes D.W. Griffith's 1915 film Birth of a Nation, simultaneously one of America's most lauded and arguably most racist films, and puts it through the artistic meat grinder. His reconstructed version, entitled Rebirth of a Nation, is a free-form, jazz improv-inspired, multimedia event juxtaposing con?temporary sounds and performance practice with his subtle, yet brutally honest, commen?tary and ideas on race, stereotypes, media, and art.
Ronald K. Brown simply wants to remember and pay tribute to the people and stories that have influenced and inspired him. He founded his company Evidence as a way to sustain these memories. Even though Ronald K. Brown is still in his 30s, he has already amassed a critically
acclaimed body of work and has become known for his truly authentic style of fusing African movement, American modern dance, poetic texts and storytelling, and global music into his stage collages. His work is being per?formed as part of the U-M MLK Day obser?vances, again furthering his personal mission. His company will perform two evenings of work primarily dedicated to the African-American community, its African legacy, Nina Simone, and God. These performances are also part of the Celebration of Contemporary African American Modern Dance featuring over 10 companies in performances throughout southeastern Michigan in January through March.
The 0405 season also marks the beginning of the UMS NETWORK: the African American Arts Advocacy Committee, which brings together those who would like to network, support, and celebrate with the African American communi?ty. For more information, please contact the UMS Education office at umsed@umich.edu or 734.647.6712.
Enjoy being artistically challenged and inspired,
Ben Johnson
UMS Director of Education and
Audience Development
UMS Educational EVentS through Monday, January 17,2005
All UMS educational activities are free, open to the public, and take place in Ann Arbor unless otherwise noted. Please visit www.ums.org for complete details and updates. For more information, contact the UMS Education Department at 734.647.6712 or e-mail umsed@umich.edu.
Sam Shalabi: The Osama Project
Community Reception
An all-community reception will be held after the
performance of Sam Shalabi. The event will feature
local Arab hip-hop artist The Iron Sheik. For more
information, contact 734.615.0122 or umsed@umich.edu.
Wednesday, January 12, post-performance, Oz,
210 S. Fifth Avenue
DJ Spooky: Rebirth of a Nation
Symposium Race and Early Film
Speakers: Richard Abel, moderator, Professor, U-M Program in Film and Video Studies; Bambi Haggins, Assistant Professor, U-M Program in Film and Video Studies; Giorgio Bertellini, Assistant Professor, U-M Program in Film and Video Studies; Lucia Saks, Assistant Professor, U-M Program in Film and Video Studies; Charles Gentry, Graduate Student, U-M Program in Film and Video Studies and American Culture; Ellen Scott, Graduate Student, U-M Program in Film and Video Studies and American Culture D.W. Griffith's film Birth of a Nation (1915) is seen by many film critics as controversial, unashamedly racist, and at the same time an American film master?piece. Despite its iconic status, many universities shy away from showing this film in academic settings because of its troubling subject matter. In advance of DJ Spooky's brilliant re-envisioning of this controver?sial film, this symposium will present Birth of Nation in its entirety followed by a panel of film and American culture experts who will discuss and reconstruct the film's importance in our modern cultural landscape. The day will end with a response film, Within Our Gates (1920), by noted African-American director Oscar Micheaux. This event is a collaboration with the U-M Program in Film and Video Studies, U-M Center for Afroamerican and African Culture, and the U-M Program in American Culture.
The symposium features:
12:30-3:30 pm: Screening of Birth of a Nation (1915)
3:45-5:00 pm: Panel Discussion: Film and American
culture experts talk about Birth of a Nation (1915)
in a historical and cultural context.
7:00-8:30 pm: Screening of Within Our Gates (1920)
Sunday, January 9, Natural Sciences Auditorium,
Natural Sciences Building, 803 N. University Ave.
Ronald K. BrownEvidence
Ronald K. Brown Technique Dance Master Classes Members of Ronald K. BrownEvidence lead this Brown technique class. Moderate to advanced dancers only. Open to the public. A collaboration with the Maggie Allesee Department of Dance at Wayne State University. To register for the master classes, please contact 734.647.6712 or umsed@umich.edu. Saturday, January 15, 12-1:30 pm and 1:30-3:00 pm, Maggie Allesee Dance Studio, Wayne State University, 3315 Old Main Building, 3rd Floor, 4841 Cass Avenue, corner of Cass and Warren, Detroit
NETWORK Reception
This NETWORK reception is hosted by the African
American Arts Advocacy Committee prior to the
performance of Ronald K. BrownEvidence. Anyone
interested in connecting, socializing, and networking
with the African American community is invited to
attend. Free and open to the public. To RSVP for
the reception, please contact 734.647.6712 or
umsed@umich.edu.
Sunday, January 16, 4:15-5:45 pm, Michigan League,
2nd Floor, ConcourseHusseyVandenberg Rooms
Symposium and Artist Interview African Roots in American Modern Dance This symposium will reflect on how modern dance's most influential Black choreographers have used their connection with Africa to propel American modern dance forward over the last century and beyond. Prominent modern dance historian Halifu Osumare of Bowling Green University will present the keynote lecture, "All Over The Place: Black Choreographers in the 21st Century," followed by a lecture on the pio?neering African American choreographer Katherine Dunham by Penny Godboldo of Marygrove College. The event concludes with a public interview of legendary choreographer Ronald K. Brown by U-M Associate Dance Professor Robin Wilson. This event is a collaboration with the U-M Department of Dance. Monday, January 17, 1:00-4:30 pm, Betty Pease Dance Studio, 2nd Floor, U-M Department of Dance, 1310 N. University Court, behind CCRB, off Observatory Road
UMS
and
ACCESS
present
Sam Shalabi
Oud
Program Wednesday Evening, January 12, 2005 at 8:00
Lydia Mendelssohn Theatre Ann Arbor
The Osama Project
Tonight's performance lasts approximately one hour and does not contain an intermission.
32nd Performance of the 126th Annual Season
Arab World Music Festival
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is made possible in part by Arts at Michigan. This performance is funded in part by the Whitney Fund.
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.
Media partnership for this performance provided by Michigan RadioMichigan Television, Metro Times, and Arab American News.
Special thanks to Oz, Amer Zahr, U-M School of Music, U-M Center for Middle Eastern and North African Studies, International Institute, U-M LSA Honors Program, and John Cantu for their participation in this residency.
Large print programs are available upon request.
"For developing living forms, what matters is that they have within them something stirring, useful, ultimately heartening -that they take 'kitsch' dialectically up into themselves, and hence bring themselves near to the masses while yet surmounting the kitsch." Walter Benjamin
For this solo performance in Ann Arbor, Sam Shalabi presents a new piece, a "kind of'concerto' for oud and pre-recorded material," which includes a musical collage involving narrative, text with various musical and non-musical layers, topped off with live perform?ance on the oud. The basic theme of tonight's performance is a projected story of an imagi?nary Arab and Jewish "distopia," a West Side Story projected into the future. Built on the Brechtian principles of epic theatrical structure, this new work utilizes many different devices within the narrative to disrupt and connect the work. As with all of Sam Shalabi's performances, the ideas and musicianship combine in truly artistic, and sometimes challenging, ways; they are known to make audiences admire his genius or become infuriated by his provocation.
Sam (Osama) Shalabi is a Montreal-based free improvpsyche-delicavant-garde jazz musician. Of Libyan and Egyptian descent, he has worked in the Canadian musical scene for 20 years as a composer and as an improviser on oud, guitar, and electronics in genres including rock, jazz, classical, Arabic, folk, punk, noise, ambient, and spoken word. He is one of the hardest working musicians in the vibrant Quebec new music scene, and he is currently exploring progressive musical terrain with over 10 different musical ensembles, most notably the Shalabi Effect, Detention, and The Land of Cush. His albums and performances have been equally lauded and vilified by the alternative press as he refuses to be situated or labeled into any one category. One of his most acclaimed albums, Osama (2002, Alien8), was Mr. Shalabi's remarkable response to 911 and its aftermath, where he found himself a sus?pected terrorist merely because of his name and nationality. Like most of Mr. Shalabi's music, his musical response to the contemporary world is one that is always very personal, ambivalent, and honest. Giving artistic props to his influences Frank Zappa and German-Jewish philosopher Walter Benjamin, Mr. Shalabi's performances are always uncompromisingly potent responses to what it feels like to live in turbulent times.
This evening's performance marks Sam Shalabi's UMS debut.
Spm Sholobi
UMS
presents
Stephanie BIythe
Mezzo-soprano
Warren Jones
Piano
David Heiss, Cello
Program
Gabriel Faure
Fa tire,
Arr. Percy Grainger
Frank Bridge
Thursday Evening, January 13, 2005 at 8:00 Lydia Mendelssohn Theatre Ann Arbor
I
Fleur jete'e, Op. 39, No. 2
Les roses d'Ispahan, Op. 39, No. 4
Automne, Op. 18, No. 3
En sourdine, Op. 58, No. 2
Les berceaux, Op. 23, No. 1
Notre amour, Op. 23, No. 2
II
Apres un reve
Mr. Jones, Piano
III
Three Songs, H. 76
Far, far from each other
Where is it that our soul doth go
Music when soft voices die
Mr. Heiss, Cello
INTERMISSION
Ralph Vaughn Williams
IV
Songs of Travel
The Vagabond
Let Beauty Awake
The Roadside Fire
Youth and Love
In Dreams
The Infinite Shining Heavens
Whither Must I Wander
Bright is the Ring of Words
I Have Trod the Upward and the Downward Slope
Nicholas Slonimsky
Songs Parodying Advertisements
"and then her doctor told her" (Pillsbury Bran Muffins)
"No more!" (Vauv Magic Facial Powder)
"It Sweeps" (Sweeper-Vac)
"Make this a day..." (Pepsodent toothpaste)
Manuscripts Courtesy of the Ruth T. Watanabe Special Collections, Sibley Music Library, Eastman School of Music, University of Rochester
The audience is politely asked to withhold applause until the end of each group of songs. Please do not applaud after the individual songs within each group.
33rd Performance of the 126th Annual Season
Ninth Annual Song Series
The photographing or sound recording of this concert or possession of any device for such photo?graphing or sound record?ing is prohibited.
The Steinway piano used in this evening's performance is made possible by Hammell Music, Inc., Livonia, Michigan.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of floral art for tonight's recital.
Ms. Blythe appears by arrangement with ICM Artists, Ltd.
Large print programs are available upon request.
