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UMS Concert Program, Friday Oct. 09 To 25: University Musical Society: Fall 2009 - Friday Oct. 09 To 25 --

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University Musical Society
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Season: Fall 2009
University Of Michigan, Ann Arbor

University Musical Society of the University of MichiganAnn Arbor
university musical society
Fall 09 University of Michigan Ann Arbor
P2 Letters from the Presidents
P5 Letter from the Chair
UMSLeadership 7 UMS Corporate and Foundation Leaders
P14 UMS Board of DirectorsNational Council
SenateAdvisory Committee
P15 UMS StaffCorporate Council
Teacher Advisory Committee
UMSlnfo P17 General Information
P19 UMS Tickets
UMSAnnals 21 UMS History
22 UMS Venues and Burton Memorial Tower
Event Program 24 Your event program content follows page 24
UMSExperience 25 UMS Education and Audience Development
UMSSupport 33 Corporate Sponsorship and Advertising
33 Individual Donations
35 UMS Advisory Committee
37 Annual Fund Support
44 Endowment Fund Support
48 UMS AdvertisersMember Organizations
Coven Gal Costa, Grizzly Bear, Ravi Shankar (photo: Ken Howard),
Bill T. JonesArnie Zane Dance Company (photo: Paul B. Goode)

Welcome to this University Musical Society (UMS) performance. At the University of Michigan we are proud of UMS and of the world-class artists and ensembles it brings each season to the University and southeast Michigan.
We are also proud of the outstanding educa?tional programs UMS offers to people of all ages and the new works in dance, theater, and music it commissions and premieres. Through the U-
UMS Partnership Program, the University is pleased to pro?vide support to UMS as it car?ries out its commitment to education, creation, and pres?entation, paralleling the University's commitment to teaching, research, and public engagement.
UMS offers a variety of programs designed to engage
U-M students in the arts. These include programs that provide academic context and background for arts performances, or combine arts performances with social activities; initiatives to make ticket pur?chases more affordable and convenient; and opportunities for students to gain direct experience in arts administration. The programs include:
Curricular Connections: The live performing arts can often help illuminate what cannot be taught in the traditional classroom setting. Accordingly, UMS works with its U-M academic partners to offer many points of entry for students to become engaged in the arts through classroom-based events. These include in-class lectures by UMS artists; master classes; panels and symposia; lunches or other informal events with the artists; and opportunities for technical theater students to "shadow" professional counterparts during actual performances. Faculty members have also designed special courses to complement UMS programs.
Student Discount Ticket Programs: UMS
offers students three ways to purchase discounted tickets to UMS events: Half-Price Student Ticket Sales, Rush Tickets, and UMS Rush Bucks. Each year, U-M students purchase more than 17,000 discounted tickets, saving more than $375,000.
Arts & Eats: Launched during Winter Semester 2006, Arts & Eats is an initiative pairing perform?ance attendance with a social function in hopes that, as students meet new people who are also interested in attending arts events, they will con?tinue to attend more frequently. The popular pro?gram combines a pizza dinner, a brief talk about the artist or program (often a graduate student), and a ticket to that evening's performance, all for $15. The project is a collaborative effort between Arts at Michigan, the U-M Alumni Association, and the U-M Credit Union.
Work-Study and Intern Students: UMS works to provide meaningful mentorship experiences for all of its part-time student employees and volun?teers, offering high-quality, high-responsibility positions in each department and unique learning experiences at both UMS and at professional con?ferences and seminars. Evidence of the program's success can be seen in the commitment of student interns to the field of arts management: 30 of the UMS staff began their careers as UMS interns, and many other interns continue to work in the performing arts field.
In addition to UMS events, I encourage you to attend University performances, exhibitions, and cultural activities offered by our faculty and stu?dents across the campus. To learn more about arts and culture at Michigan, please visit the University's website at
Mary Sue Coleman
President, University of Michigan
Welcome to this UMS performance. The entire UMS family is grateful that you're here. We hope you'll enjoy the experience and attend more UMS events during our 131st season. You'll find a listing of events on page 2 of your program insert.
There are lots of things I'd like you to know about UMS, and you'll discover many of them elsewhere in this program book. Here are four things I'd especially like you to know:
1. Guest artists tell us all the time that they love you, the UMS audience, and that you're a major reason they want to come back.
Why Because you are knowledgeable, apprecia?tive, open to adventuresome programming, include lots of students, know when to maintain your silence at the end of one piece and when to applaud with enthusiasm at the end of another, and-here's what amazes them-you constitute the largest audience on most international tours although Ann Arbor is the smallest tour stop by far. These were the very things that the Berlin Philharmonic told us at the end of a tour that included Moscow, Bonn, Paris, London, New York, Washington DC, Boston, Chicago...and Ann Arbor. Look who's coming back to Hill on November 17.
2. The special relationship between UMS and U-M is greatly admired--and envied--by pre?senters at other major research universities.
Why A long time ago U-M and UMS leaders saw the benefit of having UMS be a separate non?profit organization with a deep affiliation with U-M, and this unique arrangement has served both institutions extraordinarily well. Over the years UMS has created significant educational partner-
ships with 57 academic units and 175 individual fac?ulty members, and has developed great relation?ships with U-M students who now constitute 21 of our audience. UMS rents the remarkable performance venues both on campus and in the Ann Arbor communi?ty for most of its events, but has the freedom to create
its own venues in alternative spaces, like the Sports Coliseum, Michigan Union, or Arboretum, if these spaces can better serve the artist's vision.
3. UMS is a significant player in southeastern Michigan's revitalization efforts. UMS board and staff representatives serve on economic development task forces throughout the region.
. you constitute the largest audience most international tours althougf Ann Arbor is the smallest tour stop by far.
With arts and culture as a key driver of quality of life, and thus a prime motivator for companies choosing new loca?tions or recruiting new talent, UMS often hosts visiting corporate representatives.
With arts and culture as a key driver of quality of life, and thus a prime motivator for companies choosing new locations or recruiting new talent, UMS often hosts visiting corporate representatives. When the Royal Shakespeare Company was here three years ago for an exclusive US residency, UMS, working in partnership with the Michigan Economic Development Corporation, Ann Arbor SPARK, and the Ann Arbor Convention and Visitors Bureau, hosted 10 corporate executives from around the country to familiarize them with the rich cultural, educational, and other quality-of-life assets in our community. The result: two compa?nies chose to locate here.
4. Volunteers are central to everything we do.
A 500-person usher corps, a 150-voice UMS Choral Union, a 93-member Senate, student interns, a Teacher Advisory Committee, a National Council, a Corporate Council, and countless others help us with strategic planning, special event planning, fund-raising, project-based assistance, backstage support, and promoting performances. The hours donated by our talented 90-member Advisory Committee equal the effort of four-and-a-half full-time staff members. Among the hardest working volunteers are the 36 members of the UMS Board of Directors. On July 1, UMS welcomed six new members to the board: David Canter, Julia Donovan Darlow, Joel D. Howell, S. Rani Kotha, Stephen G. Palms, and Sharon Rothwell. Also serving on the Board this year is
Advisory Committee Chair Janet Callaway. Newly elected officers are Chair James C. Stanley, Vice Chair David J. Herzig, Secretary Martha Darling, and Treasurer Robert C. Macek
Completing six years of distinguished service are Michael C. Allemang, Aaron P. Dworkin, Carl W. Herstein, and A. Douglas Rothwell. Carl Herstein will remain on the Board as Past Chair for the coming season. We simply couldn't do business without the support of all of these volunteers, who collectively donate over 45,000 hours each year.
Feel free to get in touch with me if you have any questions, comments, or problems...or if you'd like to become a UMS volunteer. If you don't see me in the lobby, send me an e-mail message at or call me at 734.647.1174.
And thanks again for coming to this event.
Very best wishes,
Kenneth C. Fischer UMS President
How fortunate we are to be part of a UMS audience that values and supports the performing arts. That is of little surprise given the role UMS has in inspir?ing us, enriching our community, and broadening our understandings of each other. Be it the sound of music, the movement of dance, or the voice of the?ater, UMS has brought high quality performances and new experiences from some of the world's most distinctive artists to audiences for 130 years. The result is that UMS is regarded as one of the most respected presenting organizations in the country.
The artistic expressions experienced at UMS events occur in diverse venues, all of which create an unusual bond between the performers and audience. The sea?soned attendee and the newcomer each quickly grasp this unique connection. When UMS performances conclude, the artists know they have been understood and deeply appreciated by the audience. Lasting ovations and the knowledgeable chatter of those leaving the hall reflect the maturity of our patrons. That atmos?phere is not always so visible in other halls, and for the performers it establishes a special tie to UMS. It's been that way for generations, and for good reasons.
Today's challenging times of world conflict and economic stresses are not new to us. It is important to remember that our forbearers have sustained their emotional and intellectual health by revisiting their cultural roots, and so will we. UMS plays a critical role in our own well being. The 20092010 season provides such an example, be it with the classical music of the Berlin Philharmonic, the moods of Wynton Marsalis and the Jazz at Lincoln Center Orchestra, the singing of Patti LuPone or the Vienna Boys Choir, the movement of Hubbard Street Dance Chicago ensemble, the voices of London's Shakespeare's Globe Theatre, or the wit of The New Yorker maga?zine's music critic Alex Ross. That's just a small bit of what UMS is doing for us this season. It just doesn't get any better, anywhere.
The UMS Board and I encourage all of you to stand with us and the entire UMS team. Engage yourself in the experiences afforded by UMS. Attend many of this season's UMS performances and dare yourself to be exposed to the different sounds and colors that are part of our ever-shrinking planet. Become a donor and enjoy the pride in being among those that fund more than half the expenses of bringing worldwide performances to our doors each year. Learn about us and talk to us at We like to listen.
Participate as advocates for the cultural contributions that UMS offers to our greater community. Do it for yourselves and those who follow. We owe so much to the many who preceded us and made UMS what it is today. They have set an exceptional standard. And remember, how very fortunate we are.
James C. Stanley
Chair, UMS Board of Directors
James G. Vella
President, Ford Motor Company Fund & and Community Services '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 acknowledge the important role it plays in our community."
Dr. Ora Hirsch Pescovitz
Executive Vice President for Medical Affairs, University of Michigan, and CEO, University of Michigan Health System "When I was young, I contemplated becoming a concert pianist. Though I didn't pursue that career path, the arts have remained a prominent fixture in my life, both personally and professionally. Music and the arts feed our imaginations, heal our spirits, and inspire us to evolve and grow. We are very fortunate to have the University Musical Society as part of our community, and the University of Michigan Health System is privileged to sponsor such a creative, vibrant part of our culture. Here's to a great year!"
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."
Timothy G. Marshall
President and CEO, Bank of Ann Arbor "Bank of Ann Arbor is pleased to continue its longstanding tradition of supporting the arts and cultural organizations in our town and region. The University Musical Society provides all of us a wonderful and unique opportunity to enjoy first-class performances covering a wide range of artists from around the world. We are proud to continue our support of UMS for the 0910 season."
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."
Claes Fornell
Chairman, CFI Group, Inc.
"The University Musical Society is a marvelous magnet for attracting the world's finest in the performing arts. There are many good things in Ann Arbor, but UMS is a jewel. We are all richer because of it, and CFI is proud to lend its support."
Bruce Duncan
Ann Arbor Regional Bank President, Comerica Bank "Comerica is proud to support the University Musical Society. UMS continues to enrich the local community by bringing the finest performing arts to Ann Arbor, and we're pleased to continue to support this long-standing tradition."
Fred Shell
Wee President, Corporate and Government Affairs,
DTE Energy
'The DTE Energy Foundation is pleased to support exemplary
organizations like UMS that inspire the soul, instruct the
mind, and enrich the community."
Edward Surovell
President, Edward Surovell Realtors
"Edward Surovell Realtors and its 300 employees and sales asso?ciates are proud of our 21-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 "Elastizell is pleased to be involved with UMS. UMS's strengths are its programming--innovative, experimental, and pioneering--and its education and outreach programs in the schools and the community."
Joseph A. Maffesoli
Branch ManagerVice President, Ann Arbor Investor Center "The Fidelity Investments Ann Arbor Investor Center is proud to support the University Musical Society and the continued effort to inspire our community through the arts. We look forward to another season of great performances!"
Carl W. Herstein _
Partner, Honigman Miller Schwartz and Cohn LLP _
'Honigman is proud to support non-profit organizations in the communities where our partners and employees live and work. We are thrilled to support the University Musical Society and commend UMS for its extraordinary programming, com?missioning of new work, and educational outreach programs."
Mark A. Davis
President and CEO, Howard & Howard "At Howard & Howard, we are as committed to
enriching the communities in which we live and work as we are to providing sophisticated legal services to businesses in the Ann Arbor area. The performing arts benefit us all, and we are proud that our employees have chosen to support the cultural enrichment provided by the University Musical Society."
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 pub?lic 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."
Bill Kerby
Owner, Kerby's Kurb Service
"Kerby's Kurb Service has been a part of the University Musical Society for over a decade. It has been a pleasure working with the UMS staff and an organization that has brought world-renowned artists to the local area for the cultural benefit of many, especially the Ann Arbor community."
Tim Gretkierewicz
Market President, KeyBank
"KeyBank remains a committed supporter of the performing arts in Ann Arbor and we commend the University Musical Society for bringing another season of great performances to the community. Thank you, UMS, for continuing the tradition."
Dennis Serras
Owner, Mainstreet Ventures, Inc. "As restaurant and catering service owners, we consider ourselves fortunate that our business provides so many opportunities for supporting the University Musical Society and its continuing success in bringing internationally acclaimed talent to the Ann Arbor community."
Sharon J. Rothwell
Wee President, Corporate Affairs and Chair, Masco Corporation Foundation "Masco recognizes and appreciates the value the performing arts bring to the region and to our young people. We applaud the efforts of the University Musical Society for its diverse learning opportunities and the impact its programs have on our communities and the cultural leaders of tomorrow."
Scott Merz
CEO, Michigan Critical Care Consultants, Inc. (MC3) "MC3 is proud to support UMS in recognition of its success in creating a center of cultural richness in Michigan."
Erik H. Serr
Principal, Miller, Canfield, Paddock and Stone, P.L.C. "Miller Canfield proudly supports the University Musical Society for bringing internationally-recognized artists from a broad spectrum of the performing arts to our community, and applauds UMS for offering another year of music, dance, and theater to inspire and enrich our lives."
John W. McManus ,
Market President, South Central Michigan, National City "National City Bank is proud to support the efforts of the University Musical Society and the Ann Arbor community."
Michael B. Staebler
Senior Partner, Pepper Hamilton LLP "The University Musical Society is an essential part of the great quality of life in southeastern Michigan. We at Pepper Hamilton support UMS with enthusiasm."
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."
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."
Tom Thompson
Owner, Tom Thompson Flowers
"Judy and I are enthusiastic participants in the UMS family. We appreciate how our lives have been elevated by this relationship."
Shigeki Terashi
President, Toyota Technical Center "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 programming."
Jeff Trapp
President, University of Michigan Credit Union "Thank you to the University Musical Society for enriching our lives. The University of Michigan Credit Union is proud to be a part of another great season of performing arts."