Tonight's repertoire spans 60 years and three diverse cultures, but it is unified in its emphasis on beautiful singing. Setting aside the last group of songs, we can expect to be treated to an evening of melody surrounded by tradi?tional and equally beautiful harmonies. The first four composers on the program have not sought to revolutionize our notion of what a song is; motivated by picturesque texts, they have chosen to create warmth and lyricism for all three instruments involved. These enduring and inviting qualities are never sacrificed for any one word or any single sentence. All of tonight's songs are lovely packages, expressive envelopes if you will, which can easily contain all the sentiments of the poems which inspired them.
I
Gabriel Faure is surely France's most prolific song composer. He began at only 25 years old to create gems for voice and piano, and stopped only one year before his death. As Faure was fortunate to live a particularly long life, he had more than adequate time for his music to evolve from one style into another, and like Beethoven and Stravinsky, it is common for his music to be organized by scholars into three distinct periods, examples from two of which we hear this evening. It can also easily be said that Faur?'s songs form the bridge between the romantic world of 19th-century France and the second quarter of the 20th century.
Faure?s voice is not a dramatic one. He left us neither symphonies, concerti, nor operas. Instead we have chamber music, short piano pieces, and above all, the 120 songs. Because of this predilection for smaller forms, he is often called "the French Schumann," but can be viewed as actually a wonderful combination of Schumann and Schubert: Schumann for his rich harmonies and sensuous phrasing; Schubert for the way in which he writes the interaction of voice and piano. While Faures keyboard parts are by no means easy, they are almost always supportive accompaniments,
rarely sharing the protagonist spotlight with the singer. Introductions and postludes are modest affairs with this composer; never does the piano tell us anything which the voice has not already stated.
It is interesting to note how Faure steadfastly resisted the compositional movements around him throughout his long life. His music is instantly recognizable for its refinement, its ele?gance, and above all for the unique harmonic structure which was his signature. He inherited the romantic world from Gounod and Massenet, but there are little of their voices in his music after his fifth opus. Later, as the impressionists' new sounds swirled around him, or those of Wagner were in vogue throughout Europe, he remained completely untouched by these idioms, despite serving as mentor to several disciples of these styles. In the 20th century, as is often the case with long-lived artists, Faure' continued to streamline his works. To the end of his life he marched to his own drummer, resembling no one.
Tonight's group of six Faure songs is not at all in chronological order. "Automne" and "Les berceaux" from 1878 are both in A-B-A form, and feature a dark, brooding voice from the composer; the texts contemplate fate which cannot be altered. From the next year comes "Notre amour," a strophic song of nonchalance, charm, and breeziness. "Les roses d'Ispahan" and "Fleur jetee" followed in 1884. The Middle Eastern setting of the former has engendered one of Faure's ripest and most sensuous songs, while the latter is an example of violence and dramatic theatricality, qualities very rarely found in this composer.
"En sourdine" must be considered quite separately from the other songs we hear tonight, for it belongs to Faure's second period of composition, a period which was born with the composer's discovery of the poetry of Paul Verlaine in 1887. Any semblance of Romanticism is now absent. Verlaine's symbol?ist words exist on such an elevated plane that Faur6 needed a new style simply to paint them. The combination of Verlaine and Faure' is one the great "weddings" (along with Heine and
Schumann or Dickinson and Copland), and this new, second Faure style was to last for the next 20 years.
II
Mr. Jones' solo turn tonight follows perfectly on the heels of our first group of songs. Aprts un reve is probably Faure's most oft-performed song. It is among the composer's earliest efforts, coming from a brief period when he was signif?icantly influenced by Italian texts and melodies. In its original form for voice and piano, it actu?ally is a translation of an Italian poem. This haunting melody has been transcribed for every instrument under the sun, and it is not unusual to walk the halls of any conservatory of music and hear flute, cello, saxophone, or horn inton?ing these phrases. It features continuous vocal melismas which the composer was not to use again. Tonight we hear an exceptionally rare transcription of the song for piano solo by Percy Grainger.
Grainger was born in Melbourne, Australia in 1882, when this song was only five years old. His career as a teacher, pianist, composer, and arranger was to take him to Frankfurt, Berlin, Paris, and finally Chicago and New York for long periods of time in each capital. His life?long passion was collecting folksongs and clothing them in unique, colorful arrange?ments, arrangements which featured new har?monies, unusual counterpoint, and rhapsodic forms. This arrangement of Faure's from early 1939 is without an opus number and is unique in that it is a transcription of an art-song, not a folk tune.
Ill
Both British composers on tonight's program were students of the same teacher: Sir Charles Stanford. Considered the most powerful influ?ence on composition in his country, Stanford is credited with liberating British music from easy, self-indulgent sentimentality and influ?ences of plainsong, and elevating it to a posi?tion of respect for the past and pioneering for the future, using Brahms as a consistent model for his many celebrated pupils.
One of these pupils was Frank Bridge, the most brilliant all-around musician of his gener?ation in England. A pianist, violist, and conduc?tor, his technical assurance and musicianship are reputed to have been on such a high level that new scores by his contemporaries could be mastered in mere days, and it was inevitably Bridge who carried these new voices of Elgar, Parry, and Vaughn Williams to audiences out?side of Britain. Eventually he was to adopt a compositional style much more abrasive, dry, and cerebral than that of his colleagues, but in tonight's trio of songs written when Bridge was still in his 20s he demonstrates a reliance on romantic tradition, as promoted by Stanford, combining elements of Wagnerian chromaticism with an uncanny sense of the singing line.
All three of these songs were originally scored for viola obligato, but tonight we hear them with cello instead. The first two, com?posed in 1906, are translations and further adaptations of Heine texts, whereas the third song is an original Shelley poem, composed three years earlier. "Music when soft voices die" has inspired English-speaking composers on both sides of the Atlantic; its rich imagery giv?ing birth to more than two dozen settings of these words.
The first performance of these songs in 1908 featured Bridge's sister-in-law, a contralto of notable accomplishments who would go on to sing at Covent Garden and Berlin opera com?panies. Bridge himself accompanied, a role he rarely undertook. The solo violist's name is not a famous one, but her claim to fame must rest on the fact that she was Benjamin Britten's first viola teacher, and introduced the young com?poser to his older colleague on this occasion of the premiere. Britten was to be Bridge's only composition student, and in this case, the pupil's fame has now eclipsed his mentor's.
IV
Stanford's other student mentioned earlier herein is, of course, Ralph Vaughn Williams. Although he decided as a teenager that compo?sition was to be his career, Vaughn Williams
was very conscious of his lack of technique and set about improving himself, first with Stanford at home, and later abroad with Max Bruch in Germany and Maurice Ravel in Paris. These foreign influences were not to find their way into his scores, however, for the young compos?er was intent on using native resources: the huge treasure of British secular folksong and sacred plainsong. By the time he was 35, Vaughn Williams had forged a personal style we all recognize today, a style encompassing mystical and ecstatic Christianity, yet also root?ed in humble and accessible folk tunes and work songs.
Tonight's only song-cycle, Songs of Travel, pre-dates the forging of this mature style. Composed between 1901 and 1904, these nine songs are certainly among the finest of their time in England, and already demonstrate great sensitivity to prosody and word-painting. This was the period in Vaughn Williams' life when his preoccupation with singing led to a concen?tration in this particular idiom of voice and piano, never to occur again for this composer.
Five of the nine songs are in strophic form, showing Vaughn Williams' strong connection to traditional songwriting, while the other four show his expertise in through-composed writ?ing. At all times, it is the poem which chooses the form for this composer. The cycle is unified not only in its subject matter, nor in the ongoing story it tells, but through the use of leitmotifs which can be easily recognized. The vagabond's footsteps in the first song are heard again in the final bars of the cycle as he says farewell to this world; the flirtatious melody of "The Roadside Fire" becomes the grand and sweeping farewell in "Youth and Love". The cycle's last song, an epilogue, quotes principal melodies from the seventh and eighth songs as well, as the Traveler ruminates on his whole life. Elgar was to use this leitmotivic device in his Sea Pictures, and Schumann is well-known for his accompaniments quoting previous songs in Dichterliebe and Frauenliebe.
The protagonist's metamorphoses from care?free wanderer to sensitive partner, from living for today to seeing his place in the continuity of
things these concepts form the "journey" of these songs. This theme is at once intensely per?sonal and still applicable to all travelers. As the singer is confronted with the need to change and mature, so are we, according to our own experiences. The cycle's seventh song, "Whither Must I Wander" (actually the first to be com?posed), is the emotional core of the cycle; accustomed philosophies and old behaviors are no longer acceptable to the traveler. Vaughn Williams chooses to display these crossroads with an unadorned strophic song a throw?back to Schubert and its touching simplicity can have immense power over the listener.
This cycle has traditionally been the property of baritones, so it is unique tonight to hear it in a woman's voice. Its themes, if taken in their largest sense however, would tend to make restricting it to any particular instrument inap?propriate, and worse, would belie its inherent message.
V
The set of four songs of Nicholas Slonimsky was written during the years he taught at the Eastman School of Music. Later he served on the faculties of Harvard, Peabody Conservatory, and Colorado College during his long life. Although born in Russia, his entire professional career was in the US, consisting chiefly of edit?ing important reference works in musicology.
This quartet of amusing songs is hardly unique in its choice of texts. Bernstein's recipes, Milhaud's seed catalogue, and Dougherty's dictionary definitions all of these receiving mock-serious musical treatments share the same raison d'etre for these commercials set to music in 1924. The products "on sale" tonight are Pillsbury baking flour, Vauv Magic Powder, an incredible cleaning machine known as Sweeper-Vac, and finally the latest rage, Pepsodent toothpaste. Imagine!
Ms. Blythe will elucidate further on these witty parodies from the stage.
Program notes by Martin Katz.
The winner of the 1999 Richard Tucker Award, mezzo-soprano Stephanie Blythe has rapidly become one of the most highly respected artists of her generation. This season Ms. Blythe returned to the Metropolitan Opera as Eduige in Rodelinda, and makes her debut at Opera Colorado as the title role in Guilio Cesare. She also sings the title role in Mignon with Opera Orchestra of New York and retums to the Seattle Opera for the complete Ring Cycle in the summer of 2005. Ms. Blythe's recent engagements have included the title role in Carmen at the Seattle Opera, Jocasta in Oedipus Rex at the Metropolitan Opera, and the title role in La Grande Duchesse at the Opera Company of Philadelphia. Other past opera engagements include Baba the Turk in The Rake's Progress, Cornelia in Guilio Cesare, Mere Marie in Dialogues des Carmelites, and Mistress Quickly in Falstaffat the Metropolitan Opera (where she is a an alumna of the Lindemann Young Artists Program), and Malcolm in La donna del lago with the Opera Orchestra of New York in Carnegie Hall.
On the concert stage, Ms. Blythe continues her work with such orchestras as the New York Philharmonic, the Chicago Symphony, the Orchestra of the Age of Enlightenment, the Ensemble Orchestre de Paris, the Los Angeles Philharmonic, the San Francisco Symphony, the Boston Symphony, the Philadelphia Orchestra, Orchestra of St. Luke's, the Minnesota Orchestra, and the Atlanta Symphony. This sea?son she appeared with James Levine and the Boston Symphony Orchestra in performances of Mahler's Symphony No. 8 in both Boston and at Carnegie Hall.
Ms. Blythe has worked with many of the world's finest conductors including Harry Bickett, James Conlon, Charles Dutoit, Mark Elder, Christoph Eschenbach, James Levine, Sir Charles Mackerras, John Nelson, Antonio Pappano, Mstislav Rostropovitch, Patrick Summers, and Michael Tilson Thomas.
Stephanie Blythe's most recent solo record?ing, a collection of pieces by Mahler, Brahms,
and Wagner, was released on the EMI label in the fall of 2004. Her first solo CD of Handel and Bach arias was also recently released on the EMI label. She premiered Vignettes: Ellis Island, a song cycle written for her by Alan Smith, in a US recital series co-presented by the Marilyn Home Foundation. The song cycle was also fea?tured in a special television program entitled "Vignettes: An Evening with Stephanie Blythe and Warren Jones," presented by Opera News on the WNYE television series Opera New York. She has been presented in recital with her col?laborative partner, Warren Jones, by Lincoln Center's Great Performers Series at Alice Tully Hall, in Washington DC by the Vocal Arts Society, and at the Supreme Court at the invita?tion of Supreme Court Justice Ruth Ginsberg, by the 92nd Street Y in New York, by Cleveland Art Song Festival, and by the Philadelphia Chamber Music Society. Future recitals include tonight's debut in Ann Arbor and a return to Alice Tully Hall.
Tonight's recital marks Stephanie Blythe's UMS debut.
Stephanie Blythe
Warren Jones frequently performs with many of today's best-known artists, including Barbara Bonney, Ruth Ann Swenson, Dame Kiri Te Kanawa, Denyce Graves, Stephanie Blythe, Hakan Hagegard, Bo Skovhus, Samuel Ramey, James Morris, John Relyea, and Joseph Alessi. In the past he has partnered such great singers as Marilyn Home, Kathleen Battle, Carol Vaness, Judith Blegen, and Martti Talvela.
Mr. Jones has been featured in an interview with Eugenia Zuckerman on CBS Sunday Morning in which his work as a performer and teacher was explored, and he has appeared on television across the US with Luciano Pavarotti. He has often been a guest artist at Carnegie Hall and in Lincoln Center's Great Performers Series, as well as the festivals of Tanglewood, Ravinia, and Caramoor. His international trav?els have taken him to recitals at the major European opera capitals, Suntory Hall in Tokyo, the Cultural Centre in Hong Kong, and to the?aters throughout Scandinavia and Korea. Mr. Jones has been invited three times to the White House by American presidents to perform at concerts honoring the President of Russia, and Prime Ministers of Italy and Canada and he has appeared three times at the US Supreme Court as a specially invited performer for the Justices and their guests. He was featured in the United Nations memorial concert and tribute to Audrey Hepburn, an event which was telecast worldwide following Ms. Hepburn's death.
Recent seasons have included his debut with the New York Philharmonic at Avery Fisher Hall, performances with the Brentano Quartet, and an invitation to teach a master class at The Juilliard School under the auspices of the Marilyn Home Foundation.
Mr. Jones appears on several recordings including a CD with HSkan Hagegard in songs of Brahms, Sibelius, and Stenhammar on BMGRCA Red Seal which was nominated for a Grammy Award in 1999, and for NPR Classics, a recital of spirituals with Denyce Graves, enti?tled Angels Watching Over Me. Mr. Jones' recording of Copland and Ives songs with Samuel Ramey for DeccaArgo was also nomi?nated for a Grammy Award.
Warren Jones is a member of the faculty at the Manhattan School of Music in New York City, where highly gift?ed young artists work with him in a unique graduate degree program in collaborative piano. Each
Wooden Jones
David Heiss is a member of the Metropolitan Opera Orchestra and principal cellist of The New York Pops as well as a sought-after guest principal for many New York-area orchestras. He is a founding member of the New York Piano Quartet, and is a frequent guest artist at chamber music festivals throughout the north?eastern US. Throughout his career he has per?formed a number of world and American pre?mieres, including Alain Gagon's Le Rameau de Soie (for solo cello and chamber choir), Robert Manno's Cello Sonata No. 1, Theodore Antoniou's Jeiix (for cello and orchestra), Irving Robbin's Cello Concerto, and Hester Prynne at Death by Stephen Paulus. As the onstage cellist in The Elephant Man, he per?formed his own arrangements of incidental music for the Tony Award-winning drama. Mr. Heiss was a scholarship student of famed
DaviD Heiss
cellist Leonard Rose at The Juilliard School. He plays a John Betts cello, dated 1789.
Tonight's recital marks David Heiss' UMS debut.
summer he teaches and performs at the Music Academy of the West in Santa Barbara, California. For 10 years he was Assistant Conductor at the Metropolitan Opera and for three seasons served in the same capacity at San Francisco Opera.
Mr. Jones is also a prominent musical jurist, having been a judge for the Walter Naumberg Foundation Awards, the Metropolitan Opera Auditions, Artists' Association International Fine Arts Competition, and the American Council for the Arts. In the spring of 1997 he joined the jury of the Van Cliburn International Piano Competition in Fort Worth, Texas, at Mr. Cliburn's invitation.
Born in Washington, DC, Mr. Jones grew up in North Carolina and graduated with honors from the New England Conservatory of Music where he was recently honored with the Conservatory's Outstanding Alumni Award.
Mr. Jones currently resides in New York City.
Tonight's recital marks Warren Jones' fifth appearance under UMS auspices. Mr. Jones made his UMS debut in recital with baritone Samuel Ramey in November 1989.
UMS
and the
U-M Office of Academic Multicultural Initiatives
present
DJ Spooky rs Rebirth of a Nation
Written, Created, and Performed by
Paul D. Miller a.k.a. DJ Spooky That Subliminal Kid
Editing and Motion Graphics by Gary Breslin at panOptic
Additional video material
"Last Supper at Uncle Tom's CabinThe Promised Land"
Choreography by Bill T. Jones (19901991)
Danced by Bill T. JonesAmie Zane Dance Company
Sets by Huck Snyder
"And The Maiden" Choreography by Bill T. Jones (1993) Danced by Andrea Woods Costumes by Liz Prince
Music
"The Rebirth Suite"
O2004 Paul D. MillerSubliminal Kid Publishing (BMI)
Technical Director Daniel Hartnett
Additional Orchestration Howard Kenty
Executive Producer Stephen CohenMusic + Art
Project Coordinator Greg Lucas
Produced by Paul D. Miller
Friday Evening, January 14, 2005 at 8:00 Power Center Ann Arbor
Tonight's performance does not contain an intermission.
34th Performance of the 126th Annual Season
11th Annual
African American Series
The photographing or sound recording of this concert or possession of any device for such photo?graphing or sound record?ing is prohibited.
This performance is co-presented with the U-M Office of Academic Multicultural Initiatives.
Media partnership for this performance is provided by WEMU 89.1 FM and Michigan ChronicleFront Page.
Special thanks to U-M Program in Film and Video, Mary Lou Chipala, Terri Sarris, Gaylyn Studlar, Center for Afroamerican and African Studies, U-M School of Music, U-M LSA Honors Program, John Cantu, and Community High School for their participation in this residency.
DJ Spooky's Rebirth of a Nation was commissioned by The Lincoln Center Festival, Festival D'Automne a Paris, Spoleto Festival USA, and Wiener Fesrwochen (Vienna). Additional support was provided by the American Center Foundation and Mass MOCA.
The book Rhythm Science by Paul D. Miller is published by MIT Press and is available for sale in the lobby.
DJ Spooky appears by arrangement with Stephen CohenMusic + Art, www.musicandart.net.
For more information on DJ Spooky, please visit www.djspooky.com. Large print programs are available upon request.
With the news dominated by broken treaties, ethnic oppres?sion, raw power grabs, and security threats, the time seems just right for revisiting D.W. Griffith's infamous Birth of a Nation. There are so many resonances with contemporary culture's indefatigable sense of shock and surprise. Turn on the TV, read a newspaper, check any website you feel like visiting, and you'll see the same resonance. Continuous transformation, con?stant change. What Griffith did with cinema was create a context of mythic propositions -of a nation occupied by foreign troops, of laws imposed without concern for the local populace, of exploitation, and political corruption. All these issues still haunt the world to this day -but in radically different forms. With Rebirth of a Nation I invoke a parallel world where Griffith's film acts as a crucible for a vision of a different America. Rebirth of a Nation posits, like Marcel Duchamp and Grand Master Flash, a multiple vision of the record as "found object" it's a situation where art and music, multi-media and cinema, act in the same light as the Hispanic American philosopher Santayana's prescient phrase "those who do not understand the past are doomed to repeat it." For Rebirth of a Nation cinematic history is the starting point for a critique, not only of history, but how film has come to represent historical events and conditions. Rebirth of a Nation asks that the viewer breaks the loops holding the past and present together so that the future can leak through. It says that there is never one way to view history it asks that we engage multiple perspectives of a horrifying past and presents us with an interrogation of how we think of multi-culturalism in a world that is rapidly becoming Americanized beyond any and all expectations. The past is prologue. The ques?tion this film asks, essentially, is "what is American And how do we live as Americans" It's a film piece that posits no answers, only more questions.
Paul D. Miller a.k.a. D] Spooky that Subliminal Kid, NYC 2004
Paul D. Miller (a.k.a. D] Spooky That Subliminal Kid) is a conceptual artist, writer, and musician working in New York. His written work has appeared in The Village Voice, The Source, Artforum, Raygun, Rap Pages, and Paper Magazine. Mr. Miller's first collection of essays, Rhythm Science, was published by MIT Press in April 2004, and was included in several year-end lists of the best books of 2004, including the Guardian (UK) and Publishers Weekly. In 2005, Sound Unbound, an anthology of writings on sound art and multi-media by contemporary cultural theorists will follow Rhythm Science.