UMS gratefully acknowledges the support of the following foundations and government agencies:
$100,000 and above
Doris Duke Charitable Foundation W.K. Kellogg Foundation National Endowment for the Arts
Doris Duke Foundation for Islamic Art DTE Energy Foundation Esperance Family Foundation
Cairn Foundation
Maxine and Stuart Frankel Foundation
Charles H. Gershenson Trust
The Mosaic Foundation, Washington DC
$10,000-$ 19,999
Arts Midwest's Performing Arts Fund Eugene and Emily Grant Foundation Martin Family Foundation Michigan Council for Arts and Cultural Affairs THE MOSAIC FOUNDATION (of R. & P. Heydon)
Consulate General of The Netherlands in New York
Mohamed and Hayat Issalssa Foundation
National Dance Project of the New England Foundation
for the Arts Sams Ann Arbor Fund Target
James C. Stanley,
Chair David J. Herzig,
Wee Chair Martha Darling,
Secretary Robert C. Macek,
Treasurer Carl W. Herstein,
Past Chair
Wadad Abed Carol L. Amster
Kathleen Benton Lynda W. Berg DJ Boehm
Charles W. Borgsdorf Robert Buckler David Canter Mary Sue Coleman Julia Donovan Darlow Junia Doan Maxine J. Frankel Patricia M. Garcia Chris Genteel Anne Glendon
Joel D. Howell Christopher Kendall S. Rani Kotha Melvin A. Lester Joetta Mial Lester P. Monts Roger Newton Stephen G. Palms Todd Roberts Sharon Rothwell Edward R. Schulak John J.H. Schwarz Ellie Serras
Joseph A. Sesi Anthony L. Smith Cheryl L. Soper
Clayton E. Wilhite,
Chair, National
Council A. Douglas Rothwell,
Chair, Corporate
Council Janet Callaway,
Chair, Advisory
Clayton E. Wilhite, Chair Marylene Delbourg-Delphis John Edman Janet Eilber
Eugene Grant Charles Hamlen Katherine Hein David Heleniak
Toni Hoover Judith Istock Wallis Klein Zarin Mehta
Herbert Ruben Russell Willis Taylor
Carl W. Herstein, Ex-officio
UMS SENATE (former members of the UMS Board of Directors)
Robert G. Aldrich Michael C. Allemang Herbert S. Amster Gail Davis Barnes Richard 5. Berger Maurice S. Binkow Lee C. Bollinger Janice Stevens
Botsford Paul C. Boylan Carl A. Brauer William M. Broucek Barbara Everitt Bryant Letitia J. Byrd Kathleen G. Charla Leon S. Cohan Jill A. Corr Peter B. Corr Ronald M. Cresswell
Hal Davis
Sally Stegeman DiCarlo Robert F. DiRomualdo Cynthia Dodd Al Dodds
James J. Duderstadt Aaron P. Dworkin David Featherman Robben W. Fleming David J. Flowers George V. Fornero Beverley B. Geltner William S. Hann Randy J. Harris Walter L. Harrison Deborah S. Herbert Norman G. Herbert Carl W. Herstein Peter N. Heydon
Toni Hoover Kay Hunt Alice Davis Irani Stuart A. Isaac Thomas E. Kauper David B. Kennedy Gloria James Kerry Thomas C. Kinnear Marvin Krislov F. Bruce Kulp Leo A. Legatski Earl Lewis Patrick B. Long Helen B. Love Judythe H. Maugh Paul W. McCracken Rebecca McGowan Barbara Meadows Alberto Nacif
Shirley C. Neuman Jan Barney Newman Len Niehoff Gilbert 5. Omenn Joe E. O'Neal John D. Paul Randall Pittman Philip H. Power John Psarouthakis Rossi Ray-Taylor John W. Reed Richard H. Rogel Prudence L. Rosenthal A. Douglas Rothwell Judy Dow Rumelhart Maya Savarino Ann Schriber Erik H. Serr Harold T. Shapiro
George I. Shirley John 0. 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 Michael D. VanHemert Eileen Lappin Weiser B. Joseph White Marina v.N. Whitman Clayton E. Wilhite Iva M. Wilson Karen Wolff
Janet Callaway, Chair Betty Palms,
Wee Chaw-Karen Stutz, Secretary Sarah Nicoli,
Treasurer Phyllis Herzig,
Past Chair
Ricky Agranoff MariAnn Apley Sandy Aquino Lone Arbour Barbara Bach Pat Bantle
Francine Bomar Luciana Borbely Mary Breakey Heather Byrne Dennis J. Carter Stefani Carter Cheryl Cassidy Patricia Chapman Cheryl Clarkson Wendy Comstock Sheila Crowley Doug Czinder Norma Davis Mary Dempsey Mary Ann Faeth
Michaelene Farrell Sara Fink Susan A. Fisher Susan R. Fisher Rosamund Forrest Kathy Goldberg Walter Graves Linda Grekin Nicki Griffith Joe Gnmley Susan Gross Susan Gutow Lynn Hamilton Charlene Hancock Shelia Harden
Alice Hart
Meg Kennedy Shaw Pam Krogness Mary LeDuc Joan Levitsky Jean Long Eleanor Lord Jane Maehr Jennifer J. Maisch Melanie Mandell Ann Martin Fran Martin Joanna McNamara Deborah Meadows Liz Messiter
Robin Miesel Natalie Mobley Bonita Davis Neighbors Kay Ness Thomas Ogar Liz Othman Allison Poggi Lisa Psarouthakis Marci Raver Agnes Moy Sarns Penny Schreiber Bev Seiford Aliza Shevrin Alida Silverman
Loretta Skewes Andrea Smith Becki Spangler Nancy Stanley Carlin C. Stockson Gail Ferguson Stout Eileen Thacker Janet Torno Louise Townley Amanda Uhle Enid Wasserman Kirsten Williams Ellen Woodman
Kenneth C. Fischer, President Kathy M. Brown, Executive Assistant John B. Kennard, Jr.,
Director of Administration Beth Gilliland,
Gift ProcessorIT Assistant Patricia Hayes, Senior Accountant John Peckham,
Information Systems Manager
Choral Union
Jerry Blackstone,
Conductor and Music Director Jason Harris, Assistant Conductor Kathleen Operhall, Chorus Manager Nancy K. Paul, Librarian Jean Schneider, Accompanist Scott VanOrnum, Accompanist Donald Bryant, Conductor Emeritus
Susan McClanahan, Director Susan Bozell Craig, Senior Manager
for Marketing and Corporate
Partnerships Rachelle Lesko, Development
Administrative Assistant Lisa Michiko Murray,
Manager of Foundation and
Government Grants M. Joanne Navarre, Manager of
Annual Giving Marnie Reid, Manager of
Individual Support Cynthia Straub, Advisory Committee
and Events Coordinator
EducationAudience Development
Claire C. Rice, Interim Director Mary Roeder,
Residency Coordinator Omari Rush, Education Manager
MarketingPublic Relations
Sara Billmann, Director
Susan Bozell Craig, Senior Manager
for Marketing and Corporate
Partnerships James P. Leija, Public Relations
Manager Stephanie Normann, Marketing
Michael J. Kondziolka, Director Jeffrey Beyersdorf,
Technical Director Mark Jacobson,
Programming Manager Carlos Palomares,
Artist Services Coordinator Liz Stover, Programming
Ticket Services
Jennifer Graf, Ticket Services
Manager Sally A. Cushing, Ticket Office
Associate Suzanne Davidson, Assistant Ticket
Services Manager Adrienne Escamilla,
Ticket Office Associate Sara Sanders, Front-of-House
Coordinator Dennis Carter, Bruce Oshaben,
Brian Roddy, Head Ushers
Greg Briley Tyler Brunsman Allison Carron Shannon Deasy Kelsy Durkin Carrie Fisk Dana Harlan Catherine Herzog Jennifer Howard Andy Jones Toniesha Jones Brooke Lundin
Mary Martin Michael Matlock Bryan McGivern Michael Michelon Paula Muldoon Leonard Navarro Steven Rish Andrew Smith Cahill Smith Trevor Sponseller Catherine Tippman Julie Wallace Sophia Zhuo
Doug Rothwell,
Chair Albert Berriz
Bruce Brownlee Bob Buckler Jim Garavaglia
Steve Hamp Carl Herstein Bob Kelch
Mary Kramer Sharon Rothwell Mike Staebler
Jim Vella
Abby Atwm Fran Ampey Robin Bailey Greta Barfield Joey Barker Alana Barter Judy Barthwell Rob Bauman Suzanne Bayer Eli Bleiler Ann Marie Borders
David Borgsdorf Sigrid Bower Marie Brooks Susan Buchan Deb Clancy Carl Clark Ben Cohen Julie Cohen Leslie Criscenti Orelia Dann Saundra Dunn
Johanna Epstein Susan Filipiak Katy Pillion Delores Flagg Joey Fukuchi Jeff Gaynor Joyce Gerbef Barb Grabbe Joan Grissing Linda Jones Jeff Kass
Rosalie Koenig Sue Kohfetdt Laura Machida Jose Mejia Kim Mobley Eunice Moore Michelle Peet Anne Pertgo Rebeca Pietrzak Cathy Reischl Jessica Rizor
Vtcki Shields Sandra Smith Gretchen Suhre Julie Taylor Cayia Tchalo Dan Tolly Alex Wagner Barbara Wallgren Kimbefley Wrjght Kathryn Young
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 the Michigan Theater, call 734.668.8397. For St. Francis of Assisi, call 734.821.2111.
Please allow plenty of time for parking as the campus area may be congested.
Parking is available in the Church Street, Maynard Street, Thayer Street, Fletcher Street, and Fourth Avenue structures for a minimal fee. Please allow enough time to park before the performance begins. UMS donors at the Patron level and above ($1,000) 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 0910 Choral Union series. Cars may be dropped off in front of Hill Auditorium beginning one
hour before each performance. There is a $20 fee for this service. UMS donors at the Concertmaster level ($7,500) and above are invited to use this service at no charge.
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 performance venues, $2 after 3 pm weekdays and all day SaturdaySunday. Maynard Street structure, entrances off Maynard and Thompson between Willliam and Liberty, $.45half-hour, free on Sunday.
For up-to-date parking information, please visit www.ums.orgparking.
Refreshments are available in the lobby during intermissions at events in the Power Center, in the lower lobby of Hill Auditorium (beginning 75 minutes prior to concerts--enter through the west lobby doors), and in the Michigan Theater. Refreshments are not allowed in the seating areas.
Non-Smoking Venues
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 several events occurring simultaneously in different theaters. Please allow plenty of extra time to park and find your seats.
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 suitable 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 intermis?sion, 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 perform?ances.
Group Tickets
Treat 10 or more friends, co-workers, or family members to an unforgettable performance of live music, dance, or theater. Whether you have a group of students, a business gathering, a college reunion, or just you and a group of friends, the UMS Group Sales Office can help you plan the perfect outing. You can make it formal or casual, a special celebration, or just friends enjoying each other's company. The many advantages to booking as a group include:
Reserving tickets before tickets go on sale to the general public
Discounts of 15-25 for most performances
Accessibility accommodations
No-risk reservations that are fully refundable up to 14 days before the performance, unless the group order is completed
1-3 complimentary tickets for the group organizer (depending on size of group). Complimentary tickets are not offered for performances without a group discount.
For more information, please contact 734.763.3100 or
Classical Kids Club
Parents can introduce their children to world-renowned classical music artists through the Classical Kids Club. The Classical Kids Club allows students in grades 1-8 to purchase tick?ets to all classical music concerts at significantly discounted rates. Parents can purchase up to two children's tickets for $10 each with the purchase of a $20 adult ticket beginning two weeks before the concert. Seating is subject to availability. For information, call 734.764.2538 or sign-up for UMS E-News and check the box for Classical Kids Club.
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets until curtain time by calling the Ticket Office. Refunds are not available; how?ever, you will be given a receipt for an income tax deduction. Please note ticket retums do not count towards UMS giving levels.
Ticket Exchanges
Subscribers may exchange tickets free of charge up until 48 hours prior to the perform?ance. Non-subscribers may exchange tickets for a $6 per ticket exchange fee up until 48 hours prior to the performance. Exchanged tickets must be received by the Ticket Office (by mail or in person) at least 48 hours prior to the per?formance. The value of the tickets may be applied to another performance or will be held as UMS Credit until the end of the season. You may also fax a copy of your torn tickets to 734.647.1171. Lost or misplaced tickets cannot be exchanged. UMS Credit must be redeemed by Sunday, April 25, 2010.
New this year! UMS now accepts ticket exchanges within 48 hours of the performance for a $10 per ticket exchange fee (applies to both subscribers and single ticket buyers). Tickets must be exchanged at least one hour before the published performance time. Tickets received less than one hour before the per?formance will be returned as a tax-deductible contribution.
A variety of discounted ticket programs are available for University students and teenagers.
Half-Price Student Ticket Sales
At the beginning of each semester, UMS offers half-price tickets to college students. A limited number of tickets are available for each event in select seating areas. Simply visit www.ums.orgstudents, log-in using your U-M uniqname and Kerberos password, and fill out your form. Orders will be processed in the order they are received. You will pay for and pick up your tickets at a later date at the Michigan League Ticket Office.
Fall Semester Sale Begins Sunday. September 13 at 8pm and ends Wednesday. September 16 at 5pm.
Winter Semester Sale: Begins Sunday, January 10 at 8pm and ends Tuesday, January 12 at 5pm.
Sponsored by
UMS Rush Bucks
Worried about finding yourself strapped for cash in the middle of the semester UMS Rush Bucks provide online access to Rush Tickets two weeks before most performances. UMS Rush Bucks are available in $60 and $100 increments. Please visit www.ums.orgstudents for more information.
Teen Tickets
Teens can attend UMS performances at signifi?cant discounts. Tickets are available to teens for $10 the day of the performance (or on the Friday before weekend events) at the Michigan League Ticket Office and $15 beginning 90 minutes before the performance at the venue. One ticket per student ID, subject to availability.
Gift Certificates
Available in any amount and redeemable for any of more than 50 events throughout our season, 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 pres?ent when new friends move to town.
UMS Gift Certificates are valid for five years from the date of purchase. For more information, please visit
In Person:
League Ticket Office
911 North University Ave.
Mon-Fri: 9am-5pm
Sat: 10am-1pm
By Phone:
Outside the 734 area code, call toll-free 800.221.1229
By Internet:
By Fax: 734.647.1171
By Mail:
UMS Ticket Office Burton Memorial Tower 881 North University Ave. Ann Arbor, Ml 48109-1011
On-site ticket offices at performance venues open 90 minutes before each performance.
Through a commitment to presentation, education, and the creation of new work, the University Musical Society (UMS) serves Michigan audiences by bringing to our community an ongo?ing series of world-class artists, who represent the diverse spectrum of today's vigorous and exciting live performing arts world. Over the past 130 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, balanced by a commit?ment to dynamic and creative visions of where the performing arts will take us in this new mil?lennium. Every day UMS seeks to cultivate, nur?ture, 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 performance of Handel's Messiah was in December of 1879 and this glorious oratorio has since been per?formed by the UMS Choral Union annually.
Many Choral Union members also belonged to the University, and the University Musical Society was established in December, 1880. UMS included the Choral Union and University Orchestra, and throughout the year presented a series of concerts featuring local and visiting artists and ensembles.
Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the performing arts--internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and world music performers, and opera and theater. Through educational endeavors, commissioning of new works, youth programs, artist residencies, and other collaborative projects, UMS has maintained its reputation for quality, artistic distinction, and innovation. UMS now hosts over 50 performances and more than 125 educational events each season. UMS has flourished with the support of a generous community that this year gathers in eight different Ann Arbor venues.