Mr. Miller's work as a media artist has appeared in a wide variety of contexts such as the Whitney Biennial; The Venice Biennial for Architecture (year 2000); the Ludwig Museum in Cologne, Germany; Kunsthalle, Vienna; and The Andy Warhol Museum in Pittsburgh. His 2004 solo show at the Paula Cooper Gallery in New York, Path Is Prologue, echoed his live musictheaterfilm performance, DJ Spooky's Rebirth of a Nation, which ran simultaneously at the Lincoln Center Festival after premieres in Vienna and at Spoleto USA in Charleston, SC and continues to tour globally.
Mr. Miller is still most well known under the moniker of his "constructed persona" as DJ Spooky That Subliminal Kid. He has recorded a huge volume of music and has collaborated with a wide variety of musicians and composers such as Iannis Xenakis, Ryuichi Sakamoto, Butch Morris, Kool Keith a.k.a. Doctor Octagon, Pierre Boulez, Killa Priest from Wu-Tang Clan, Steve Reich, Yoko Ono, and Thurston Moore from Sonic Youth. He also composed and recorded the music score for the Cannes and Sundance Award-winning film Slam, starring critically acclaimed poet Saul Williams.
Mr. Miller's recent albums include Optometry (2002), a jazz project featuring Matthew Shipp, William Parker, Joe McPhee, Carl Hancock Rux, Daniel Bernard Roumain, and High Priest from Anti-Pop Consortium; Dubtometry (2003), a dub remix of the same, featuring Lee "Scratch" Perry and Mad Professor; and Riddim Clash (2004), a collaboration with Twilight Dub Sound System. In June 2004,
Thirsty Ear Recordings released his two-CD megamix called Celestial Mechanix, featuring 11 recent DJ Spooky remixes.
In addition to his numerous records and articles released under the DJ Spooky name, other recent projects include the Unfinished Stories a three-way collaborative effort between Pulitzer Prize-winning New York Times Critic-at-large, Margo Jefferson, and Francesca Harper. Another important project was a col?laboration with Bernard Tschumi, Dean of Columbia University's architecture department, and author of Praxis: Event Cities. This piece debuted at the Venice Bienniale of Architecture 2000. In the magazine world, Mr. Miller is co-publisher along with legendary African American downtown poet Steve Cannon of the magazine, A Gathering of Tribes a periodical dedicated to new works by writers from a mul?ticultural context and he was the first editor-at-large of the cutting edge digital media magazine, Artbyte: The Magazine of Digital Culture.
As DJ Spooky, Mr. Miller continues his globe-trotting appearances. In 2004 he played at festivals from France to Mexico City, per?formed a DJ concerto in Oakland and at Yale, gave numerous talks at prominent universities, and participated in Microsoft's International DJ Summit. Several new recording projects are in various stages of production, including a col?laborative release with Dave Lombardo of Slayer, Chuck D. of Public Enemy, and Jack Dangers of Meat Beat Manifesto. Tentatively titled Drums of Death, it is due out in the first half of 2005.
Tonight's performance marks Paul D. Miller's UMS debut.
Special thanks to Annie Ohayon, Rhys Williams, Jack Young, Elisabeth Hayes, Marie Claude Beaud, RoseLee Goldberg, Linda Brumbach, Gary Hustwit, The Paula Cooper Gallery, Daniel Bernard Roumain, Celia Pearce, Neil Sieling, Anthony DeRitis, Ken Jordan, Rosemary E. Reed Miller, Bill T. Jones, Bjorn Amelan, Julia Ward, Andrew Enoch, The Seattle Chamber Players, and Lisa Kwon.
DJ Spooky
Tobin Poppenbcrg
UMS
and the
U-M Office of Academic Multicultural Initiatives
present
Ronald K. BrownEvidence
Choreography Ronald K. Brown
Costumes
Omatayo Wunmi Olaiya and Carolyn Meckha Cherry
Lighting Design Brenda Gray
Production Management Celeste A-Re
Lighting Supervisor DalUa Kee
Wardrobe Supervisor Carolyn Meckha Cherry
Company
Camille Brown, Arcell Cabuag, Shani Collins, Tiffany Jackson,
Juel Lane, Bridget Moore, Keon C. Thoulouis, and Ronald K. Brown
Program Sunday Evening, January 16, 2005 at 6:00 pm
Power Center Ann Arbor
Upside Down (1998)
INTERMISSION
Walking Out the Dark (2001)
35th Performance of the 126th Annual Season
14th Annual Dance Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
These performances are co-presented with the U-M Office of Academic Multicultural Initiatives.
These performances are made possible in part by Arts at Michigan.
These performances are funded in part by the National Dance Project of the New England Foundation for the Arts, with lead funding from National Endowment for the Arts and Doris Duke Charitable Foundation. Additional funding provided by The Andrew W. Mellon Foundation and The Ford Foundation.
Media partnership for these performances is provided by Detroit Jewish News, Michigan RadioMichigan Television, WEMU 89.1 FM, and Michigan ChronicleFront Page.
Special thanks to the Maggie Allesee Department of Dance at Wayne State University, All City Men's Group, Tony Smith, InsideOut Poetry Project, Halifu Osumare, Penny Godboldo, Robin Wilson, and the U-M Department of Dance for their participation in this residency.
Ronald K. BrownEvidence appears by arrangement with Pamela M. Green, PMG Arts Management.
Large print programs are available upon request.
Upside Down
Please turn to page 24 for complete program information on Upside Down.
Photo: Rose Eichenbaum
Walking Out the Dark
Choreography and Text Music
Costumes Lighting Design Performed by
Ronald K. Brown
"Meet me at the Temple," Philip Hamilton, Sweet Honey in the Rock,
Francisco Mora
"Seeking Healing," Cutumba Ballet Folklorico de Santiago de Cuba "Thank You," Diabate Kouyate "CelebrationBlissPeace," M'Bemba Bangoura
Carolyn Meckha Cherry
Brenda Gray
Camille Brown, Shani Collins, Arcell Cabuag, Juel Lane
Walking Out the Dark was co-commissioned by the American Dance Festival with support from the Doris Duke Awards for New Work and Philip Morris Companies, Inc; the Bessie SchonbergFirst Light commissioning program of New York's Dance Theater Workshop with funds from the Joyce Mertz-Gilmore Foundation and the Greenwall Foundation with additional funds provided by Chase Manhattan Bank; the National Endowment for the Arts; the Aaron Davis Hall Fund for New Work; and the University of Texas at Austin.
Walking out the Dark was made possible by the Doris Duke Fund for Dance of the National Dance Project, a program administered by the New England Foundation for the Arts with funding from the National Endowment for the Arts, the Doris Duke Charitable Foundation, the Andrew W. Mellon Foundation, and the Philip Morris Companies Inc.
Please turn to page 27 for complete biographical information on Ronald K. BrownEvidence.
UMS
nd the
u
U-M Office of Academic Multicultural Initiatives
[present
Ronald K. BrownEvidence
Choreography Ronald K. Brown
Costumes
Omatayo Wunmi Olaiya
Lighting Designs
Brenda Gray and William H. Grant III
Production Management Celeste A-Re
Lighting Supervisor Dalila Kee
Wardrobe Supervisor Carolyn Meckha Cherry
Company
Camille Brown, Arcell Cabuag, Shani Collins, Tiffany Jackson,
Juel Lane, Bridget Moore, Keon C. Thoulouis, and Ronald K. Brown
Program Monday Evening, January 17, 2005 at 8:00 pm
Power Center Ann Arbor
Upside Down (1998)
INTERMISSION
Come Ye (2003)
INTERMISSION
Grace (1999)
36th Performance of the 126th Annual Season
14th Annual Dance Series
The photographing or sound recording of this concert or possession of any device for such photo?graphing or sound record?ing is prohibited.
These performances are co-presented with the U-M Office of Academic Multicultural Initiatives.
These performances are made possible in part by Arts at Michigan.
These performances are funded in part by the National Dance Project of the New England Foundation for the Arts, with lead funding from National Endowment for the Arts and Doris Duke Charitable Foundation. Additional funding provided by The Andrew W. Mellon Foundation and The Ford Foundation.
Media partnership for these performances is provided by Detroit Jewish News, Michigan RadioMichigan Television, WEMU 89.1 FM, and Michigan ChronicleFront Page.
Special thanks to the Maggie Allesee Department of Dance at Wayne State University, All City Men's Group, Tony Smith, InsideOut Poetry Project, Halifu Osumare, Penny Godboldo, Robin Wilson, and the U-M Department of Dance for their participation in this residency.
Ronald K. BrownEvidence appears by arrangement with Pamela M. Green, PMG Arts Management.
Large print programs are available upon request.
Upside Down
Choreography Music
Costume Design Lighting Design Performed by
Ronald K. Brown
Oumou Sangare and Fela Kuti
Omatayo Wunmi Olaiya
Brenda Gray
The Company
Premonition
Attainment
"Upside Down" is an excerpt from the evening-length work Destiny. The full-evening work was created in collaboration with Rokiya Kone of the Ivory Coast and her company Jeune Ballet d'Afrique Noire and premiered at Aaron Davis Hall in June 1998.
The development and creation of Destiny received support from Africa Exchange, the Rockefeller Multi-Arts Projects and Production Fund, the Aaron Davis Hall Fund for New Work, and EvidenceCircle of Friends.
Come Ye
Choreography Music
Costumes Lighting Design Film Collage Performed by
Ronald K. Brown
Summoning of the Ancestors: "Come Ye," Nina Simone Waiting on God: "Sunday in Savannah," Nina Simone Dressed for Revolution: "Revolution," Nina Simone Into Formation: "Kalakuta," Fela Anikulapo Kuti Amen: "Coffin for Head of State," Fela Anikulapo Kuti
Omatayo Wunmi Olaiya Brenda Gray Robert Penn The Company
Come Ye
is a call to all those living in fear
all of those willing to fight for their lives
and ultimately peace
the dance is a call to prayer and an agreement to call on the highest self available to serve as guide and warrior
Come Ye was created with lead commissioning support from the Center for the Arts, Wesleyan University with funding from the Edward W. Snowdon Fund and the Doris Duke Fund for Dance of the National Dance Project, a program administered by the New England Foundation for the Arts with funding from the National Endowment for the Arts, the Doris Duke Charitable Foundation, the Ford Foundation, the Andrew W. Mellon Foundation, and Altria Group, Inc. Additional commissioning support was provided by the Hayti Heritage Center, the Dance Place, George Mason University, Washington Performing Arts Society with support provided by the Doris Duke Charitable Fund, the Creation Fund of the National Performance Network, the UC Davis Mondavi Center, and the African-American Cultural Center of Greater Pittsburgh. Evidence would also like to thank the American Dance Festival for their support in the creation of this work.