The UMS Choral Union has likewise expanded its charge over its 130-year history. Recent collaborations have included the Grammy Award-winning recording of William Bolcom's Songs of Innocence and of Experience (2004), John Adams's On the Transmigration of Souls with the Detroit Symphony Orchestra (2007), Shostakovich's Symphony No. 13 ("Babi Yar") with the Kirov Orchestra of St. Petersburg (2006), and Orff's Carmina Burana during Maestro Leonard Slatkin's opening weekend.
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 organiza?tion that supports itself from ticket sales, corpo?rate and individual contributions, foundation and government grants, special project support from U-M, and endowment income.
Hill Auditorium
Originally built in 1913, a $38.6-million dollar renovation overseen by Albert Kahn Associates, Inc. and historic preservation architects Quinn EvansArchitects has updated Hill's infrastructure and restored much of the interior to its original splendor. Exterior renovations include the reworking of brick paving and stone retaining wall areas, restoration of the south entrance plaza, the reworking of the west barrier-free ramp and loading dock, and improvements to landscaping. Hill Auditorium re-opened to the public in January 2004.
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 theatrical performance and audio-visual sys?tems, and the complete replacement of mechanical and electrical infrastructure systems for heating, ventilation, and air conditioning.
Hill Auditorium seats 3,575.
Lydia Mendessohn Theatre
Notwithstanding an isolated effort to establish a chamber music series by faculty and students in 1938, UMS began presenting artists in Lydia Mendelssohn Theatre in 1993 when Eartha Kitt and Barbara Cook graced the stage of the inti?mate 658-seat theater as part of the 100th May Festival's Cabaret Ball. This season the superla?tive Mendelssohn Theatre hosts UMS's Jazz Series concert presentations of the Bill Charlap Trio and The Bad Plus.
Michigan Theater
The historic Michigan Theater opened January 5, 1928 at the peak of the vaudevillemovie 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.
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. The Powers were immediately interested in supporting the University's desire to build a new theater, realizing that state and fed?eral governments were unlikely to provide finan?cial support for the construction of a theater.
Opening in 1971 with the world premiere of The Grass Harp (based on the novel by Truman Capote), the Power Center achieved the seemingly contradictory combination of provid?ing a soaring interior space with a unique level of intimacy. Architectural features include two
large spiral staircases leading from the orchestra level to the balcony and the well-known mirrored glass panels on the exterior. The lobby of the Power Center 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 current season.
Rackham Auditorium
Seventy 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, and Newberry Hall, 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 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 is the fact that neither he nor his wife ever attended the University of Michigan.
Designed by architect William Kapp and architectural sculptor Corrado Parducci, Rackham Auditorium was quickly recognized as the ideal venue for chamber music. In 1941, UMS presented its first chamber music festival with the Musical Art Quartet of New York per?forming three concerts in as many days, and the current Chamber Arts Series was born in 1963. Chamber music audiences and artists alike appreciate the intimacy, beauty, and fine acoustics of the 1,129-seat auditorium, which has been the location for hundreds of chamber music concerts throughout the years.
St. Francis of Assisi Catholic Church
Dedicated in 1969, St. Francis of Assisi Catholic Church has grown from 248 families when it first started to more than 2,800 today. The pres?ent church seats 1,000 people and has ample free parking. In 1994, St. Francis purchased a splendid three manual "mechanical action" organ with 34 stops and 45 ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedication, a commitment to superb liturgical music, and a vision to the future, the parish improved the acoustics of the church building, and the rever?berant sanctuary has made the church a gather?ing place for the enjoyment and contemplation 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 landmarks. Designed by Albert Kahn in 1935 as a memorial to U-M President Marion Leroy Burton, the 10-story tower is built of Indiana limestone with a height of 212 feet. The carillon, one of only 23 in the world, is the world's fourth heaviest containing 55 bells and weighing a total of 43 tons. UMS has occupied administrative offices in this building since its opening.
Fall 2009 Season 131st Annual Season
General Information
On-site ticket offices at performance venues open 90 minutes before each performance.
Children of all ages are welcome at UMS Family and Youth Performances. Children under the age of 3 will not be admitted to regular, full length UMS performances. All children must be able to sit quietly in their own seats without disturbing other patrons. Children unable to do so, along with the adult accompanying them, will be asked by an usher to leave the audito?rium. Please use discretion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.
Cameras and recording equipment
are prohibited in the auditorium.
If you have a question, ask your usher. They are here to help.
Please turn off your cellular phones and other digital devices so that everyone may enjoy this UMS event disturbance-free.
In the interests of saving both dollars and the environment, please either retain this program book and return with it when you attend other UMS performances included in this edition or return it to your usher when leaving the venue.
Event Program Book
Friday, October 9 through Sunday, October 25, 2009
The Suzanne Farrell Ballet
Friday, October 9, 8:00 pm 7
Saturday, October 10, 1:00 pm (Family Performance) 15
Saturday, October 10, 8:00 pm 15
Power Center
Ravi Shankar and Anoushka Shankar 25
Thursday, October 15, 8:00 pm Hill Auditorium
Shakespeare's Globe Theatre of London 31
Love's Labour's Lost
Tuesday, October 20, 8:00 pm Wednesday, October 21, 8:00 pm (Special Student Performance) Thursday, October 22, 8:00 pm Friday, October 23, 8:00 pm Saturday, October 24, 8:00 pm Sunday, October 25, 2:00 pm Power Center
Fall 2009
1 Winter 2010
Itzhak Perlman, violin with Rohan De Silva, piano Grizzly Bear with Beach House
Bill Charlap Trio
7 ! Punch Brothers featuring Chris Thile
8 i Alisa-Weilerstein, cello with
Inon Barnatan, piano 9-10 The Suzanne Farrell Ballet
11 NT Live: All's Well That Ends Well
15 Ravi Shankar and Anoushka Shankar 20-25 Shakespeare's Globe Theatre of London:
Love's Labour's Lost 27 I Stile Antico: Heavenly Harmonies
29 Michigan Chamber Players
30 ; Belcea Quartet
Christine Brewer, soprano with Craig Rutenberg, piano Keith Terry and the Slammin' All-Body Band
7 Gal Costa and Romero Lubambo
8 St. Lawrence String Quartet 14 Yasmin Levy
17 Berlin Philharmonic
20 i Patti LuPone: Coulda, Woulda, Shoulda
29 Vienna Boys Choir: Christmas in Vienna
5-6 Handel's Messiah
12 Jean-Yves Thibaudet, piano
8 Souad Massi
22-23 Bill T. JonesArnie Zane Dance Company
Fondly Do We Hope...Fervently Do We
27 Chicago Symphony Orchestra
31 Ladysmith Black Mambazo
4 i The Bad Plus
6 I So Percussion
7 ! NT Live: Nation
10 Angela Hewitt, piano
11 Luciana Souza Trio
14 Schubert Piano Trios
17 Bela Fleck: The Africa Project
21 Swedish Radio Choir
13 Cyro Baptista's Beat the Donkey
15 Takacs Quartet
17 Jazz at Lincoln Center Orchestra
I with Wynton Marsalis
19 San Francisco Symphony with Christian Tetzlaff, violin
20 San Francisco Symphony with
UMS Choral Union: 15th Ford Honors Program 24-25 Julia Fischer, violin:
Solo Violin Works of J.S. Bach 25-28 Maly Drama Theater of
i St. Petersburg: Anton Chekhov's Uncle Vanya
7 i Schleswig-Holstein Festival Orchestra with ! Lang Lang, piano
8 Danilo Perez & Friends: Things to Come: i 21st-century Dizzy
10 Baaba Maal with NOMO 12 ; Michigan Chamber Players 20 Trio Mediaeval
22-24 Hubbard Street Dance Chicago 25 The Rest is Noise in Performance:
I Alex Ross and Ethan Iverson, piano TBD NT Live: The Habit of Art
through Sunday, October 25, 2009
UMS Educational Events
All UMS educational activities are free, open to the public, and take place in Ann Arbor unless otherwise noted. For complete details and updates, please visit or contact the UMS Education Department at 734.615.4077 or
The Suzanne Farrell Ballet
Post-Performance Artist Panel
Friday, October 9, Power Center Stage
U-M Department of Dance Chair Angela Kane moderates a panel discussion with members of the Suzanne Farrell Ballet following Friday evening's performance from the Power Center stage.
Event ticket required to Friday evening's performance to attend.
A collaboration with the U-M School of Music, Theatre & Dance.
Family Event
DANCETALK: Creative Movement and
Language Development
Saturday, October 10 11:30am-12:30pm. Power Center Rehearsal Room
Kennedy Center teaching artist Kate Kuper leads a hands-on workshop for young students and their families aimed at harnessing dance movement to teach lessons about language. Using cooperative and kinetic education techniques, participants learn how creative movement can help increase students' vocabulary, improve students' verb and adverb usage, and build students' comprehension. Event is geared towards pre-Kindergarten and early-elementary-school families.
Kate Kuper has been recognized by the National Endowment for the Arts and the Illinois Alliance for Arts Education for her work in education with young children, college students, and adult educators.
Shakespeare's Globe Theatre of London
Who is William Shakespeare
Monday, October 12, 7-8:30 pm, Rackham Auditorium, 915 E. Washington Street
UMS's "Who Is..." Series aims to break down the barriers between performer and audience by demystifying the artists behind great work. To kick off the series, U-M Professor Ralph Williams will explore the turbulent life and unparalleled work of William Shakespeare, whose legacy has continued to inspire some of the greatest artists of our own time.
From the Bard to the Boardroom
Wednesday, October 14, 7-9:00 pm,
U-M Ross School of Business, Blau Auditorium
What can Shakespeare's life and his works teach us not only about creativity and ethics, but about entrepreneurship and business practice And how can theatrical practice both prepare businesspersons for their own "performances" in the boardroom and increase morale and teamwork in today's corporate environment U-M Professor Ralph Williams draws parallels between today's business world and the world of Shakespeare, while the award-winning British theater director, Steve Marmion, who has worked with the RSC and the National Theatre of England, will share interactive games and theater improvisations that can help stimulate creativity and teamwork, and enable effective public speaking.
Open to the public for observation only.
A collaboration with the U-M Ross School of Business's Ross Leadership Initiative (RLI) and Arts Enterprise@U-M.
BYOBad Sonnet: Unlocking the Language of Love's Labour's Lost
Thursday, October 15, 6:00 pm, Washtenaw Community College Towsley Auditorium, located in the Martin Lawrence Building, 4800 E. Huron River Drive
The language of Shakespeare's Love's Labour's Lost is often intricate and includes scenes with intentionally bad poetry. Acclaimed English theater director Steve Marmion and WCC's Tom Zimmerman will facilitate an interactive session on the "good and bad" sonnets in this and other works, to unlock some of Shakespeare's challenging language. Receive the opportunity to write your own "good or bad" sonnet!
A collaboration with Washtenaw Community College.
A Labour of Love: 24 Hour Plays
Sunday, October 18, 7:30pm, Keene Theatre, U-M Residential College, 701 E. University Avenue
Student writers, directors, producers, and actors from both the RC Players and the general U-M student body begin with themes from Shakespeare's Love's Labour's Lost, and in 24 hours, create original one-act theater works for this public performance. Steve Marmion, an acclaimed English Theater Director who has worked with the National Theatre of London and the Royal Shakespeare Company, serves as artistic director.
A collaboration with the U-M Residential College and U-M School of Music, Theatre & Dance.
Abstinence Makes the Heart Grow Fonder: Gender and Sexuality in Shakespeare's Love's Labour's Lost
Wednesday, October 2 7, 6:30-8:00 pm, Rackham Amphitheatre, 915 E. Washington Street
A willful battle of the sexes is critical to advancing the narrative of Love's Labour's Lost. U-M Professors Doug Trevor and Barbara Hodgdon and MSU Professor Jyotsna Singh discuss issues of gender and sexuality as driving forces in Love's Labour's Lost versus other Shakespearean works.
A collaboration with the U-M English Department and MSU English Department.
Ravi Shankar and Anoushka Shankar
SumKali Indian Classical Music Lecture Demonstration
Tuesday, October 13, 7:00 pm, Kerrytown Concert House, 41S N. Fourth Avenue
Indian classical music has a wide diversity of forms and traditions. Join local Indian ensemble SumKali as they explain the intricacies of Ravi and Anoushka Shankar's particular style through performance, celebrating local talent while illuminating the greatness of these master visiting musicians.
and the
Lenore M. Delanghe
The Suzanne Farrell Ballet
Suzanne Farrell, Artistic Director
Natalia Magnicaballi, Michael Cook, Momchil Mladenov
Elisabeth Holowchuk, Kendra Mitchell
Violeta Angelova, Amy Brandt, Kenna Draxton, Sara Ivan, Jessica Lawrence, Lauren Stewart, Nicole Stout, Thomas Bettin, Ian Grosh, Andrew Shore Kaminski, Jonathan Paul, Danny Scott, Ted Seymour
Choreography by George Balanchine
Choreography by Balanchine
Choreography by Maurice Bejart
Choreography by Balanchine
Friday Evening, October 9, 2009 at 8:00 Power Center Ann Arbor
Pas d'Action from Divertimento No. 15
"Contrapuntal Blues pas de deux" from Clarinadt
"Scene d'amour" from Romeo and Juliet
Seventh Performance of the 131st Annual Season
19th Annual Dance Series
The photographing or sound and video recording of these performances or possession of any device for such recording is prohibited.
The Suzanne Farrell Ballet performances are sponsored by the Lenore M. Delanghe Trust.
Funded in part by the National Endowment for the Arts as part of American Masterpieces: Three Centuries of Artistic Genius.
Media partnership provided by Michigan Radio 91.7 FM, Metro Times, and Between the Lines.
Special thanks to Dianne Dudley and Deborah Roe from Ann Arbor's Community High School Dance Program, and Beth Genne, Angela Kane, Christian Matjias, and Samantha Strayer from the U-M School of Music, Theatre & Dance for their support of and participation in The Suzanne Farrell Ballet residency.
Large print programs are available upon request.
Pas d'Action from Divertimento No. 15
Choreography Music
Costume Design Lighting Design
George Balanchine O The George Balanchine Trust
Wolfgang Amadeus Mozart
(Divertimento No. 15 in B-flat Major, K. 287)
Holly Hynes
J. Russell Sandifer
First Variation Second Variation Third Variation Fourth Variation Fifth Variation Sixth Variation
Momchil Mladenov Ian Grosh
Kendra Mitchell Lauren Stewart Sara Ivan
Natalia Magnicaballi Michael Cook Violeta Angelova
Ballet Premiere: May 31, 1956
"Contrapuntal Blues pas de deux" from Clarinade
A Baianchine Preservation Initiative Ballet
Choreography George Baianchine O The George Baianchine Trust
Reconstruction Suzanne Farrell
Music Morton Gould {Derivations for Clarinet and Jazz Band, 1954-55)
Costume Design Holly Hynes
Lighting Design J. Russell Sandifer
Elisabeth Holowchuk Ted Seymour
Ballet Premiere: April 29, 1964
A project of The Suzanne Farrell Ballet, the Baianchine Preservation Initiative is produced with the knowledge and cooperation of The George Baianchine Trust.
Music for Contrapuntal Blues by arrangement with G Schirmer, Inc, publisher and copyright owner.