Grace
Choreography Music
Costume Design Costume Construction Original Lighting Lighting Re-Creation Performed by
Ronald K. Brown
God Coming Down: "Come Sunday," arrangement by
Duke Ellington, Jimmy McPhail, vocals Angels Coming Down: "Gabriel," Roy Davis Jr. God Leading the Way: "Rock Shock," Roy Davis Jr. Worldly Walk: "Shakara," Fela Anikulapo Kuti Return to Heaven: "Come Sunday," arrangement by Duke Ellington,
Jennifer Holiday, vocals
Omatayo Wunmi Olaiya Zinda Williams William H. Grant III Brenda Gray The Company
Originally premiered by Alvin Ailey American Dance Theater in 1999.
Ronald K. Brown {Artistic Director, Choreographer, Dancer), Brooklyn-born, founded the New York-based contemporary dance company Evidence in 1985. In addition to his work with Evidence, Mr. Brown has created work for the African American Dance Ensemble, Philadanco, Cleo Parker Robinson Dance Ensemble, Dayton Contemporary Dance Company, Alvin Ailey American Dance Theater iGrace in 1999 and Serving Nia in 2001), Ailey B, Cinque Folkloric Dance Theater, Jennifer MullerThe Works, and Jeune Ballet d'Afrique Noire. He has collaborated with a number of artists, including composerdesigner Wunmi Olaiya, the late writer Craig G. Harris, director Ernie McClintock's Jazz Actors Theater, chore?ographers Patricia Hoffbauer and Rokiya Kone, and composers Robert Een, Oliver Lake, Bernadette Speech, David Simons, and Don Meissner. Mr. Brown has received numerous awards and fellowships including a John Simon Guggenheim Memorial Foundation Fellowship in Choreography, a National Endowment for the Arts Choreographer's Fellowship, a New York Foundation for the Arts Fellowship
in choreography, a New York Dance and Performance Award (Bessie), a Black Theater Alliance Award, the American Dance Festival HumphreyWeidmanLimon Award, and fel?lowships from the Edward and Sally van Lier Fund. In addition, Mr. Brown was named Def Dance Jam Workshop "Mentor of the Year" in 2000. In 2003, Ron Brown received an AUDELCO (Black Theatre Award) for his choreography for Crowns: Portraits of Black Women in Church Hats, originally produced by the McCarter Theater and shown off-Broadway in 2003.
These performances mark Ronald K. Brown's sec?ond and third appearances under UMS auspices. Mr. Brown made his UMS debut in March 2001 in performance with Ronald K. BrownEvidence.
Camille A. Brown {Dancer) received her early dance training at the Bernice Johnson and Carolyn Devore Dance Studios. This led to her acceptance into the High School of Performing Arts and the Ailey School. Upon graduation, she was named a Presidential Scholar. She has performed with Roger C. JeffreySubtle Changes, Inc., Earl Mosley's Diversity of Dance, Nathan TriceRITUALS, Matthew Rushing, Andrea E. Woods, Bridget Moore, and Jamie PhilbertShani Collins-Echoes Dance Company. Ms. Brown graduated with a BFA in Dance from the North Carolina School of the Arts where she was introduced to the world of cho?reography. Since then, her work has been per?formed by Sidra Bell Dance, Earl Mosley's Diversity of Dance, and at the Manteo Festival in North Carolina. Works have also been com?missioned by the Queens Museum of ArtTopaz Arts, Inc. and Hubbard Street 2. Other show?cases include performances at Dixon Place, Dancenow Festival, Joyce Soho, and Aaron Davis Hall's E-Moves. Ms. Brown is a 2004 fel?low in choreography from the New York Foundation for the Arts. She is also an instruc?tor for the Derrick Jeter Foundation's Turn2Us Program at P.S. 128 and was a dance therapist
Ron o ld K . Brown
for the Creedmoor Psychiatric Center. Ms. Brown would like to thank God for His unconditional love and guidance, and her family and friends for their love and encouragement to grow in spirit and truth.
Arcell Cabuag {Dancer), originally from California, received his dance training at the Abraham Lincoln Performing Arts High School and later at the Alvin Ailey American Dance Center. His professional experience includes Rock the House, an MTV-style production for Paramount Pictures (California) and The Shoji Tabuchi Show (Branson, MO). He has also worked on many musicals including the Theatre Under the Stars production of Oklahoma (California) and the Richard Rogers Centennial production of The King and I at the Paper Mill Playhouse. He has also appeared doing extra work for the Spike Lee film The 25th Hour and Private Parts starring Howard Stern. Mr. Arcell is currently an adjunct professor at Long Island University in New York where he teaches Tap and Hip-Hop dance as an art form, and is the resident choreographer for the Long Island University dance team. Mr. Arcell made his debut with the Ronald K. BrownEvidence Dance Company in 1997, and would like to thank his ancestral angels, his family, Scott, and Ashitaki.
Shani Nwando Ikeriona Collins (Dancer) grew up in Greensboro, North Carolina, where she dove into emulating qualities and ideas of composition at the North Carolina School of the Arts. Later, Ms. Collins received her BA in Dance from Hollins University. She has performed with Urban Bush Women, Nathan TriceRITUALS, Christal Brown's Women@Work, and Marlies Yearby. Ms. Collins is co-artistic director of Jamie Philbert's Echoes Dance Company and has shown work at the Judson Church, Lincoln Theater, Aaron Davis Hall, Hollins University, and Joyce Soho. She has also created work on Urban Bush Women as a part of the Dixwell Project. Most recently Shani teaches dance, does guest work with other companies, works with emerging artists, and dances with Ronald K. Brown Evidence. She resides in Brooklyn, working, communing, creating, learning, and livin' it up.
Tiffany Jackson (Dancer) began her dance training as a young, energetic child in need of an outlet. She decided to become completely dedicated and began to receive formal training at Howard University. She has since received a BFA in Dance and enters the professional world with Evidence. Born in Hattiesburg, Mississippi and raised in the Washington, DC area, she is blessed to be a product of many notable artists and teachers and extends much thanks to those special people who have and will always be there.
Juel Lane's (Dancer) passion for the arts start?ed at Lindsey's Preschool where he was able to sing, dance, play instruments, and be generally creative. He attended Tri-Cities Visual and Performing Arts Magnet High School under the guidance of Dawn Axam and Freddie Hendricks. In 1998, he was awarded Magnet "Student of the Year". He also performed and toured with the Freddie Hendricks Youth Ensemble of Atlanta. Upon graduation, he pursued a con?temporary dance education at North Carolina School of the Arts. He has had the opportunity to perform in various pieces by distinguished choreographers such as Andrea E. Woods, Carolyn Dorfman, Camille Brown, Ebony Ruffin, Steve Rooks, Jiri Kylian, Twyla Tharp, Jeff Slayton, and Jose Lim6n. Juel is very blessed to work with Evidence and would like to thank his family and friends for their support.
Bridget Moore (Dancer) is a choreographer and dancer, and was one of two choreographers selected to participate in the 1997 Bates Dance Festival. She began her dance training at Arts Magnet High School, and received her BFA in Dance from Ohio State University. She was a member of the University Dance Company, and received the Helen P. Allure Scholarship and an award for Excellence in the Arts. She was the recipient of a 1996 Ohio Arts Council Individual Artist Fellowship for Choreography as well as being named a 1996 guest artist at Wittenberg University. Moore has performed works by Dianne Mclntyre, Bebe Miller, Mark Morris, Pat Graney, Ann Carlson, and Art Bridgman and Myrna Packer. She has presented
work in Ohio, Texas, and New York City. Ms. Moore, born in Dallas, Texas, currently resides in New York.
Keon C. Thoulouis {Dancer) is a native of Brooklyn, New York, and began his dance train?ing at Fiorello H. LaGuardia High School of Music and Performing Arts. He also trained vigorously as a scholarship recipient at the Alvin Ailey American Dance Center. After graduating from high school, he attended The Juilliard School. Mr. Thoulouis has studied under the tutelage of many respected teachers and choreographers including Denise Jefferson, Penny Frank, Carl Paris, Elena Commendador, Earl Mosley, Steve Rooks, Kasuko Hirabayashi, Linda Kent, Sylvia Waters, Matthew Rushing, Aubrey Lynch, Kevin Wynn, Jermaine Brown, Glen Packard, and Brian Thomas. He has also performed with various recording artists such as Tamia, Michael Jackson, Mya, Usher, Jill Scott, Whitney Houston, Deborah Cox, and Al Jarreau.
Renee Redding-Jones (Associate Artistic Director) is a native of Norfolk, Virginia, and received her MFA from Sarah Lawrence College. A member of Ronald K. Brown Evidence since 1990, Ms. Redding-Jones cur?rently serves as Associate Artistic Director. In 1995, Ms. Redding-Jones was awarded a New York Dance and Performance Award (Bessie) for her performance in Ron Brown's Dirt Road. She has danced in the companies of David Rousseve, Bebe Miller, and with independent choreographer Cynthia Oliver. Her film and tel?evision credits include Positive: A Life with HIV, Tales of Creole Women, Pardon The Interruption, and the National Alliance of Breast Cancer Organization's Women for Women MTV cam?paign. Ms. Redding-Jones teaches throughout the country including the Classical Studio at New York University's Tisch School of the Arts, where she has worked with actors since 1993. She wishes to thank her husband, Jerry, Kathy Grant, and sweet Jasmine.
Celeste A-Re (Production Manager) began working with Evidence in 1997. Her credits include production manager of Tracie Morris and Sonic Synthesis 2, Bill T. JonesArnie Zane Dance Company, and Urban Bush Women; and company manager of Urban Tap and TheatreFest at Montclair State University. Regional credits include assistant stage manager of New Freedom Theatre (Philadelphia); sound designer at the Eugene O'Neill Playwrights Conference, Arena Stage (Washington, DC), National Black Theatre Festival, and New York University's Tisch School of the Arts. Film credits include assistant tech?nical director of the Acapulco Black Film Festival. Ms. A-Re would like to thank Harry Poe (ibaye) for trusting; Beverly Smith-Dawson for keeping the dream; Lillie and Gordon Welch for setting the example; and her Ancestral Posse (maferefun) for their sacrifice, wisdom, guid?ance and inspiration. Modupe Orisa.