"Scene d'amour" from Romeo and Juliet
Choreography Music
Costume Design Lighting Design
Maurice Bejart, performed with permission by Fondation Maurice Bejart
Hector Berlioz
Holly Hynes
J. Russell Sandifer
Sara Ivan Momchil Mladenov
Jessica Lawrence Lauren Stewart Thomas Bettin Ian Grosh
Andrew Shore Kaminski Jonathan Paul Danny Scott Ted Seymour
Ballet Premiere: 1966
Choreography Music
Costume Design Lighting Design
Company Premiere
George Balanchine O The George Balanchine Trust
Igor Stravinsky (1953-56)
Holly Hynes
J. Russell Sandifer
Natalia Magnicaballi Violeta Angelova Momchil Mladenov Michael Cook
Elisabeth Holowchuk
Amy Brandt
Ian Grosh
Andrew Shore Kaminski
Kenna Draxton Jessica Lawrence Lauren Stewart Nicole Stout
Pas de quatre Four Boys
Double Pas de quatre Eight Girls
Triple Pas de quatre Eight Girls, Four Boys
Part II First Pas de Trois:
Sarabande Michael Cook
Elisabeth Holowchuk, Amy Brandt
Michael Cook
Elisabeth Holowchuk, Amy Brandt
Second Pas de Trois:
Bransle Simple
Ian Grosh, Andrew Shore Kaminski
Bransle Gay Violeta Angelova
Bransle Double (de Poitou)
Violeta Angelova
Ian Grosh, Andrew Shore Kaminski
Pas de Deux:
Natalia Magnicaballi, Momchil Mladenov
Part III Danse des quatre duos
Four Duos
Danse des quatre trios Four Trios
Coda Four Boys
Ballet Premiere: December 1, 1957
Music for Agon by arrangement with Boosey and Hawkes, Inc., publisher and copyright owner.
Please refer to page 21 in your program book for complete biographies on The Suzanne Farrell Ballet, Suzanne Farrell, and George Balanchine.
The performances of Divertimento No. 15, Clarinade, and Agon BalanchineO Ballets, are presented by arrangement with The George Balanchine Trust and have been produced in accordance with the Balanchine StyleO and the Balanchine TechniqueO service standards established and provided by the Trust.
The Balanchine Ballets presented in this program are protected by copyright. Any unauthorized recording is prohibited with the expressed consent of The George Balanchine Trust and The Suzanne Farrell Ballet.
The Suzanne Farrell Ballet is the Kennedy Center's own ballet company.
Generous support for The Suzanne Farrell Ballet is provided by The Shen Family Foundation and Emily Williams Kelly.
Major support is provided by The Suzanne Farrell Ballet Advancement Committee.
Additional support is provided by Elizabeth and Michael Kojaian.
and Toyota
The Suzanne Farrell Ballet
Suzanne Farrell, Artistic Director
Natalia Magnicaballi, Michael Cook, Momchil Mladenov
Elisabeth Holowchuk, Kendra Mitchell
Violeta Angelova, Amy Brandt, Kenna Draxton, Sara Ivan, Jessica Lawrence, Lauren Stewart, Nicole Stout, Thomas Bettin, Ian Grosh, Andrew Shore Kaminski, Jonathan Paul, Danny Scott, Ted Seymour
Choreography by George Balanchine
Saturday Afternoon, October 10, 2009 at 1:00 pm (Family Performance) Saturday Evening, October 10, 2009 at 8:00 pm Power Center Ann Arbor
The Balanchine Couple
Narration by Suzanne Farrell
Pas de Deux from Apollo
Pas de Deux from La Sonnambula
"The Unanswered Question" from Ivesiana
Pas de Deux from La Valse Pas de Deux from Agon Meditation
"Pas de Deux Mauresque" from Balanchine's Don Quixote
Pas de Deux from Chaconne
Pas de Deux from Stars and Stripes
Eighth and Ninth Performances of the 131st Annual Season
19th Annual Dance Series
The photographing or sound and video recording of these performances or possession of any device for such recording is prohibited.
The Suzanne Farrell Ballet performances are sponsored by the Lenore M. Delanghe Trust.
The 0910 Family Series is sponsored by Toyota.
Funded in part by the National Endowment for the Arts as part of American Masterpieces: Three Centuries of Artistic Genius.
Media partnership provided by Michigan Radio 91.7 FM, Metro Times, and Between the Lines.
Special thanks to Dianne Dudley and Deborah Roe from Ann Arbor's Community High School Dance Program, and Beth Genne, Angela Kane, Christian Matjias, and Samantha Strayer from the U-M School of Music, Theatre & Dance for their support of and participation in The Suzanne Farrell Ballet residency.
Large print programs are available upon request.
Pas de Deux from Apollo
Music Igor Stravinsky (Apollon Musagete)
Choreography George Balanchine O The George Balanchine Trust
Costume Design Holly Hynes
Lighting Design J. Russell Sandifer
Natalia Magnicaballi Michael Cook
Family Performance Dancers Sara Ivan
Michael Cook
Ballet Premiere: June 12, 1928
Music for Apollo by arrangement with Boosey & Hawkes, Inc., publishers and copyright owner.
Pas de Deux from La Sonnambula
Music Vittorio Rieti (based on themes from operas by Vincenzo Bellini)
Choreography George Balanchine O The George Balanchine Trust
Costume Design Holly Hynes
Lighting Design J. Russell Sandifer
Kendra Mitchell Ian Grosh
Ballet Premiere: February 27, 1946
Music for La Sonnambula by arrangement with G. Schirmer, INC. publisher and copyright owner.
"The Unanswered Question" from Ivesiana
Choreography Costume Design Lighting Design
Charles Ives (The Unanswered Question)
George Balanchine O The George Balanchine Trust
Holly Hynes
J. Russell Sandifer
Elisabeth Holowchuk Andrew Shore Kaminski
Thomas Bettin Jonathan Paul Danny Scott Ted Seymour
Ballet Premiere: September 14, 1954
Pas de Deux from La Valse
Female Costume Design
Lighting Design
Maurice Ravel
George Balanchine O The George Balanchine Trust
Karinska recreated by Holly Hynes
Male Costume possible through an agreement with
National Ballet of Canada
J. Russell Sandifer
Sara Ivan Ted Seymour
Ballet Premiere: February 20, 1951
Pas de Deux from Agon
Choreography Costume Design Lighting Design
Igor Stravinsky
George Balanchine O The George Balanchine Trust
Holly Hynes
J. Russell Sandifer
Kenna Draxton Momchil Mladenov
Family Performance Dancers Kenna Draxton
Momchil Mladenov
Ballet Premiere: December 1, 1957
Music for Agon by arrangement with Boosey & Hawkes, Inc., publishers and copyright owners.
Choreography Costume Design Lighting Design
Peter llyich Tchaikovsky (Op. 42, No. 1 from Souvenir d'un Lieu Cher)
George Balanchine
Holly Hynes
J. Russell Sandifer
Natalia Magnicaballi Michael Cook
Family Performance Dancers Natalia Magnicaballi
Michael Cook
Ballet Premiere: December 10, 1963
"Pas de Deux Mauresque" from Balanchine's Don Quixote
Choreography Costume Design Lighting Design
Nicolas Nabokov George Balanchine Holly Hynes J. Russell Sandifer
Elisabeth Holowchuk Andrew Shore Kaminski
Ballet Premiere: May 28, 1965
Pas de Deux from Chaconne
Choreography Costume Design Lighting Design
Christoph Willibald Gluck (from the opera Orfeo ed Euridice) George Balanchine O The George Balanchine Trust Holly Hynes J. Russell Sandifer
Kendra Mitchell Ian Grosh
Ballet Premiere: January 22, 1976
Pas de Deux from Stars and Stripes
Choreography Costume Design Set Design
Lighting Design Fourth Campaign
John Philip Sousa
George Balanchine O The George Balanchine Trust
David Hayes
Costumes made possible through an agreement with
Dance Theatre of Harlem
J. Russell Sandifer
Liberty Bell and El Capitan
Violeta Angelova Momchil Mladenov
Ballet Premiere: January 17, 1958
Music for Stars and Stripes by arrangement with Boosey & Hawkes, Inc., publishers and copyright owner.
The performances of Apollo, La Sonnambula, Ivesiana, La Valse, Agon, Chaconne, and Stars and Stripes BalanchineO Ballets, are presented by arrangement with The George Balanchine Trust and have been produced in accordance with the Balanchine StyleO and Balanchine TechniqueO service standards established and provided by the Trust.
The Balanchine Ballets presented in this program are protected by copyright. Any unauthorized recording is prohibited with the expressed consent of The George Balanchine Trust and The Suzanne Farrell Ballet.
Narration for The Balanchine Couple by Suzanne Farrell O The John F. Kennedy Center for the Performing Arts.
The Suzanne Farrell Ballet is the Kennedy Center's own ballet company.
Generous support for The Suzanne Farrell Ballet is provided by The Shen Family Foundation and Emily Williams Kelly.
Major support is provided by The Suzanne Farrell Ballet Advancement Committee. Additional support is provided by Elizabeth and Michael Kojaian.
In just over a decade, The Suzanne Farrell Ballet has evolved from an educational program of the Kennedy Center to a highly lauded ballet company. The Suzanne Farrell Ballet has performed annually at the Kennedy Center in Washington, DC and has toured both nationally and internationally. To date, the Company has over 40 ballets in its repertoire, including works by Ms. Farrell's mentors George Balanchine, Maurice Bejart, and Jerome Robbins.
In June 2005, the Company collaborated with The National Ballet of Canada to restage Balanchine's Don Quixote. The evening-length ballet was originally created in 1965 by George Balanchine specifically for Ms. Farrell and is unique to The Suzanne Farrell Ballet. The Company traveled to the Edinburgh International Arts Festival in 2006 to present this landmark revival.
Committed to carrying forth the legacy of George Balanchine through performances of his classic ballets, The Suzanne Farrell Ballet announced the formal creation of the Balanchine Preservation Initiative in February 2007. This initiative serves to introduce rarely seen or "lost" Balanchine works to audiences around the world. To date, the Company's repertoire includes nine Balanchine Preservation Initiative Ballets including Ragtime (BalanchineStravinsky), Divertimento Brillante (BalanchineGlinka), and Pithoprakta (Balanchine Xenakis).
The Company launched an Artistic Partnership outreach program in 2007. Since, The Suzanne Farrell Ballet has collaborated with Cincinnati Ballet and Ballet Austin. The mission of this initiative is to salute, support, and galvanize ballet companies throughout the US.
The Suzanne Farrell Ballet will return to Washington, DC for the Company's annual Kennedy Center engagement in March 2010. For more information, please visit www. or find the Company on Facebook.
Suzanne Farrell is one of George Balanchine's most celebrated muses and remains a legendary figure in the ballet world. In addition to serving as Artistic Director of her own company, she is also a repetiteur for The George Balanchine Trust, the independent organization founded after the choreographer's death by the heirs to his ballets to oversee their worldwide
Suzanne Farrell
Photo Paul (Coin
licensing and production. Since 1988 she has staged Balanchine's works for such companies as the Berlin Opera Ballet, the Vienna State Opera Ballet, the Royal Danish Ballet, the Paris Opera Ballet, the Kirov Ballet, the Bolshoi Ballet, as well as American companies, including those in Boston, Miami, Seattle, Cincinnati, Fort Worth, and New York. She was born in Cincinnati, and she received her early training at the Cincinnati Conservatory of Music.
Ms. Farrell joined Balanchine's New York City Ballet in the fall of 1961 after a year as a Ford Foundation scholarship student at the School of American Ballet. Her unique combination of musical, physical, and dramatic gifts quickly ignited Balanchine's imagination. By the mid 1960s, she was not only Balanchine's most prominent ballerina, she was a symbol of the era, and remains so to this day. She restated and re-scaled such Balanchine masterpieces as Apollo, Concerto Barocco, and Symphony In C. Balanchine went on to invent new pieces for her--Diamonds, for example, and Chaconne and Mozartiana, in which the limits of ballerina technique were expanded to a degree not seen before or since. By the time she retired from the stage in 1989, Ms. Farrell had achieved a career that is without precedent or parallel in the history of ballet.
During her 28 years on the stage, she danced a repertory of more than 100 ballets, nearly a third of which were composed expressly for her by Balanchine and other choreographers, including Jerome Robbins and Maurice Bejart. Her numerous performances with Balanchine's company (more than 2000), her world tours, and her appearances in television and movies have made her one of the most recognizable and highly esteemed artists of her generation. She is also the recipient of numerous artistic and academic accolades. Since the fall of 2000, Ms. Farrell has been a full-time professor in the dance department at Florida State University in Tallahassee, Florida.
In addition to her work for the Balanchine Trust, she is active in a variety of cultural and philanthropic organizations such as the New York State Council on the Arts, the Arthritis Foundation, the Professional Children's School, and the Princess Grace Foundation. Summit Books published her autobiography Holding On to the Air in 1990; Suzanne Farrell-Elusive Muse (directed by Anne Belle and Deborah Dickson) was an Academy Award nominee for "Best Documentary Film" in 1997.
No choreographer is more deserving of the title "the father of American ballet" than the great master, George Balanchine. In late 1933 an invitation from Lincoln Kirstein brought Balanchine to the US after a career as a dancer, ballet master, and choreographer that took him from Russia throughout Europe. Kirstein had been impressed by Balanchine's company, Les Ballets, in Paris and proposed that Balanchine come to the US to help him establish an American ballet company equivalent to the European ones. The first result of the Balanchine-Kirstein collaboration was the School of American Ballet, founded in early 1934; an institution that still exists today. Students of the school performed Balanchine's first ballet in the US as a workshop. Set to music by Tchaikovsky, Serenade premiered outdoors on a friend's estate near White Plains, New York.
In 1935 Kirstein and Balanchine set up a touring company of dancers from the school called The American Ballet. The same year brought an invitation from the Metropolitan Opera for The American Ballet to become its resident ballet and
Photo: John Nalon
for Balanchine to become the Met's ballet master. Tight funding, however, permitted Balanchine to stage only two completely dance-oriented works for the Met, a dance-drama version of Gluck's Orfeo and Eurydice and a Stravinsky program featuring a revival of one of Balanchine's first ballets, Apollo, plus two new works, Le Baiser de la Fee and Card Game.
Although Balanchine enjoyed much success critically and popularly with the Met, he left in early 1938 to teach at the school and to work in musical theater and in film. He and Kirstein assembled the American Ballet Caravan, which made a goodwill tour of Latin American countries featuring such new Balanchine ballets as Concerto Barocco and Ballet Imperial. From 1944 to 1946 Balanchine helped revitalize the Ballet Russe de Monte Carlo by becoming artistic director.
Balanchine collaborated again with Kirstein in 1946 to form Ballet Society, a company which introduced New York subscription-only audiences over the next two years. In October of 1948 Morton Baum, the chairman of the City Center finance committee, was so impressed by a Ballet Society performance that he negotiated to have the
company join the City Center municipal complex (home to the New York City Drama Company and the New York City Opera) as the New York City Ballet.
The son of a composer, Balanchine gained knowledge of music early in life that far exceeds that of most choreographers. At the age of five, he began studying piano and enrolled in the Conservatory of Music and graduated in 1921 from the Imperial Ballet School in St. Petersburg. His extensive musical training made it possible for him to communicate with Stravinsky, and it enabled him to reduce orchestral scores on the piano and to translate music into dance.
Balanchine defended his technique of deemphasizing the plot in his ballets by saying, "A ballet may contain a story, but the visual spectacle, not the story, is the essential element.... It is the illusion created which convinces the audience, much as it is with the work of a magician. If the illusion fails, the ballet fails, no matter how well a program note tells the audience that it has succeeded." He will always be remembered for the calm and generous way in which he worked with his dancers.
In 1978 George Balanchine was among the first group of artists to receive the Kennedy Center Honors. Balanchine died in 1983 at the age of 79.
Holly Hynes (Costume Designer) has been the resident designer of the Suzanne Farrell Ballet since its inception in 1999. Ms. Hynes has designed over 140 ballets to her credit both in the US and abroad. Her work as been acclaimed on Broadway as well as at the Metropolitan Opera. Her work has been presented on the stages of the New York City Ballet, American Ballet Theatre, Houston Ballet, San Francisco Ballet, The Royal Ballet in London, National Ballet of Canada, The Norwegian National Ballet, and a new play at The Kennedy Center in the spring of 2008.
J. Russell Sandifer {Lighting Designer) is Co-chair of the Department of Dance at Florida State University. In addition to designing for The Suzanne Farrell Ballet, Mr. Sandifer has also designed lighting for several works for the Urban Bush Woman dance company and has worked almost 20 years with the Seaside Music Theater.
The Suzanne Farrell Ballet
Mickey Berra, Vice President of Production
Deirdre Kelly Lavrakas, Production Manager
Holly Hynes, Costume Designer
J. Russell Sandifer, Lighting Designer
Jeff Bruckerhoff, Lighting Designer
Kathleen Cogbill Warr, Production Stage Manager
Erin B. Tinsley, Lighting Supervisor
Beth White, Stage Supervisor
Currie R. Leggoe, Wardrobe Supervisor
Jennifer Renee Cole, Assistant Stage ManagerWardrobe
Amy Brandt, Shoe Coordinator
Meg Booth, Director
Michael Ann Mullikin, Manager
Kristen Gallagher, Artistic Assistant
Ashley Baer, Coordinator
Amanda Hunter, Senior Press Representative
Adriana Sahliyeh, Development Manager
Carolyn Mason, Music Librarian
UMS Archives
This weekend's performances mark the second, third, and fourth appearances of The Suzanne Farrell Ballet under UMS auspices. The company made its UMS debut in October 2003 at the Power Center as part of the University of Michigan's Celebrating St. Petersburg Festival.
Ravi Shankar and Anoushka Shankar
Tanmoy Bose, Tabla
Ravichandra Kulur, Flute and Tanpura accompaniment
Thursday Evening, October 15, 2009 at 8:00 Hill Auditorium Ann Arbor
Tonight's program will be announced by the artists from the stage.
10th Performance of the 131st Annual Season
The photographing or sound and video recording of this concert or possession of any device for such recording is prohibited.
Media partnership for this concert is provided by Ann Arbor's 107one.
Special thanks to Meeta Banerjee and the members of SumKali music ensemble for their participation in events surrounding tonight's concert.
Ravi and Anoushka Shankar's recordings can be found on AngelEMI.
Ravi and Anoushka Shankar appear by arrangement with Opus 3 Artists, New York, NY.
Large print programs are available upon request.
On Appreciation of Indian Classical Music
by Ravi Shankar
Indian classical music is principally based on melody and rhythm, not on harmony, counterpoint, chords, modulation, and the other basics of Western classical music.
The system of Indian music known as Raga Sangeet can be traced back nearly 2000 years to its origin in the Vedic hymns of the Hindu temples, the fundamental source of all Indian music. Thus, as in Western music, the roots of Indian classical music are religious. To us, music can be a spiritual discipline on the path to self-realization, for we follow the traditional teaching that sound is God--Nada Brahma. By this process individual consciousness can be elevated to a realm of awareness where the revelation of the true meaning of the universe--its eternal and unchanging essence--can be joyfully experienced. Our ragas are the vehicles by which this essence can be perceived.
The ancient Vedic scriptures teach that there are two types of sound. One is a vibration of ether, the upper or purer air near the celestial realm. This sound is called Anahata Nad or "un-struck" sound. Sought after by great enlightened yogis, it can only be heard by them. The sound of the universe is the vibration thought by some to be like the music of the spheres that the Greek Pythagoras described in the 6th century B.C. The other sound, Ahata Nad or struck sound, is the vibration of air in the lower atmosphere closer to the earth. It is any sound that we hear in nature or man-made sounds, musical and non-musical.
The tradition of Indian classical music is an oral one. It is taught directly by the guru to the disciple, rather than by the notation method used in the West. The very heart of Indian music is the raga: the melodic form upon which the musician improvises. This framework is established by tradition and inspired by the creative spirits of master musicians.
Ragas are extremely difficult to explain in a few words. Though Indian music is modal in character, ragas should not be mistaken as modes that one hears in the music of the Middle and Far Eastern countries, nor be understood to be a scale, melody per se, a composition, or a key. A raga is a scientific, precise, subtle, and aesthetic melodic form with its own peculiar ascending and descending movement consisting of either a full seven-note octave, or a series of six or
five notes (or a combination of any of these) in a rising or falling structure called the Arohana and Avarohana. It is the subtle difference in the order of notes, an omission of a dissonant note, an emphasis on a particular note, the slide from one note to another, and the use of microtones together with other subtleties that demarcate one raga from the other.
There is a saying in Sanskrit, "Ranjayathi iti Ragah," which means, "that which colors the mind is a raga." For a raga to truly color the mind of the listener, its effect must be created not only through the notes and the embellishments, but also by the presentation of the specific emotion or mood characteristic of each raga. Thus through rich melodies in our music, every human emotion, every subtle feeling in man and nature, can be musically expressed and experienced.
The performing arts in India--music, dance, drama, and poetry--are based on the concept of Nava Rasa, or the "nine sentiments." Literally, rasa means "juice" or "extract" but in this context we take it to mean "emotion" or "sentiment." The acknowledged order of these sentiments is as follows: Shringara (romantic and erotic), Hasya (humorous), Karuna (pathetic), Raudra (anger), Veera (heroic), Bhayanaka (fearful), Vibhatsa (disgustful), Adbhuta (amazement), Shanta (peaceful).
Each raga is principally dominated by one of these nine rasas, although the performer can also bring out other emotions in a less prominent way. The more closely the notes of a raga conform to the expression of one single idea or emotion, the more overwhelming the effect of the raga.
In addition to being associated with a particular mood, each raga is also closely connected to a particular time of day or a season of the year. The cycle of day and night, as well as the cycle of the seasons, is analogous to the cycle of life itself. Each part of the day--such as the time before dawn, noon, late afternoon, early evening, late night--is associated with a definite sentiment. The explanation of the time associated with each raga may be found in the nature of the notes that comprise it, or in historical anecdotes concerning the raga.
Although there are 72 "melas," or parent scales, upon which ragas are based, Indian music scholars have estimated that, with all their permutations and combinations, there exist over 6,000 ragas But a raga is not merely a matter of the ascending-descending structure. It must have its "chalan," or certain note patterns characteristic
of the raga; its principle important note (vadi); the second important note (samavadi); and its main feature known as "jan" (life) or "mukhda" (face), the cluster of a few notes by which a raga is immediately recognized.
In terms of aesthetics, a raga is the projection of the artist's inner spirit, a manifestation of his most profound sentiments and sensibilities brought forth through tones and melodies. The musician must breathe life into each raga as he unfolds and expands it. As much as 90 percent of Indian music may be improvised and because so very much depends on understanding the spirit and nuances of the art, the relationship between the artist and his teacher is the keystone of this ancient tradition. From the beginning, the aspiring musician requires special and individual attention to bring him to the moment of artistic mastery. The unique aura of a raga (one might say its "soul") is its spiritual quality and manner of expression, and this cannot be learned from any book.
Indian music is much more appreciated and respected today in the West. Many composers and musicians have been influenced by our music. The openness, willingness to learn, and sincere enthusiasm of western audiences are a continuing source of inspiration and delight.
Legendary virtuoso sitarist, composer, teacher, and writer Ravi Shankar is India's most esteemed musical ambassador and a singular phenomenon whose artistry crosses all cultural and musical boundaries. A student of the illustrious guru "Baba" Ustad Allaudin Khan, Mr. Shankar was already one of the brightest stars in India before coming to international attention in the 1960s. Since then, he has been the foremost pioneer in disseminating India's rich classical music tradition to the West.
The youngest son of a Bengali family, Ravi Shankar was born in 1920 in Varansi (Benares), the holiest of Indian cities. At the age of 10, he accompanied elder brother Uday Shankar and his company of dancers and musicians to Paris, where the younger Shankar attended school. He spent several years in the West absorbing different kinds of music before returning to India in 1938 to begin his career. He combined his concert performances with his work for All India Radio (1949-56) where he established the National Chamber Orchestra. As word of his virtuosity spread throughout India, then Europe, Asia, and the US, Mr. Shankar
embarked on the most extraordinary international careers in the history of contemporary music.
A prolific and sought-after composer, Ravi Shankar has written numerous works for Western collaborations, in addition to his many traditional ragas and faas. His Concerto for Sitar and Orchestra was commissioned and premiered by the London Symphony Orchestra under Andre Previn. A second sitar concerto, Raga-Mala, was commissioned and premiered by the New York Philharmonic under the direction of Zubin Mehta in 1980. Shankar's chamber works for sitar and other instruments includes violin-sitar compositions for the distinguished violinist Yehudi Menuhin and himself, and works for flute virtuoso Jean-Pierre Rampal, shakuhachi master Hosan Yamamoto, and koto virtuoso Musumi Miyashita. Shankar has enjoyed a close relationship with Philip Glass, collaborating with the composer on the 1990 album Passages and the recent multi-artist work Orion, which opened the 2004 Cultural Olympiad in Greece.
Ravi Shankar has composed extensively for film and ballet. His scores for Satyajit Ray's acclaimed Apu trilogy raised film music to a new standard of excellence, and he was nominated for both a Grammy and Oscar for his original score to Gandhi, the Academy Award-winning classic by Sir Richard Attenborough. He made history on both the British and Indian cultural scenes with the ballet Ghanashyam, which he wrote, composed, and choreographed.
Ravi Shankar is the recipient of many awards and honors including the Presidential Padma Vibhushan Award (1980) and the Award of Deshikottam, given by Vishawa Bharati and presented in December 1982 by Prime Minister Indira Gandhi. He is an honorary member of the American Academy of the Arts and Letters and recipient of 12 honorary doctorates. In 1986, he became a member of the Rajya Sabha, India's Upper House of Parliament. He is a Fellow of the Sangeet Natak Academy and Founder President of The Research Institute for Music and the Performing Arts.
In 1999, the government of India honored Ravi Shankar by awarding him its highest civilian award, the Bharat Ratna, or "Jewel of India." In 2000, Mr. Shankar received France's highest civilian award, the Commandeur de la Legion d'Honneur. In March 2001, the British High Commissioner and Lady Young awarded Ravi Shankar the Honorary Knight Commander of the Most Excellent Order of the British Empire.
Ravi Shankar's extensive discography of more than 60 albums includes Angel Records' 1996 release In Celebration, a lavishly documented four-CD retrospective of his greatest recordings issued in honor of his 75th birthday, and the 2001 Angel release Full Circle, Carnegie Hall 2000. This was Mr. Shankar's first live-concert recording in nearly two decades for which he received the Grammy Award for "Best World Music Record." AngelEMI continues to release Mr. Shankar's albums, many of which were previously unavailable on CD.
Mr. Shankar continues to tour all over the world. He divides his time between India and the US, with regular visits to Europe and the Far East. He is the author of three books: My Music, My Life (in English), Rag Anurag (in Bengali), and Raga Mala (in English), an autobiography that was released in 1999.
Ravi Shankar has been named the "Godfather of World Music" by George Harrison and been given the title "Global Ambassador" by the World Economic Forum. However, there may be no greater tribute paid to this remarkable musician than the words of his colleague Yehudi Menuhin: "Ravi Shankar has brought me a precious gift and through him I have added a new dimension to my experience of music. To me, his genius and his humanity can only be compared to that of Mozart's."
Sitar player and composer Anoushka Shankar has emerged as one of the leading figures in World Music today. She is deeply rooted in Indian classical music, having studied exclusively with her father, the legendary Ravi Shankar, and is now one of the foremost performers in that tradition. In tandem with this, she has flourished as a performer and composer, exploring fertile ground in the crossover between Indian music and a variety of genres including electronica, jazz, flamenco, and Western classical music.
Born June 9,1981, Anoushka has been playing and studying the sitar with her father since she was nine. At age 13 she made her performance debut in New Delhi. That same .year, Anoushka entered the recording studio for the first time, to play "Adarini" on her father's album In Celebration. Two years later she made her debut as a conductor on her father's Chants of India album, produced by George Harrison. Shortly thereafter she signed an exclusive record contract with AngelEMI, and in the autumn of 1998 her first solo recording, Anoushka, was released to critical acclaim. Anourag (2000), Anoushka's second release, expanded upon and refined what she had previously recorded, and was followed by Live at Carnegie Hall (2001), which garnered her first Grammy nomination, making her the youngest-ever nominee in the World Music category.
Ravi and Anoushka
S. Rani Kotha, Deputy Director of U-M's Center for Global Health and member of UMS Board of Directors
There is something almost mystical about seeing Ravi and Anoushka Shankar perform together. My husband Howard and I have been blessed to see the legendary father
daughter sitar players performing in two very different locales before this UMS performance. Our first experience took place during the Carnatic Music Festival in Chennai, India, in 2000 while we were living in India. In a packed auditorium filled with thousands, we were transported by the music far away from the heat and bustle of modern-day India. Our second experience was in 2005 at Boston's Symphony Hall. There, among a completely different crowd of music lovers, we were once again mesmerized by the music and intense concentration that envelop father and daughter as they perform together. To my husband, the sound of the sitar reminds him of his childhood, listening to The Beatles and other rock groups. To me, the sound of the sitar strikes an ancient chord in my soul, and I am instantly transported into a meditative state that reminds me of India and the land of my ancestors. Yet in the hands of the Shankars the sound of the sitar is at once both classical and modern, seamlessly melding ancient and contemporary together into an altogether new experience. We are delighted that we have an opportunity to see them again in our new home of Ann Arbor.
With three classical sitar recordings under her belt, she was in increasing demand as a touring artist, and over the next few years she established a growing international reputation as a classical sitarist, playing as many as 80 concerts per year.
A highlight of 2002 was the Concert for George, a tribute to the late George Harrison at London's Royal Albert Hall, in which she conducted a new composition written by her father, "Arpan," which featured Eric Clapton on solo guitar. Anoushka also performed Harrison's "The Inner Light" that evening. Spreading her wings, she turned to writing and acting: in 2002 she authored the book Bapi: The Love of My Life, an intimate biographical portrait of her father; and in 2004 she earned a "Best Supporting Actress" nomination from India's National Film Awards for her debut role in Dance Like a Man, the feature film by Pamela Rooks. That same year, she was chosen as one of 20 Asian Heroes by the Asia edition of Time magazine. She subsequently became the first Indian ambassador for the United Nations World Food Program.
While she continued to enjoy performing in the Indian classical realm and to tour with her father, on Rise, her fourth album, Anoushka composed, arranged, and produced her own music, performing with a handpicked ensemble of brilliant musicians. Fusing East and West, employing both acoustic and electric instrumentation, the album marked a new departure for Anoushka. Rise gave Anoushka another Grammy nomination in the "Best Contemporary World Music" category. In February 2006 she also became the first Indian to play at the Grammy Awards.