Brenda Gray (Lighting Designer) first worked with Ronald K. Brown in 1994, creating the lighting for No More Exotica, an Ailey II com?mission. Since that time, she has designed Incidents, UpsideDown, High Life, and Walking Out the Dark for Ronald K. BrownEvidence. Brenda's other design credits include Lightbody, the company premiere of RythMEK at the Jacob's Pillow Dance Festival, and Lettres D'Amour (Redha), Ascension (Troy Powell), Days Past, Not Forgotten (Earl Mosley), and Serving Nia (Ronald K. Brown) for the Alvin Alley American Dance Theater. Brenda has also designed for Ailey II (Andre Tyson and Milton Myers), MonteBrown Dance, and Flamenco Vivo Carlota Santana.
Dalila Kee (Lighting Supervisor) has worked on numerous plays, musicals, concerts, and dance performances as a stage manager or lighting designer. Recent stage managing credits include Under the Lion's Paw directed by Trazana Beverley and The Nutcracker performed by the Uptown Dance Academy. Recent lighting design credits include A Lion By The Tail at Century Center for the Performing Arts and Odi etAmo at Soho Repertory Theater.
Carolyn Meckha Cherry (Wardrobe Supervisor) has worked as a creative artist with Kevin Iega Jeff, Mindbuilders, and in the New York City Public School system. She has created costumes for numerous companies and institu?tions including Evidence (Walking Out the Dark).
Omatayo Wunmi Olaiya (Costume Designer, Composer) has presented her one-woman show at the invitation of the Singapore Arts Festival and for WOMAD (World of Music, Arts, and Dance) in Japan and in Reading, England. She has performed with recording artists Soul II Soul, Caron Wheeler, Roy Ayers, PM Dawn, and Allison Williams, and was the opening act for Time at their live concert in London. Wunmi has also collaborated with choreographer Pamela Maragh on Ngozi Onwurah's film Flight of the Swan. Wunmi has styled video shoots, TV appearances, and photo sessions for hip hop and R&B artists, including Caron Wheeler, Monie Love, and Supercat. Since her arrival in New York, she has collaborated with other artists on projects such as Marlies Yearby's Movin' Spirits Dance Theater's production of Feather of the Flames; with saxophonist Ornette Coleman on a project titled Tone Dialing; with Roy Ayers in the US and Europe; and with Masters at Work on several recording sessions. Wunmi has worked with Ronald K. Brown, cre?ating most of the costumes for Evidence's repertory since 1995.
In addition to contributing music to Ebony Magazine, No More Exotica, and High Life, Wunmi has also worked with Ron Brown on commissions for the Alvin Ailey American Dance Theater, Cleo Parker Robinson Dance Ensemble, African American Dance Ensemble, and Dayton Contemporary Dance Company.
Robert Penn's (Videographer) digital video projections juxtapose original and stock footage. His works please the senses, scratch the mind, and question preconceived notions: cul?tural, political, and personal. Robert has also produced and directed short documentaries. His films have been screened at the Anthology
Film Archives and at the 4 Walls Slide and Film Club in New York; at Dance Camera West in Los Angeles; and at various venues on tour with Ronald K. BrownEvidence.
Pamela M. Green {Booking, PMGArts Management), originally from Framingham, Massachusetts, earned her BA in Public Policy with a minor in Drama from Duke University. She began her arts administration training as an intern at the Durham Arts Council and fur?thered her experience working for the American Dance Festival as Space and Equipment Coordinator and Central Services Director. She was Managing Director of the Chuck Davis African American Dance Ensemble from 1985-1989 and the Director of Touring and Presenting for the North Carolina Arts Council from 1989-1992. She started her own company, PMG Arts Management, in 1992 to provide booking, management, and consulting services to per?forming artists, companies, and organizations throughout the country. She has served as a consultant, panelist, site visitor, and workshop leader for the National Endowment for the Arts, Southern Arts Federation, Mid-Atlantic Arts Foundation, Association of Performing Arts Presenters, New England Foundation for the Arts, Michigan Council for the Arts, and International Association of Blacks in Dance. She currently sits on the Board of Directors of the Association of Performing Arts Presenters and the Executive Committee of the North Carolina Presenters Consortium and is com?mittee co-chair for the 2005 Association of Performing Arts Presenters Annual Booking conference.
Booking
Contact: Pamela M. Green
PMG Arts Management
pamart@aol.com
General Information Evidence, Inc. www.ronkbrown-evidence.org
Evidence Staff
Artistic Director, Ronald K. Brown
Associate Artistic Director, Renee Redding Jones
Administrative Assistants, Yasmine Blanding and Terris Brown
Production Manager, Celeste A-Re
Lighting Supervisor, Dalila Kee
Wardrobe Supervisor, Carolyn Meckha Cherry
Evidence Board of Directors Reggie Van Lee, Chair Thomas Wilson, Vice Chair Allen M. Harvey, Treasurer Ronald K. Brown, President Chandra Anderson Pierre Apraxine Dwayne Ashley Charlie Lewis Lisa B. Walker Lola C. West
Evidence would like to thank Alice Brown, Edna Jones, Bessie Schonberg, Ken Fischer, Michael Kondziolka, Mark Jacobson, Ben Johnson, Bree Doody, and the entire administrative and technical staff of UMS and the Power Center for their sup?port in this presentation of Ronald K. BrownEvidence.
The relationships UMS shares with local public school districts are vitally impor?tant to the growth and development of the K-12 programming for youth and teachers. In special recognition tonight, UMS would like to honor its formal partnership with the Ann Arbor Public Schools and the Washtenaw Intermediate School District. This partnership participates in the Partners in Education program sponsored by the John F. Kennedy Center for the Performing Arts. Through ongoing communication and support by these partners in curriculum development planning, attendance at youth performances, outreach programs, and in-school visits by local and national teaching artists, the UMS Education program remains strong and continues to serve a wide variety of youth in Ann Arbor and surrounding districts. Because of this special relation?ship, UMS's Youth Education Program was designated a "Best Practice" by ArtServe Michigan in 2004.
MS experience
17RTH II M
AI I M T C D P [ A C n M
January 05
Wed 12 Sam Shalabi: The Osama Project
Thu 13 Stephanie Blythe, mezzo-soprano
Fri 14 DJ 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
Please note that a complete listing of all UMS Educa?tional programs is conveniently located within the concert pro?gram section of your program book and is posted on the UMS website at www.ums.org.
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: The 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: Guarneri String Quartet
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 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 Education
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.
Winter 2005 Youth Performance Series
These daytime performances serve pre-K through high school students. The 0405 series features special youth performances by:
DJ Spooky: Rebirth of Nation ' Sphinx Competition
Rennie Harris Puremovement
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?dren's entertainer, will lead a workshop entitled:
Story Songs for the Young Child
Winter Workshops focusing on UMS Youth Performances are:
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 purchase one $10 ticket to public UMS per?formances the day of the event (or the Friday prior to weekend performances). Alternatively, teens may purchase one ticket for 50 of the originally published price at the door. Breakin' Curfew is an annual event showcasing teen talent, presented 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 8 BUSINESS PROGRAM
Join us in thanking these fine area restaurants and businesses for their generous support of UMS:
American Spoon
539 East Liberty997.7185
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
Kensington Court Ann Arbor 610 Hilton Boulevard 761.7800
King's Keyboard House 2333 East Stadium 663.3381
Laky's Salon
512 South Main668.8812
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 & Grill 316 South State994.4004
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.
UMS support
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 51-member UMS Advisory Committee serves an important role within UMS. From ushering for our popular Youth Performances to coordinating annual fundraising events, such as the Ford Honors Program gala and "Delicious Experiences" dinners, to marketing Bravo!, UMS's award-winning cookbook, the Committee brings vital volunteer assistance and financial support to our ever-expanding educational programs. If you would like to become involved with this dynamic group, please call 734.647.8009.
SPONSORSHIP 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 performing arts administration, marketing, ticket sales, programming, production, and arts education. Semesterand year-long unpaid internships are available in many of UMS's departments. For more information, please call 734.615.1444.
Students working for UMS as part of the College Work-Study program gain valuable experience in all facets of arts management including concert promotion and marketing, ticket sales, fundraising, arts education, arts programming, and production. If you are a University of Michigan student who receives work-study financial aid and 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 essen?tial functions of assisting patrons with seating, distributing program 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 734.615.9398 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 November 1, 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
Robert and Pearson Macek Philip and Kathleen Power
MAESTROS
$10,000-$24,999 Maurice and Linda Binkow Carl and Isabelle Brauer Estate of Joanne Cage Maxine and Stuart Frankel Paul and Ruth McCracken Mrs. Robert E. Meredith Prudence and Amnon Rosenthal Ann and Clayton Wilhite
VIRTUOSI
$7,500-$9,999
Michael Allemang
Kathy Benton and Robert Brown
Pauline De Lay
Toni M. Hoover
Doug and Sharon Rothwell
CONCERTMASTERS
$5,000-$7,499
Herb and Carol Amster
Emily W. Bandera, M.D. and Richard H. Shackson
June Bennett
Barbara Everitt Bryant
Thomas and Marilou Capo
Dave and Pat Clyde
Ralph Conger
Douglas D. Crary
Jack and Alice Dobson
Molly Dobson
Mr. and Mrs. Thomas C. Evans
Ken and Penny Fischer
Claes and Anne Fornell
Ilene H. Forsyth
Friends of Hill Auditorium
Debbie and Norman Herbert
David and Phyllis Herzig
Mohamed and Hayat Issa
David and Sally Kennedy
Concertmasters, cont.
Robert and Gloria Kerry Dr. and Mrs. Richard H.
Lineback
Charlotte McGeoch Julia S. Morris Charles H. Nave Gilbert Omenn and
Martha Darling John Psarouthakis and
Antigoni Kefalogiannis 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 Bernard and Raquel Agranoff Robert and Victoria Buckler 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 Carl and Charlene Herstein Keki and Alice Irani Susan McClanahan and
Bill Zimmerman M. Haskell and
Jan Barney Newman Barbara A. Anderson and
John H. Romani 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 loan Akers Binkow
Edward and Mary Cady
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 Paul and Anne Glendon Jeffrey B. Green 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 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
Dr. and Mrs. David G. Anderson
Rebecca Gepner Annis and
Michael Annis Jonathan W. T. Ayers Laurence R. and Barbara K. Baker Lesli and Christopher Ballard 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
John Blankley and Maureen Foley 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 J. Michael and Patricia Campbell Jean W. Campbell lean and Bruce Carlson Carolyn M. Carty and
Thomas H. Haug Jean and Ken Casey Janet and Bill Cassebaum Anne Chase
Don and Betts Chisholm Leon Cohan Hubert and Ellen Cohen Tom Cohn
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. Gallatin Bernard and Enid Galler Marilyn Tsao and Steve Gao Thomas and Barbara Gelehrter William and Ruth Gilkey Mr. and Mrs. Clement Gill Mrs. Cozette T. Grabb Elizabeth Needham Graham John and Helen Griffith Martin D. and Connie D. Harris
Principals, conl.