Anoushka soon formed the Anoushka Shankar Project in order to present her new non-classical ensemble compositions to a live audience. This group consists of instrumentalists from various musical styles, with changing personnel; the music always draws deeply from India's rich musical heritage, but the group simultaneously serves to maintain a clear distinction between this more experimental work and her classical Indian concerts.
In 2007 Anoushka collaborated with Karsh Kale, the Indian-American producer, composer, and multi-instrumentalist, to create the album Breathing Under Water, which demonstrated an even deeper grasp of the fusion of Eastern and Western music. This album features a rare guest appearance by her father, and well as contributions by her half-sister, Norah Jones, Sting, and others.
Her work is notable for the way she has applied
her expertise as a fine Indian classical musician, and the profundity of the Indian raga framework, to working with musicians from a range of traditions, creating innovative music that appeals to her own generation as much as to that of her father's.
Today, from her twin homes of New Delhi and California, she continues to stretch out in different directions. She has made guest appearances on recordings by Sting, Lenny Kravitz, and Thievery Corporation. Meanwhile her developing work with Western classical musicians has included performances with violinist Joshua Bell. In 2000 she appeared at the Evian Festival in a sitar-cello duet with Mstislav Rostropovich and in 1998 performed with flutist Jean-Pierre Rampal--on both sitar and piano. Anoushka has performed as soloist in performances of her father's First Concerto for Sitar and Orchestra, and in January 2009, was sitar soloist alongside the Orpheus Chamber Orchestra for a series of concerts premiering his Third Concerto for Sitar and Orchestra.
Tanmoy Bose is one of the foremost tabla players of his generation representing the Calcutta gharana. Tanmoy Bose has performed with some of the greatest names in Indian classical music both in India and abroad. For 10 years he has been a regular accompanying artist to both Ravi and Anoushka Shankar. Mr. Bose is also credited with film scores and his Indo-jazz band Taaltantra.
Ravichandra Kulur gave his first solo recital at the age of 12. From this point on he has emerged as one of the most sought-after flutists from India, traveling the world for his solo concerts as well as performances of experimental music. Ravichandra Kulur is also a master of the art of playing kanjira (tambourine).
UMS Archives
This evening's concert marks Ravi Shankar's fourth appearance under UMS auspices. Ravi Shankar made his UMS debut in April 1996 and most recently appeared under UMS auspices in September 2004 at Hill Auditorium. Anoushka Shankar made her UMS debut with her father in November 2000. This evening's concert marks her second appearance under UMS auspices.
Love's Labours Lost
by William Shakespeare
A production of
Shakespeare's Globe Theatre of London
Artistic Director for Shakespeare's Globe Dominic Dromgoole
Dominic Dromgoole, Director
Jonathan Fensom, Set and Costume Designer
Claire van Kampen, Composer
Si3n Williams, Choreographer
Paul Russell, Lighting Designer
Renny Krupinski, Fight Director
Giles Block, Text Work
Glynn MacDonald, Movement Work
Jan Haydn Rowles, Voice Work
Paul Russell, Globe Production Manager Bartolo Cannizzaro, USA Production Manager
Richard Kornberg and Associates, US Press Relations PMR Productions, Paul Rambacher, General Management
2Luck Concepts, Eleanor Oldham & John Luckacovic, Executive Producer
North America Conrad Lynch, Executive Producer for Shakespeare's Globe
Tuesday Evening, October 20, 2009 at 8:00 Wednesday Evening, October 21, 2009 at 8:00
(Special Student Performance) Thursday Evening, October 22, 2009 at 8:00 Friday Evening, October 23, 2009 at 8:00 Saturday Evening, October 24, 2009 at 8:00 Sunday Afternoon, October 25, 2009 at 2:00 Power Center Ann Arbor
There will be one 20 minute intermission.
11th, 12th, 13th, 14th, 15th, and 16th Performances of the 131st Annual Season
International Theater Series
The photographing or sound and video recording of these performances or possession of any device for such recording is prohibited.
The Tuesday evening performance is sponsored by Gil Omenn and Martha Darling.
The Friday evening performance is sponsored by Jane and Edward Schulak. Addi?tional support provided by the participants of the 2002 "Shakespeare's Birthday Celebration" trip to England.
The Saturday evening performance is sponsored by the University of Michigan Health System.
Shakespeare's Globe Theatre of London's performances are hosted by David and Phyllis Herzig, Mainstreet Ventures, Rick and Susan Snyder, and Loretta Skewes and Dody Viola.
Funded in part by the Wallace Endowment Fund.
Media partnership for these performances is provided by Michigan Radio 91.7 FM, Ann Arbor's 107one, and Between the Lines.
Special thanks to Leigh Woods, Professor of Theatre at the U-M School of Music, Theatre & Dance, for speaking at Tuesday evening's Prelude Dinner.
Special thanks to Ralph Williams; Sue Ashford and the U-M Ross School of Business's Ross Leadership Initiative (RLI); Michael Mauskapf and Arts Enterprise@U-M; Tom Zimmerman, Rachel Barch, and Washtenaw Community College; Martin Walsh, Charlie Bright, and the U-M Residential College; Doug Trevor, Barbara Hodgdon, and the U-M English Department; Jyotsna Singh and the MSU English Department; and the U-M School of Music, Theatre & Dance for their support of and participation in this residency.
Shakespeare's Globe Theatre of London appears by arrangement with 2Luck Concepts.
Large print programs are available upon request.
FerdinandKing of Navarre
Princess of France
Boyetl a French Lord in attendance on the Princess
Don Adriano De Armado a Braggart from Spain
Mothhis Page Holofernes a School Master Sir Nathaniel a Curate Dulla Constable Costarda Rustic Jacquenetta a Dairymaid Other Parts
Musical DirectorRecorder
RecordersSackbut Recorders ShawmsTenor
ViolPercussion SackbutHunting Horn
Baroque GuitarTheorbo Percussion
Philip Cumbus Trystan Gravelle Will Mannering Jack Farthing Michelle Terry Thomasin Rand Jade Anouka Sian Robins-Grace
Tom Stuart
Paul Ready
Seroca Davis
Christopher Godwin
Patrick Godfrey
Andrew Vincent
Fergal McElherron
Rhiannon Oliver
Played by members of the company
Nicholas Perry
Claire Mclntyre David Hatcher George Bartle
Benjamin Narvey
The vow
The King of Navarre and his three friends, Berowne, Longaville, and Dumaine, swear to devote themselves to three years of study, abstaining from all distractions, particularly of the female kind, with only Armado and Costard to entertain them. They are confounded, on signing the vow, when Berowne remembers that the Princess of France and her three ladies, Rosaline, Maria, and Katherine, attended by Boyet, are on an embassy to Navarre's court.
Love and letters
Armado has decided to arrest Costard for being in the company of a woman, thus breaking the King's edict--the woman being Jaquenetta, with whom Armado himself is in love. The ladies arrive, and the King and his lords fall in love with them. Armado frees Costard, on condition he delivers a note to Jaquenetta; Berowne charges Costard with a letter to Rosaline; and the two letters get mixed up.
The vow is broken
The four lords enter one by one and voice despair about their love for their particular woman, and one by one are overheard by the others. They decide to tear up their vow, and woo the ladies. They disguise themselves as Russians, but Boyet tells the ladies beforehand, and the ladies change identities with each other. The lords enter, and each woos the wrong woman. They leave, and on their return are mocked by the ladies.
The Nine Worthies
Armado then approaches theschoolmasterHolofernes and the curate Nathaniel to join with him, Costard, and the page, Moth, to present the Nine Worthies as entertainment to the nobles. This provides the nobles with many opportunities for comment and laughter. The mood changes when Marcade brings news that the Princess's father has died.
Marriage deferred
As the ladies prepare to leave, the lords affirm that all their expressions of love were genuine, but the Princess claims that everything they said was in jest. The ladies tell the lords that, if they are serious, they must carry out certain tasks for a year, and then return to offer marriage. The lords agree. Armado then presents the learned men in a dialogue between the owl and the cuckoo, representing winter and spring, by way of conclusion.
Synopsis adapted from Shakespeare's Words by David Crystal and Ben Crystal, Penguin, 2002.
Unusually, no literary source is known for the story of Love's Labour's Lost, although the play has a certain basis in historical fact. It is, in fact, unique in Shakespeare's plays in portraying, if nominally, historical figures still living when the play was first performed. A King of Navarre (later Henry IV of France, 1553-1610) did keep about him two lords called the Due de Longueville and the Due de Biron. Biron (in Shakespeare, 'Berowne') even became known in England as an associate of the Earl of Essex when Essex led a force to France in support of Henry during the French civil war of 1589-92.
The lives of the real Henry and his courtiers were spent largely in the field or conducting affairs of state--but the King is known to have had one (very extended) holiday, at his family seat at Nerac in southwest France in the late 1570s. He was joined there by the wife from whom he had been separated for some years, Marguerite de Valois. She brought with her not only her mother, Catherine de Medici, but also a train of attractive young women to divert the King.
Theirs was a very open marriage. Gossip about the atmosphere of the King's long vacation may well have had some influence on the composition of Love's Labour's Lost. Theories advancing other, more arcane influences, such as the long-held view that Shakespeare was secretly representing an atheistic coterie around Sir Walter Raleigh (the so-called "school of night"), have now been discredited. While no direct source has been uncovered for the other characters in the play, it is clear they owe something to the clowns, pages, pedants, braggarts, and country priests of the Italian commedia dell'arte.
Early Performance and Publication
Shakespeare probably wrote Love's Labour's Lost in 1594-95. It would have been performed at the Theatre in Shoreditch, a forerunner to the Globe and the first substantial purpose-built playhouse in London. The title page of the first (surviving) edition of the play advertises the fact that it was presented before the Queen "this last Christmas" (meaning either 1596-97 or 1597-98). This would have been
at Whitehall Palace. The same quarto edition is the first play to bear Shakespeare's name on the title page-an indication, perhaps, of its author's rising status as well as that of the playwriting profession as a whole. The title page also boasts that it is a "newly corrected and augmented" version of the play, but this is probably an exaggeration. It is more likely to be a straightforward reprint of an earlier edition now lost. The text was set carelessly, probably from Shakespeare's original manuscript (or what scholars term "foul papers"). The play was reprinted in the 1623 First Folio of Shakespeare's plays, where the editors seem to have based their version largely on the quarto edition, but corrected it with reference to the company's promptbook.
Behind the text of Love's Labour's Lost there moves the shadow of its vanished sequel, Love's Labour's Won. Until the mid-20th century, the only external indication that such a play had ever existed could be found in a list of Shakespeare titles praised by the critic Francis Meres in his Palladis Tamia: Wit's Treasury of 1598:
As Plautus and Seneca are accounted the best for Comedy and Tragedy among the Latines: so Shakespeare among the English is the most excellent in both kinds for the stage; for Comedy, witness his Gentlemen of Verona, his Errors, his Loue labors lost, his Loue labours wonne, his Midsummers night dreame...
Since no copy of the play had yet turned up, scholars began to think that Meres may have been mistaken. But in 1953 someone noticed two pieces of very old scrap paper that had been used as backing for the spine of a book of 17th-century sermons. They turned out to be pages from the ledger of an Exeter stationer (or bookseller) recording business transacted in August 1603. On closer inspection it seemed that, within his stock of playbooks, he had once kept copies of the following:
marchant of vennis
taming of a shrew
knak to know a knave
knak to know an honest man
loves labor lost
loves labor won.
Performance notes by Nicholas Robins, Shakespeare's Globe.
Dominic Dromgoole, the director of this production, is also Artistic Director of Shakespeare's Globe. He was Artistic Director of the Oxford Stage Company (1999-2005) and the Bush Theatre in London (1990-1996), and Director of New Plays for the Peter Hall Company (19967). He has also directed at the Tricycle Theatre, in London's West End, and in America, and Romania. Dominic has written two books, The Full Room (2001) and Will & Me (2006). His previous work at the Globe includes King Lear, the 2007 production of Love's Labour's Lost, Coriolanus, and Antony and Cleopatra. This year he has also directed Romeo and Juliet and the world premiere of A New World, a new play by Trevor Griffiths about the great Anglo-American radical Thomas Paine.
Shakespeare's Globe is a unique resource dedicated to the exploration, enjoyment, and understanding of Shakespeare's work and the playhouse for which he wrote.
The project to reconstruct the Globe was initiated by the Chicago-born actor and director Sam Wanamaker, who spent decades raising funds and public interest for Shakespeare's most celebrated theater. The Globe is now one of the best-loved theaters in London and occupies a place at the center of a range of exciting artistic and educational activities.
The Globe Theatre is a faithful reconstruction of the open-air playhouse first built in 1599, where Shakespeare worked and for which he wrote many of his greatest plays. Each year the theater season runs from April to October with productions of the work by Shakespeare and modern authors, and plays to an audience of 350,000 who experience the 'wooden O' sitting in a gallery or standing as a groundling in the yard, just as they would have done 400 years ago. In recent years, Globe touring productions have also brought Shakespeare to theaters and historical sites around the UK and Europe. This tour of Love's Labour's Lost marks the third time The Globe Theatre has toured to North America. Previous productions were the award-winning Twelfth Night and Measure for Measure.
Shakespeare's Globe Exhibition is the world's largest exhibition devoted to Shakespeare and the theater in which he lived and worked. It explores the remarkable story of the Globe and brings Shakespeare's world to life using a range of interactive displays and live demonstrations.
Open throughout the year, Shakespeare's Globe Exhibition is one of the most exciting ways to discover and rediscover the Globe. A guided tour of the theater is included in the ticket price. Our guides conduct fascinating half-hour tours of the auditorium, describing the reconstruction process, bringing the space to life with colorful stories of the original theater and explaining the ways in which the Globe works today as an experimental theater.
Over 100,000 people of all agesand nationalities, from pre-school to postgraduates, participate in Globe Education's year-round program of public events, workshops, and courses. From October to April, all workshops and courses include practical work on the Globe stage. Globe Education also runs an extensive program in the local community and creates national and international outreach projects for students and teachers. Graduates and scholars are invited to participate in Globe Research seminars, symposia, and conferences and to make use of the Globe Library and Archive. Each year, Shakespeare's Globe provides approximately ten distinct educational programs for universities throughout the US.