Julian and Diane Hoff Carolyn Houston Raymond and Monica Howe Robert M. and Joan F. Howe Drs. Linda Samuelson and
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$500-$999
Thomas and Joann Adler
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Anastasios Alexiou
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Henry D. Messer -
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$250-$499
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Contributions have been received in honor andor memory of the following individuals:
H. Gardner Ackley
Gertrude Barnes
Isabellc Braucr
Valerie Castle, MD
Mr. and Mrs. Thomas Caterino
Heidi Cohan
Benning Dexter
Lorna Donnelly
David Eklund
Elizabeth Fiedorczyk
Kenneth C. Fischer
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Lila Green
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Herbert Sloan
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Francis V. Viola III
Carl Huntington Wilmot,
Class of 1919 Peter Holderness Woods Barbara E. Young
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.
Bernard and Raquel Agranoff Carol and Herb Amster Mr. Neil P. Anderson Dr. and
Mrs. David G. Anderson Catherine S. Arcure Maurice and Linda Binkow Elizabeth S. Bishop Mr. and
Mrs. W. Howard Bond Mr. and Mrs. Pal E. Borondy Carl and Isabelle Brauer Barbara Everitt Bryant Pat and George Chatas Mr. and
Mrs. John Alden Clark Douglas D. Crary H. Michael and
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Constance M. Kinnear Diane Kirkpatrick Charlotte McGeoch Michael G. McGuire Dr. Eva Mueller M. Haskell and
Jan Barney Newman Len Niehoff Dr. and
Mrs. Frederick C. O'Dell Mr. and
Mrs. Dennis M. Powers Mr. and
Mrs. Michael Radock Mr. and Mrs. Jack W. Ricketts Mr. and
Mrs.WillardL.Rodgers Prudence and
Amnon Roscnthal Margaret and
Haskell Rothstein Irma J. Sklenar Herbert Sloan Art and Elizabeth Solomon Roy and JoAn Welzel Ann and Clayton Wilhite Mr. and
Mrs. Ronald G. Zollars
The UMS Board of Directors extends its deepest appreciation to all members of the UMS staff for their dedication, talent and 100 participation in the 0405 Membership Campaign.

Emily Avers Rowyn Baker Jeffrey Beyersdorf Sara Billmann Jerry Blackstone Susan Bozell Sally A. Cushing Suzanne Dernay Bree Doody Kenneth C. Fischer Jenny Graf Susan Hamilton Patricia Hayes Mark Jacobson Elizabeth Jahn Ben M.Johnson John B. Kennard, Jr. Michael Kondziolka
William Maddix Nicole Manvel Susan McClanahan Lisa Michiko Murray M. Joanne Navarre Kathleen Operhall Nicole Paoletti John Peckham Alexis Pelletier Marnie Reid Claire Rice Lisa Rozek Alicia Schuster Shelly Soenen Mac Steele Cynthia Straub Doug Witney
Endowed Funds
The future success of the University Musical Society is secured in part by income from UMS's endowment. UMS extends its deepest appreciation to the many donors who have established andor contributed to the following funds:
H.Gardner 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 )azzNet Endowment Fund William R. Kinney
Endowment Fund NEA Matching Fund Palmer Endowment Fund Mary R. Romig-deYoung
Music Appreciation Fund Charles A. Sink Endowment
Fund Catherine S. ArcureHerbert
E. Sloan Endowment Fund University Musical Society
Endowment Fund
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A-l Rentals, Inc.
WadadAbed
Acme Mercantile
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Nizar and Nada Al-Awar
I hih Alattar
Alexandra's in Kerrytown
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University of Michigan American Spoon Ann Arbor Art Center The Ann Arbor News Ann Arbor Women's
City Club Dr. Naji Arwashan Atlanta Bread Company Lois and David Baru Kathy Benton and Bob Brown Big Ten Party Store The Blue Nile Restaurant Mimi and Ron Bogdasarian Borders Books and Music Bob and Victoria Buckler Margot Campos Chelsea Flowers Cottage Inn Restaurant Kathleen and Robert Dolan The Earle Restaurant The Earle Uptown
Damian and Katherinc Farrcll
Ken and Penny Fischer
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Great Harvest Bread Company
Claire Harding
Debbie and Norman Herbert
Carl and Charlene Herstein
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Kerrytown Concert House
King's Keyboard House
Laky's Salon
Gene Laskowski
Richard LeSueur
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Newman Liz Othman Paesano's Restaurant Randy Parrish Fine Framing Deanna Relyea Huda Rosen
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Orchestra 19 ARTSearch 48 Automated Resource
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Studio 34 Howard Cooper
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the Arts 30 Jaffe Raitt Heuer and
Weiss
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Hospital
16 Tisch Investments 50 Tom Thompson
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Restaurant 27 Toyota 16 Ufer&Co. 18 U-M Museum of Art 42 WDET 46 WEMU 34 WGTE 44 WKAR FC WUOM 30 Zanzibar
The "Michigan Difference" makes a difference for ums.
The Chmpaign for the University Musicrl 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 Gelrner, Thomas and Connie Kinnear, Diane Kirkpatrick, Eva Mueller, M. Haskell and Jan Barney Newman, Prue and Ami Rosenthal, and Ann and Clayton Wilhite.
YOU CON MfiKE 0 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.
m The
UltlS MM:li::'"
CAMPUCN FOR HKHK1AN
UMS
presents
Stephanie Blythe
Mezzo-soprano
Warren Jones
Piano
David Heiss, Cello
I
Gabriel Faurt
Fleur jetee, Op. 39, No. 2 (Armand Silvestre)
Emporte ma folie
Au gr? du vent,
Fleur en chantant cueillie
Et jetde en r?vant,
Emporte ma folie
Au gre du vent:
Comme la fleur fauche'e
Peit l'amour: La main qui t'a touched Fuit ma main sans retour.
Comme la fleur fauche'e
P6rit Pamour.
Que le vent qui te seche
O pauvre fleur, Tout a l'heure si fraiche Et demain sans couleur,
Que le vent qui te seche,
Seche mon coeur!
Discarded Flower
Carry off my folly
at the whim of the wind,
oh flower which I picked while I sang
and threw away as I dreamed.
Carry off my folly
at the whim of the wind!
Like flowers scythed down
love dies.
The hand that once touched you now shuns my hand forever.
Like flowers scythed down,
love dies.
May the wind that withers you,
oh poor flower, a moment ago so fresh and tomorrow all faded.
May the wind that withers you
wither my heart!
Les roses d'Ispahan, Op. 39, No. 4 (Charles-Marie-Rene Leconte de Lisle)
Les roses d'Ispahan dans leur gaine de mousse, Le jasmins de Mossoul, les fleurs de l'oranger, Ont un parfum moins frais,
ont une odeur moins douce, 0 blanche Leilah! que ton souffle leger.
Ta levre est de corail et ton rire leger Sonne mieux que l'eau vive et
d'une voix plus douce. Mieux que le vent joyeux qui
berce l'oranger, Mieux que l'oiseau qui chante au bord
d'un nid de mousse.
0 Leilah! depuis que de leur vol 16ger Tous les baisers ont fui de ta levre si douce II n'est plus de parfum dans le
pale oranger, Ni de celeste arome aux roses dans leur mousse.
Oh! que ton jeune amour ce papillon leger Revienne vers mon coeur d'une aile
prompte et douce.
Et qu'il parfume encor la fleur de I'oranger, Les roses d'Ispahan dans leur gaine de mousse.
Automne, Op. 18, No. 3
(Silvestre)
Automne au del brumeux, aux horizons navrants. Aux rapides couchants, aux aurores palies, Je regarde couler, comme l'eau du torrent, Tes jours faits de melancolie.
Sur l'aile des regrets mes esprits emportes, (Comme s'il se pouvait que notre age renaisse!) Parcourent, en revant, les coteaux enchanted, Oil jadis sourit ma jeunesse!
Je sens, au dair soleil du souvenir vainqueur, Refleurir en bouquet les roses deltees, Et monter a mes yeux des larmes,
qu'en mon coeur, Mes vingt ans avaient oublife!
The roses of Ispahan
The roses of Ispahan in their sheath of moss, the jasmines of Mosul, the orange blossoms, have a fragrance less fresh,
an aroma less sweet, O pale Leila, than your light breath!
Your lips are coral and your light laughter has a softer and lovelier sound
than rippling water, lovelier than the joyous breeze that
rocks the orange-tree, lovelier than the bird that sings near
its nest of moss.
O Leila, ever since in their airy flight
all the kisses have fled from your lips so sweet,
there is no longer any fragrance from the
pale orange-tree, no heavenly aroma from the roses in the moss.
Oh, if only your youthful love, that light butterfly, would return to my heart on swift
and gentle wings,
and perfume once more the orange blossom and perfume once more the orange blossom.
Autumn
Autumn, time of misty skies
and heart-breaking horizons, of rapid sunsets and pale dawns, I watch your melancholy days
flow past like a torrent.
My thoughts borne off on the wings of regret (as if our time could ever be relived!) dreamingly wander the enchanted slopes where my youth once used to smile.
In the bright sunlight of triumphant memory I feel the scattered roses re-blooming in bouquets; and tears well up in my eyes,
tears which my heart at twenty had already forgotten!
En sourdine, Op. 58, No. 2 (Paul Verlaine)
Calmes dans le demi-jour Que les branches hautes font, PSnetrons bien notre amour De ce silence profond.
Melons nos ames, nos coeurs Et nos sens extasies, Parmi les vagues langueurs Des pins et des arbousiers.
Ferme tes yeux a demi, Croise tes bras sur ton sein, Et de ton coeur endormi Chasse a jamais tout dessein.
Laissons-nous persuader Au souffle berceur et doux Qui vient, a tes pieds, rider Les ondes des gazons roux. Et quand, solennel, le soir Des chenes noirs tombera Voix de notre d?sespoir, Le rossignol chantera.