Staff for the Company
Executive Producers
2Luck Concepts John Luckacovic Eleanor Oldham Contact
Shakespeare's Globe Conrad Lynch
General Management
Professional Management & Resources
For US tour:
Richard Kornberg, Press Representation Bartolo Cannizzaro, USA Production Manager Paul Rambacher, USA General Manager
For Shakespeare's Globe:
Dominic Dromgoole, Director
Jonathan Fensom, Set & Costume Designer
Claire Van Kampen, Composer
Sian Williams, Choreographer
Paul Russell, Lighting Designer
Renny Krupinski, Fight Director
Giles Block, Text Work
Glynn MacDonald, Movement Work
Jan Haydn Rowles, Voice Work
Sarah Bowern, Costume Supervisor
Caroline Brett, Assistant to the Costume Supervisor
Phillip Stafford, Fencing Consultant Steve Tiplady, Puppet Director Jonathan Waller, Archery Consultant Charlotte Bevan, Assistant Director
Paul Russell, Production Manager Marion Marrs, Company Manager Laura Routledge, Stage Manager Vicky Berry, Tamsin Palmer, Deputy Stage Managers Paul Williams, Theater Technical Manager Daniel Lockett, Technical Stage Manager Bella Lagnado, Props Coordinator Lisa Aitken, Fiona Albrow, Liz Evans, Hannah Lobelson, Wardrobe & Wigs
Lyndie Wright, Puppet Consultant
lames Rowse at DAP Studios, Scenic Artist
Suzy Bourke, Jane Jones, Props Makers
Debbie Gamble, Jane Gonin, Jackie Hallatt, Charles Hanrohan, Marian Malloy, Hilary Marshner, Stevie McTeer, Else Threadgold, Costume Makers
Nele de Craecker, Rupa Dauwenf, Puppet Makers
Karen Shannon, Chloe Simcox, Hat Maker
Harr Shoes, Shoe Maker
The Wig Workshop, Wigs
Simeon Tachev, Kes Hayter, Brendan McSherry, Carpenters
Dr. Farah Karim-Cooper, Sarah Dustagheer, Melissa Huggins, Cecelia Istria-Dorland, Claire Waters, Penelope Woods, Research
For Shakespeare's Globe:
Dominic Dromgoole, Artistic Director
Conrad Lynch, Executive Producer
Lotte Buchan, General Manager
Tom Bird, Music Manager
Helen Hillman, Charlotte Bevan, Casting
Fiona Moorhead, Assistant to the Artistic Director
Sarah Rennix, Music Assistant
Kate Walker, Marketing Manager
Fran Eyles, Press & PR Manager
Abbie Morrow, Marie Khazrai, Theater Interns
Thanks to...
Tim De Vos, Charles Ash, Oily Clark, Jonathan Goldstone, Ben Porter, Mark Richards, Michelle Tomas, Yolanda Vazquez, Virgin Atlantic, the Duchess of Albany and her attendant John C Wallner; each and all of the many people at the eight host venues; and especially Tom Fontana, whose generosity is always remembered and appreciated
UMS Archives
This week's performances mark Shakespeare's Globe Theatre of London's ninth, 10th, 11th, 12th, 13th, and 14th appearances under UMS auspices. The Company made their UMS debut in November 2003 in performances of Shakespeare's Twelfth Night at the Michigan Union Ballroom.
0910 Season: Breaking Down Walls
UMS's Education Program deepens the relation?ship between audiences and art, while efforts in Audience Development raise awareness of the positive impact the performing arts and educa?tion can have on the quality of life in our com?munity. The program creates and presents the highest quality arts education and community engagement experiences to a broad spectrum of constituencies, proceeding in the spirit of part?nership and collaboration.
Both literally and figuratively, the 0910 UMS education season celebrates the breaking down of walls: literally in the celebration of the 20th anniversary of the fall of the Berlin Wall and events surrounding the presentation of the Berlin Philharmonic; and figuratively, in the attempt to break down walls that impede personal and intellectual growth, participation in the arts, and connections to community. Each event chal?lenges participants to expand the way they think about art, culture, and creativity, and encourages a greater investment in UMS and the arts as a whole.
In this time of economic challenge, the UMS 0910 education programs "go deeper" with projects that encourage sustained engagement over time, allow a variety of entry points for a wide range of interests and audiences, and explore the diversity of artists, art forms, ideas, and cultures featured in the current UMS season.
0910 Special ProjectsNew Initiatives
Global focus on music from Africa: educational, social, and participatory performance events
"Innovation Lab" grant from EmcArtsDoris Duke Charitable Foundation to pursue social media as a tool for communication and connection to audiences
Artist residencies with The Suzanne Farrell Ballet, Shakespeare's Globe Theatre, Bill T. JonesArnie Zane Dance Company, San Francisco Symphony, Maly Drama Theater of St. Petersburg
"Freedom Without Walls" public art proj?ect celebrating the Berlin Philharmonic and the 20th anniversary of the fall of the Berlin Wall
U40, U40! Ticket discounts and special opportunities for UMS patrons under 40
Guerilla Chamber Music events: Help take music to the streets!
Details about all educational and residency events are posted approximately one month before the performance date. Join the UMS E-mail Club to have updated event information sent directly to you. For immediate event info, please e-mail, or call the numbers listed on the following pages.
Please call 734.615.4077 or e-mail for more information.
Public Events: Extending the Experience
UMS hosts a wide variety of educational and community events to inform the public about arts and culture and to provide forums for dis?cussion and celebration of the performing arts. These events include:
Artist Interactions: Public interviews, inter?active workshops with artists, master classes, and meet-and-greet opportunities for visiting and local artists to share their craft and process while getting to know the Ann Arbor community.
LecturesRound-Table DiscussionsBook Clubs: In-depth adult education related to specific artists, art forms, cultures, films, books, or ideas connected to the UMS season.
Audience as Artist: Opportunities for the public to participate in the performing arts: dance parties, jam sessions, staged readings.
Community Receptions: Relaxed events for audiences to network and socialize with each other and with artists.
University Connections
Each year, UMS works with 57 academic units and 175 faculty members at U-M on a wide vari?ety of programs to bring together visiting artists, faculty, students, and the broader southeastern Michigan community. UMS appreciates the gen?erosity of the many faculty members who share time and talent to enrich the performance-going experience for UMS audiences.
With the aim of educating and inspiring stu?dents to participate more fully in the performing arts, UMS student programs range from pre-con?cert pizza to post-concert dance parties; in-class visits with artists to internships and jobs at UMS. UMS also provides various opportunities for stu?dents to attend UMS performances at signifi?cantly discounted rates (see ticket discount
information on page P20). Each year, 17,000 students attend UMS events and collectively save $375,000 on tickets through our discounted ticket programs.
Arts & Eats
Arts & Eats combines two things you can't live without--great music and free pizza--all in one night. For just $15, you get great seats to a UMS event (at least a 50 savings) and a free pizza dinner before the concert, along with a brief talk about the performance. Tickets go on sale approximately two weeks before the concert.
0910 Arts & Eats Events:
Punch Brothers with Chris Thile, Wed 107
Yasmin Levy, Sat 1114
Handel's Messiah, Sat 125
Bill I JonesArnie Zane Dance Company, Fri 122
Bela Fleck: The Africa Project, Wed 217
Takacs Quartet, Mon 315
Schleswig-Holstein Festival Orchestra with Lang Lang, Wed 47
Danilo Perez & Friends, Thu 418
Sponsored by UMOT5
arts urnicti edu
With support from the U-M Alumni Association
Internships and College Work-Study
Internships and College Work-Study with UMS provide experience in performing arts adminis?tration, marketing, ticket sales, programming, production, fundraising, and arts education. Semesterand year-long unpaid internships are available in many of UMS's departments. If you are a U-M student interested in working at UMS, please e-mail or visit
Student Committee
As an independent council drawing on the diverse membership of the U-M community, the UMS Student Committee works to increase stu?dent interest and involvement in various UMS programs by fostering increased communication between UMS and the student community,
promoting awareness and accessibility of stu?dent programs, and promoting the value of live performance. For more information or to join, please call 734.615.6590.
UMS is grateful to the University of Michigan for its support of many educational activities scheduled in the 0910 season.
Building Community around the Arts
Numerous UMS educational and social events provide points of entry for diverse audiences. Specifically, over 100 unique regional, local, and university-based partnerships each season have helped UMS launch initiatives for Arab American, African, MexicanLatino, Asian, and African American audiences. Though based in Ann Arbor, UMS Community Engagement programs reach the entire southeastern Michigan region.
Please call 734.615.0122 or e-mail for more information.
UMS Youth: Arts for the Next Generation
UMS has one of the largest K-12 education ini?tiatives in Michigan. Designated as a "Best Practice" program by ArtServe Michigan and the Dana Foundation, UMS is dedicated to mak?ing world-class performance opportunities and professional development activities available to K-12 students and educators.
0910 Youth Performance Series
These daytime performances give pre-K through high school students the opportunity to see the same internationally renowned performances as the general public. The 0910 season features special youth presentations of Shakespeare's Globe Theatre, Keith Terry and his Slammin' All-Body Band, Bill T. JonesArnie Zane Dance Company, Ladysmith Black Mambazo, the Sphinx Jr. Division Finals Concert, The Bad Plus, and Hubbard Street Dance Chicago. All youth
performances have accompanying curricular materials, available for free at, to connect the performance to state curricular standards via the Michigan Grade Level Content Expectations.
Teacher Workshop Series
UMS is part of the Kennedy Center Partners in Education Program, offering educators mean?ingful professional development opportunities. Workshops, cultural immersions, and book clubs bring the best in local and national arts education to our community, through presenta?tions by Kennedy Center teaching artists, UMS performing artists, and local arts and culture experts. This series focuses on arts integration, giving teachers techniques for incorporating the arts into everyday classroom instruction.
Teacher Appreciation Month! March 2010 is Teacher Appreciation Monti Visit www.ums.orgeducation for special ticket discount information.
Student-Artist Interactions
Whenever possible, UMS brings its artists into schools to conduct workshops and interactive performances directly with students, creating an intimate and special experience in students' own environment.
Teacher Advisory Committee
This group of regional educators, school admin?istrators, and K-12 arts education advocates advises and assists UMS in determining K-12 programming, policy, and professional develop?ment. If you would like to participate, please contact
UMS is in partnership with the Ann Arbor Public Schools and the Washtenaw Immediate School District as part of the Kennedy Center: Partners in Education Program. UMS also participates in the Ann Arbor Public Schools' "Partners in Excellence" program.
UMS Teen
LJMS nurtures the development of young artists and audiences with a yearlong collabo?rative performance, ticket discounts (see page P20), and occasional internship opportunities for outstanding high school students.
Breakin' Curfew
In a special collaboration with the Neutral Zone, Ann Arbor's teen center, UMS presents this annual performance highlighting the area's best teen performers. This show is curated, designed, marketed, and produced by teens under the mentorship of UMS staff. This sea?son's performance takes place on Saturday, May 15,2010.
UMS Family
The UMS Family Series was created to allow families to experience the magic of the per?forming arts together, irrespective of age. Most family performances feature shorter program lengths, a more relaxed performance-going environment, and special interactive opportuni?ties for kids with the artist or art form. The 0910 season includes four family performances: The Suzanne Farrell Ballet, Keith Terry and his Slammin' All-Body Band, Vienna Boys Choir (ages 4+, please), and Cyro Baptista's Beat the Donkey.
The 0910 Family Series is sponsored by TOYOTA
Education Program Supporters
Reflects gifts received during the 09W fiscal year
Ford Motor Company Fund and Community Services
Michigan Council for Arts and Cultural Affairs University of Michigan
Arts at Michigan
Arts Midwest's Performing
Arts Fund Bank of Ann Arbor Bustan al-Funun Foundation
for Arab Arts The Dan Cameron Family
FoundationAlan and
Swanna Saltiel Community Foundation for
Southeast Michigan Consolate General of the
Netherlands in New York Doris Duke Charitable
Foundation Doris Duke Foundation for
Islamic Art
DTE Energy Foundation The Esperance Family Foundation David and Phyllis Herzig
Endowment Fund Honigman Miller Schwartz
and Cohn LLP JazzNet Endowment WK Kellogg Foundation Masco Corporation
Miller, Canfield, Paddock and
(of R. & P. Heydon) The Mosaic Foundation,
Washington DC National Dance Project of the
New England Foundation
for the Arts
National Endowment for the Arts Prudence and Amnon
Rosenthal K-12 Education
Endowment Fund Rick and Sue Snyder TCF Bank Target
UMS Advisory Committee University of Michigan Credit Union University of Michigan
Health System U-M Office of the Senior Vice
Provost for Academic Affairs U-M Office of the Vice
President for Research Wallace Endowment Fund
There are many ways to support the efforts of UMS, all of which are critical to the success of our season. We would like to welcome you to the UMS family and involve you more closely in our exciting programming and activities. This can happen through corporate sponsorships, business advertising, individual donations, or through volunteering. Your financial investment andor gift of time to UMS allows us to continue connecting artists and audiences, now and into the future.
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 734.764.6833 to learn how your business can benefit from advertising in the UMS program book.
As a UMS corporate sponsor, your organization comes to the attention of an educated, diverse, and growing segment not only of 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:
Cultivating clients
Developing business-to-business relationships
Targeting messages to specific demographic groups
Enhancing corporate image
Making highly visible links with arts and education programs
Recognizing employees
Showing appreciation for loyal customers
For more information, please call 734.647.1176.
We could not present our season without the invaluable financial support of individual donors. Ticket revenue only covers half of the cost of our performances and educational events. UMS donors help make up the differ?ence. If you would like to make a gift, please fill out and mail the form on page P36 or call 734.647.1175.
The UMS Advisory Committee is an organization of over 80 volunteers who contribute approxi?mately 7,000 hours of service to UMS each year. The Advisory Committee champions the mission and advances UMS's goals through community engagement, financial support, and other volun?teer service.
Advisory Committee members work to increase awareness of and participation in UMS programs through the Education Ambassador Committee, a new Community Ambassador proj?ect, ushering at UMS youth performances, and a partnership with the U-M Museum of Art (UMMA) Friends Board.
Meetings are held every two months and membership tenure is three years. Please call 734.647.8009 to request more information.
Raising money to support UMS Education Programs is another major goal of the Advisory Committee. The major fundraising events are:
Ford Honors Program and Gala: San Francisco Symphony Saturday, March 20, 2010
This year's program will honor the San Francisco Symphony (SFS) and Michael Tilson Thomas (MTT), Music Director. Founded in 1911, the SFS is widely considered to be among the country's most artistically adventurous arts institutions. Michael Tilson Thomas assumed his post as the Symphony's 11th Music Director in 1995. MTT's 13 seasons with SFS have been praised by crit?ics for innovative programming, for bringing the works of American composers to the fore, developing new audiences, and for an innova?tive and comprehensive education and commu?nity program.
Beginning the evening will be a Gala Dinner at the Michigan League, followed by the SFS concert. After the performance, guests can meet SFS musicians and MTT at an afterglow reception. Please call 734.647.8009 for more information.
Delicious Experiences
These special events are hosted by friends of UMS. The hosts determine the theme for the evening, the menu, and the number of guests they would like to entertain. Several events are being planned for this season and will be announced soon.
Fifth Annual On the Road with UMS
In 2008, more than 300 people enjoyed an evening of food, music, and silent and live auctions, netting more than $72,000. This year's event was held on September 11 at Barton Hills Country Club.
July 1, 2008-August 1, 2009
Thank you to those who make UMS programs and presentations possible. The cost of presenting world-class performances and education programs exceeds the revenue UMS receives from ticket sales. The difference is made up through the generous support of individuals, corporations, foundations, and government agencies. We are grateful to those who have chosen to make a difference for UMS! This list includes donors who made an annual gift to UMS between July 1, 2008 and August 1, 2009. Due to space constraints, we can only list those who donated $250 or more. Every effort has been made to ensure the accuracy of this list. Please call 734.647.1175 with any errors or omissions. Listing of donors to endowment funds begins on page P44.
$100,000 or more
Doris Duke Charitable Foundation
Ford Motor Company Fund and
Community Services Forest Health Services Michigan Council for Arts and
Cultural Affairs
National Endowment for the Arts Randall and Mary Pittman University of Michigan Health System
Brian and Mary Campbell
Doris Duke Foundation for Islamic Art
The Esperance Family Foundation
W.K. Kellogg Foundation
TAQA New World, Inc.