Les berceaux, Op. 23, No. 1
(Rene-Francois Sully-Prudhomme)
Le long du Quai, les grands vaisseaux, Que la houle incline en silence, Ne prennent pas garde aux berceaux, Que la main des femmes balance.
Mais viendra le jour des adieux, Car il faut que les femmes pleurent, Et que les hommes curieux Tentent les horizons qui leurrent!
Et ce jour-la les grands vaisseaux, Fuyant le port qui diminue, Sentent leur masse retenue Par l'ame des lointains berceaux.
Muted
Calm in the half-day That the high branches make. Let us soak well our love In this profound silence.
Let us mingle our souls, our hearts And our ecstatic senses Among the vague langours Of the pines and the bushes.
Close your eyes halfway, Cross your arms on your breast, And from your sleeping heart Chase away forever all plans.
Let us abandon ourselves To the breeze, rocking and soft, Which comes to your feet to wrinkle The waves of auburn lawns. And when, solemnly, the evening From the black oaks falls, The voice of our despair, The nightingale, will sing.
Cradles
Along the quay, the great ships, that ride the swell in silence, take no notice of the cradles, that the hands of the women rock.
But the day of farewells will come, when the women must weep, and curious men are tempted towards the horizons that lure them!
And that day the great ships,
sailing away from the diminishing port,
feel their bulk held back
by the spirits of the distant cradles.
Notre amour, Op. 23, No. 2
(Silvestre)
Notre amour est chose ldgere Comme les parrums que le vent Prend aux times de la fougere Pour qu'on les respire en revant.
Notre amour est chose legere!
Notre amour est chose charmante, Comme les chansons du matin Oil nul regret ne se lamente, Ou vibre un espoir incertain.
Notre amour est chose charmante!
Notre amour est chose sacre'e Comme les mysteres des bois Ou tressaille une ame ignoree, Oil les silences ont des voix.
Notre amour est chose sacree!
Notre amour est chose infinie, Comme les chemins des couchants Oil la mer, aux cieux reunie, S'endort sous les soleils penchants.
Notre amour est chose eternelle Comme tout ce qu'un dieu vainqueur A touche du feu de son aile, Comme tout ce qui vient du coeur,
Notre amour est chose eternelle!
II
Apres un reve
Faure, Arr. Percy Grainger
Our Love
Our love is something light like the perfumes which the breeze brings from the tips of ferns for us to inhale as we dream.
Our love is something light.
Our love is something enchanting like the morning's songs in which regrets are not heard but uncertain hopes vibrate.
Our love is something charming.
Our love is something sacred like the forests' mysteries in which an unknown soul quivers and silences have voices.
Our love is something sacred!
Our love is something infinite like the paths of the evening, where the ocean, joined with the sky, falls asleep under slanting suns.
Our love is something eternal like all that has been touched by the fiery wing of a victorious god, like all that comes from the heart.
Our love is something eternal!
Ill
Three Songs, H. 76
Frank Bridge
Far, far from each other (Mathew Arnold)
Far, far from each other our spirits have flown,
And what heart knows another
Ah! who knows his own
Blow ye winds! Lift me with you!
I come to the wild.
Fold closely, O nature!
Thine arms round thy child. Ah! Calm me! Restore me And dry up my tears. On thy high mountain platforms, Where morn first appears.
Where is it that our soul doth go
(Kate Freiligrath Kroeker)
One thing I'd know,
When we have perished,
Where is it that our soul doth go
Where, where is the fire that is extinguished
Where is the wind
Where is the wind but now did blow
Where is it Where is it
Where is it that our soul doth go
When we have perished.
Music when soft voices die
(Percy Bysshe Shelley)
Music, when soft voices die, Vibrates in the memory -Odours, when sweet violets sicken, Live within the sense they quicken.
Rose leaves, when the rose is dead, Are heaped for the beloved's bed; And so thy thoughts, when thou art gone, Love itself shall slumber on.
IV
Songs of Travel
Ralph Vaughan Williams (Robert Louis Stevenson)
The Vagabond
Give to me the life I love, Let the lave go by me, Give the jolly heaven above, And the byway nigh me. Bed in the bush with stars to see, Bread I dip in the river -There's the life for a man like me, There's the life for ever.
Let the blow fall soon or late, Let what will be o'er me; Give the face of earth around, And the road before me. Wealth I seek not, hope nor love, Nor a friend to know me; All I seek, the heaven above, And the road below me.
Or let autumn fall on me Where afield I linger, Silencing the bird on tree, Biting the blue finger. White as meal the frosty field -Warm the fireside haven -Not to autumn will I yield, Not to winter even!
Let the blow fall soon or late, Let what will be o'er me; Give the face of earth around, And the road before me. Wealth I ask not, hope nor love, Nor a friend to know me; All I seek, the heaven above, And the road below me.
Let Beauty Awake
Let Beauty awake in the morn from
beautiful dreams, Beauty awake from rest! Let Beauty awake For Beauty's sake
In the hour when the birds awake in the brake And the stars are bright in the west!
Let Beauty awake in the eve from the
slumber of day, Awake in the crimson eve! In the day's dusk end When the shades ascend, Let her wake to the kiss of a tender friend, To render again and receive!
The Roadside Fire
I will make you brooches and toys
for your delight
Of bird-song at morning and star-shine at night, I will make a palace fit for you and me Of green days in forests, and blue days at sea.
I will make my kitchen, and you shall
keep your room, Where white flows the river and bright
blows the broom; And you shall wash your linen and keep
your body white In rainfall at morning and dewfall at night.
And this shall be for music when
no one else is near,
The fine song for singing, the rare song to hear! That only I remember, that only you admire, Of the broad road that stretches and
the roadside fire.
Youth and Love
To the heart of youth the world is a highwayside. Passing for ever, he fares; and on either hand, Deep in the gardens golden pavilions hide, Nestle in orchard bloom, and far on the level land Call him with lighted lamp in the eventide.
Thick as stars at night when the moon is down, Pleasures assail him. He to his nobler fate Fares; and but waves a hand as he passes on, Cries but a wayside word to her at the
garden gate, Sings but a boyish stave and his face is gone.
In Dreams
In dreams unhappy, I behold you stand As heretofore:
The unremember'd tokens in your hand Avail no more.
No more the morning glow, no more the grace, Enshrines, endears.
Cold beats the light of time upon your face And shows your tears.
He came and went. Perchance you wept awhile And then forgot.
Ah me! but he that left you with a smile Forgets you not.
The Infinite Shining Heavens
The infinite shining heavens Rose, and 1 saw in the night Uncountable angel stars Showering sorrow and light.
I saw them distant as heaven, Dumb and shining and dead, And the idle stars of the night Were dearer to me than bread.
Night after night in my sorrow The stars looked over the sea, Till lo! I looked in the dusk And a star had come down to me.
Whither Must I Wander
Home no more home to me,
whither must I wander Hunger my driver, I go where I must. Cold blows the winter wind over hill and heathen Thick drives the rain and my roof is in the dust. Loved of wise men was the shade of
my roof-tree, The true word of welcome was spoken
in the door -
Dear days of old with the faces in the firelight, Kind folks of old, you come again no more.
Home was home then, my dear,
full of kindly faces, Home was home then, my dear,
happy for the child. Fire and the windows bright glittered
on the moorland;
Song, tuneful song, built a palace in the wild. Now when day dawns on the brow
of the moorland, Lone stands the house, and the
chimney-stone is cold. Lone let it stand, now the friends
are all departed, The kind hearts, the true hearts,
that loved the place of old.
Spring shall come, come again,
calling up the moorfowl, Spring shall bring the sun and the rain,
bring the bees and flowers; Red shall the heather bloom over hill and valley, Soft flow the stream through the
even-flowing hours. Fair the day shine as it shone on my
childhood -
Fair shine the day on the house with open door; Birds come and cry there and twitter
in the chimney -But I go for ever and come again no more.
Bright is the Ring of Words
Bright is the ring of words When the right man rings them, Fair the fall of songs When the singer sings them. Still they are carolled and said -On wings they are carried -After the singer is dead And the maker buried.
Low as the singer lies In the field of heather, Songs of his fashion bring The swains together. And when the west is red With the sunset embers, The lover lingers and sings And the maid remembers.
I Have Trod the Upward and the Downward Slope
I have trod the upward and the downward slope; I have endured and done in days before; I have longed for all, and bid farewell to hope; And I have lived and loved, and dosed the door.
V
Songs Parodying Advertisements
Nicholas Slonimsky
"and then her doctor told her" (Pillsbury Bran Muffins)
and then her doctor told her;
For some time she had not been herself
She was run-down....languid__
Tired each day before the work began.
One day she called on her doctor; He advised to eat bran muffins, Made according to Pillsbury recipe; Pillsbury's marvelous natural laxative.
He knew the underlying cause of her trouble; He also knew she would enjoy the bran muffins. The bran muffins there is health and
delight in every bite. And thus her doctor told her -
"No More!" (Vauv Magic Facial Powder)
No more shiny nose, no more shiny nose -Something to keep your nose from getting shiny; Something to rid you of this oiliness on skin; No more shiny nose, no more shiny nose!
"Vauv" is the name of our new magic powder, Spelt V-A-U-V, pronounced Vov. Vauv is on sale in ev'ry good drug store; Vauv keeps the shine off, and the powder on.
"It Sweeps" (Sweeper-Vac)
Sweeps, vacs, mops, unlike the other
make the Sweeper Sweeps, vacs, mops, with the
outstanding cleaning power; Sweeps, vacs, mops, and cleans itself
on hardwood floors -Sweeper-Vac, the cleaner with vac-whop!
It sweeps and vacs,
It mops and cleans,
Sweeper-Vac from Worcester (Massachusetts),
It sweeps, it mops, it vacs, it cleans -
Sweeps, vacs, mops!
"Make this a day..." (Pepsodent toothpaste)
Make this a day you never will forget, Here is your chance, ask for this test. A new-type toothpaste has been created, The name of it is "Pepsodent"!
It means to you new beauty, new emotions, It brings to you new safety, new delight. Do not reflect, ask for a ten-day portion, Make this a day of Pepsodent!
Film on your teeth ferments and forms acid, That vicious film that clings to teeth. Use Pepsodent, the dentists all advise it, And watch its wondrous natural effect.
See how your teeth become so white, so shiny, See how your mouth enjoys a new delight! Make this a day you never will forget it -Ask for this test: the test of Pepsodent!