University of Michigan Office of the Provost
Cairn Foundation
DTE Energy Foundation
Maxine and Stuart Frankel Foundation
David and Phyllis Herzig
Robert and Pearson Macek
(of R. & P. Heydon) Mosaic Foundation, Washington, DC National Dance Project of the New
England Foundation for the Arts Laurence and Beverly Price Dennis and Ellie Serras Toyota University of Michigan Office of the
Vice President for Research
$10,000-$ 19,999
Arts Midwest's Performing
Arts Fund Emily Bandera, MD Bank of Ann Arbor Linda and Maurice Binkow
Philanthropic Fund Carl and Isabelle Brauer Fund Marilou and Tom Capo Community Foundation for
Southeast Michigan Alice B. Dobson Eugene and Emily Grant
Frank Legacki and Alicia Torres Natalie Matovinovic Mrs. Robert E. Meredith Miller, Canfield, Paddock
and Stone, P.L.C. Donald L. Morelock Gilbert Omenn and
Martha Darling Pfizer Foundation Jane and Edward Schulak University of Michigan
Credit Union
Marina and Robert Whitman Ann and Clayton Wilhite
$7,500-$9,999 Mike Allemang and
Janis Bobrin Rachel Bendit and
Mark Bernstein Comerica Bank Ken and Penny Fischer Susan and Richard Gutow Carl and Charlene Herstein Honigman Miller Schwartz
land Cohn LLP
Herbert and Ernestine Ruben Sesi Motors Barbara Furin Sloat
$5,000-$7,499 Jerry and Gloria Abrams American Syrian Arab Cultural
Herb and Carol Amster Ann Arbor Automotive Anonymous
Essel and Menakka Bailey Beverly Franzblau Baker Mary Sue and
Kenneth Coleman Dennis Dahlmann and
Patricia Garcia
Sophie and Marylene Delphis The Herbert and Junia Doan
Jim and Patsy Donahey John Dryden and Diana Raimi Fidelity Investments llene H. Forsyth Debbie and Norman Herbert Howard & Howard Attorneys, PC Mohamad and Hayat Issa
Issa Foundation Judy and Verne Istock David and Sally Kennedy Gay and Doug Lane Jill Latta and David Bach Richard and Carolyn Lineback Martin Family Foundation MC3, Inc. Susan McClanahan and
Bill Zimmerman Pepper Hamilton LLP Phil and Kathy Power Prue and Ami Rosenthal Doug and Sharon Rothwell Don and Judy Dow Rumelhart Alan and Swanna Saltiel Frances U. and
Scott K. Simonds Loretta Skewes James and Nancy Stanley Thomas B. McMullen Company Dody Viola Robert 0. and
Darragh H. Weisman
Max Wicha and Sheila Crowley Marion I Wirick and
James N. Morgan Keith and Karlene Yohn Jay and Mary Kate Zelenock
$3,500-$4,999 Jim and Barbara Adams Bernard and Raquel Agranoff Barbara A. Anderson and
John H. Romani Anonymous
Jim and Stephany Austin Kathy Benton and Robert Brown Raymond and Janet Bernreuter Gary Boren
Edward and Mary Cady Carolyn Carty and Thomas Haug Dallas C. Dort
Stephen and Rosamund Forrest Paul and Anne Glendon Tom and Katherine Goldberg Keki and Alice Irani Ms. Rani Kotha and
Dr. Howard Hu
Donald and Carolyn Dana Lewis Masco Corporation Ernest and Adele McCarus Virginia and Gordon Nordby Eleanor and Peter Pollack John and Dot Reed Craig and Sue Sincock Rick and Sue Snyder
$2,500-$3,499 Bob and Martha Ause Bradford and Lydia Bates Suzanne A. and
Frederick J. Beutler Charles and Linda Borgsdorf Dave and Pat Clyde Elizabeth Brien and
Bruce Conybeare Barbara Everitt Bryant Jeannine and Robert Buchanan Bruce and Jean Carlson Jean and Ken Casey Anne and Howard Cooper Mr. and Mrs. George W. Ford
Michael and Sara Frank Sid Gilman and Carol Barbour Linda and Richard Greene John and Helen Griffith Diane S. Hoff
Robert L. and Beatrice H. Kahn Shirley Y. and Thomas E. Kauper Robert and Jeri Kelch Jim and Patti Kennedy Wally and Robert Klein Samuel and Marilyn Krimm Jeffrey Mason and Janet Netz Peter and Carol Polverini Jim and Bonnie Reece Duane and Katie Renken Corliss and Jerry Rosenberg Dr. and Mrs. Nathaniel H. Rowe Muaiad and Aida Shihadeh Edward and Natalie Surovell
Edward Surovell Realtors Target
TCF Bank Foundation Jim Toy
Karl and Karen Weick Elise Weisbach Ronald and Eileen Weiser
Wadad Abed
Roger Albin and Nili Tannenbaum
Robert and Katherine Aldrich
Michael and Suzan Alexander
David G. and Joan M. Anderson
Dr. and Mrs. Rudi Ansbacher
Charles and Tina Avsharian
Jonathan Ayers and
Teresa Gallagher Eric and Becky Bakker Lesli and Christopher Ballard John and Ginny Bareham Norman E. Barnett Anne Beaubien and Philip Berry Dr. Astrid B. Beck Ralph P. Beebe Linda and Ronald Benson Stuart and Ruth Ann Bergstein Joan A. Binkow John Blankley and Maureen Foley
Blue Nile Restaurant Dr. DJ and Dieter Boehm Ron and Mimi Bogdasarian Margaret and Howard Bond Laurence and Grace Boxer Dale E. and Nancy M. Briggs Beth Bruce
Robert and Victoria Buckler Lawrence and Valerie Bullen Joan and Charley Burleigh Letitia J. Byrd Amy and Jim Byrne Betty Byrne Barbara and Al Cain H.D. Cameron Jean W. Campbell Valerie and David Canter Janet and Bill Cassebaum Tsun and Siu Ying Chang Pat and George Chatas Hubert and Ellen Cohen Cynthia and Jeffrey Colton Consulate General of The
Netherlands in New York Jane Wilson Coon and
A. Rees Midgley, Jr. Paul N. Courant and
Marta A. Manildi Connie D'Amato Julia Donovan Darlow and
John Corbett O'Meara Susan Tuttle Darrow Charles and Kathleen Davenport Hal and Ann Davis Leslie Desmond and
Phil Stoffregen Sally and Larry DiCarlo Andrzej and Cynthia DIugosz Molly Dobson Steve and Judy Dobson Robert J. and Kathleen Dolan Stuart and Heather Dombey Domino's Pizza Ivo Drury and Sun Hwa Kim John R. Edman and
Betty B. Edman Emil and Joan Engel Stefan and Ruth Fajans Eric Fearon and Kathy Cho David and Jo-Anna Featherman
Dede and Oscar Feldman
John E. Fetzer Institute, Inc.
Yi-Tsi M. and Albert Feuerwerker
Clare M. Fingerle
Susan Fisher and John Waidley
Robben Fleming
Food Art
James W. and Phyllis Ford
Jill and Dan Francis
Leon and Marcia Friedman
Enid H. Galler
Tom Gasloli
Prof. David M. Gates
Thomas and Barbara Gelehrter
William and Ruth Gilkey
Karl and Karen Gotting
Cozette T. Grabb
Elizabeth Needham Graham
Robert A. Green MD
Leslie and Mary Ellen Guinn
Helen C. Hall
Alice and Clifford Hart
David W. Heleniak
Sivana Heller
Carolyn B. Houston
Robert M. and Joan F. Howe
Eileen and Saul Hymans
Jean Jacobson
Wallie and Janet Jeffries
Timothy and Jo Wiese Johnson
David and Gretchen Kennard
Connie and Tom Kinnear
Diane Kirkpatrick
Rhea Kish
Philip and Kathryn Klintworth
Carolyn and Jim Knake
David Lampe and
Susan Rosegrant Ted and Wendy Lawrence Carolyn and Paul Lichter Jean E. Long
John and Cheryl MacKrell Cathy and Edwin Marcus Ann W. Martin and Russ Larson Marilyn Mason and
William Steinhoff Mary and Chandler Matthews Carole J. Mayer W. Joseph McCune and
Georgiana Sanders
Griff and Pat McDonald Bernice and Herman Merte James M. Miller and
Rebecca H. Lento Lester and Jeanne Monts Paul Morel and
Linda Woodworth Alan and Sheila Morgan Cyril Moscow Terence Murphy Randolph and Margaret Nesse M. Haskell and
Jan Barney Newman Susan and Mark Orringer William Nolting and
Donna Parmelee Marylen S. Oberman Mohammad and
J. Elizabeth Othman Judith Ann Pavitt Elaine and Bertram Pitt Stephen and Tina Pollock Thomas Porter and
Kathleen Crispell Richard and Mary Price Mrs. Gardner C. Quarton Anthony L. Reffells Donald Regan and
Elizabeth Axelson Ray and Ginny Reilly Malverne Reinhart Rosalie Edwards
Vibrant Ann Arbor Fund Jeffrey and Huda Karaman Rosen Karem and Lena Sakallah Linda Samuelson and Joel Howell Dick and Norma Sarns Maya Savarino Dr. Lynn T. Schachinger and
Dr. Sheryl S. Ulin John J.H. Schwarz MD Erik and Carol Serr Richard H. Shackson Janet and Michael Shatusky Carl Simon and Bobbi Low Nancy and Brooks Sitterley Dr. Rodney Smith Susan M. Smith and
Robert H. Gray
Lloyd and Ted St. Antoine Michael B. Staebler Lois and John Stegeman Virginia and Eric Stein Victor and Marlene Stoeffler Dr. and Mrs. Stanley Strasius Karen and David Stutz Charlotte Sundelson Lewis and Judy Tann Jan Svejnar and Katherine Terrell Ted and Eileen Thacker Fr. Lewis Towler Jeff and Lisa Tulin-Silver Jack and Marilyn van der Velde Florence S. Wagner Harvey and Robin Wax W. Scott Westerman, Jr. Roy and JoAn Wetzel Dianne Widzinski and James Skupski, MD Dr. and Mrs. Max V. Wisgerhof II Charles Witke and Aileen Gatten
Bonnie Ackley
Alan and Susan Aldworth
Richard and Mona Alonzo
Family Fund
Fahd Al-Saghir and Family Helen and David Aminoff Anonymous
Dale and MariAnn Apley Harlene and Henry Appelman Frank J. Ascione Penny and Arthur Ashe AT&T Foundation Susan and Michael Babinec Laurence R. and Barbara K. Baker Lisa and Jim Baker Reg and Pat Baker Paulett M. Banks
Nancy Barbas and Jonathan Sugar David and Monika Barera Frank and Lindsay Tyas Bateman Erling and Merete Blondal Bengtsson James K. and Lynda W. Berg Richard Berger Ramon and
Peggyann Nowak Berguer L.S. Berlin
William and llene Birge Jerry and Dody 8lackstone
Beverly J. Bole
Jane Bridges
Sharon and David Brooks
Donald and June Brown
Morton B. and Raya Brown
Trudy and Jonathan Bulkley
Frances Bull
Lou and Janet Callaway
Brent and Valerie Carey
John and Patricia Carver
A. Craig Cattell
Anne Chase
John and Camilla Chiapuris
Dr. Kyung and Young Cho
Janice A. Clark
Brian and Cheryl Clarkson
Jonathan Cohn
Wayne and Melinda Colquitt
Mary Pat and Joe Conen
Phelps and Jean Connell
Jean and Philip Converse
Connie and Jim Cook
Arnold and Susan Coran
Malcolm and Juanita Cox
Mary C. Crichton
Roderick and Mary Ann Daane
Alice and Ken Davis
Michele Derr
Linda Dintenfass and Ken Wisinski
Basim Dubaybo
Eva and Wolf Duvernoy
Dr. and Mrs. Kim A. Eagle
Ernst & Young Foundation
Harvey and Elly Falit
Irene Fast
Margaret and John Faulkner
Phil and Phyllis Fellin
Carol Finerman
C. Peter and Beverly A. Fischer
John and Karen Fischer
Dr. Lydia Fischer
Susan A. Fisher
Ray and Patricia Fitzgerald
Esther M. Floyd
Howard and Margaret Fox
Betsy Foxman and Michael Boehnke
Jerrold A. and Nancy M. Frost
James M. and Barbara H. Garavaglia
Richard L. Garner
Beverley and Gerson Geltner
Beverly Gershowitz
Dr. Paul W. Gikas and Suzanne Gikas
Zita and Wayne Gillis
William and Jean Gosling
Amy and Glenn Gottfried
James and Maria Gousseff
Christopher and Elaine Graham
Dr. John and Renee M. Greden
Don Haefner and Cynthia Stewart
Martin and Connie Harris
Susan R. Harris
Dr. and Mrs. Michael Hertz
Herb and Dee Hildebrandt
Ralph M. Hulett
Ann D. Hungerman
John Huntington
Maha Hussain and Sal Jafar
Stuart and Maureen Isaac
Mark and Madolyn Kaminski
Christopher Kendall and
Susan Schilperoort Nouman and Iman Khagani Elie R. and Farideh Khoury James and Jane Kister Hermine Roby Klingler Regan Knapp and John Scudder Dr. and Mrs. Jerry Kolins Charles and Linda Koopmann Melvyn and Linda Korobkin Rebecca and Adam Kozma Barbara and Ronald Kramer Barbara and Michael Kratchman Bert and Geraldine Kruse Bud and Justine Kulka Donald J. and Jeanne L. Kunz Jane Laird LaVonne L. Lang Dale and Marilyn Larson David Lebenbom Ruth L. Leder Paula and Paul Lee Richard LeSueur Mark Lindley and Sandy Talbott Don and Erica Lindow Daniel Little and Bernadette Lintz Rod and Robin Little E. Daniel and Kay Long Frances Lyman Brigitte and Paul Maassen Pam MacKintosh Jane and Martin Maehr Prof. Milan Marich W. Harry Marsden Irwin and Fran Martin Judythe and Roger Maugh Margaret E. McCarthy Barbara Meadows Warren and Hilda Merchant Merrill Lynch Robert C. Metcalf Don and Lee Meyer
Joetta Mial
Myrna and Newell Miller
Bert and Kathy Moberg
Olga Moir
Lewis and Kara Morgenstern
Thomas and Hedi Mulford
Susan and Richard Nisbett
Constance L. and David W. Osier
Shirley and Ara Paul
Zoe and Joe Pearson
Jean and Jack Peirce
Evelyn Pickard
Wallace and Barbara Prince
Peter Railton and Rebecca Scott
Patricia L Randle and James R. Eng
Timothy and Teresa Rhoades
Stephen J. Rogers
Doug and Nancy Roosa
Richard and Edie Rosenfeld
Margaret and Haskell Rothstein
Doris E. Rowan
Betina Schlossberg
Julie and Mike Shea
Howard and Aliza Shevrin
Edward and Kathy Silver
Sandy and Dick Simon
Elaine and Robert Sims
Don and Sue Sinta
Irma J. Sklenar
Andrea and William Smith
Gretchen Y. Sopcak
Becki Spangler and Peyton Bland
Doris and Larry Sperling
Mr. and Mrs. Gary R. Stahle
Naomi and James Starr
James Christen Steward
Eric and Ines Storhok
Kate and Don Sullivan
Timothy W. Sweeney
Manuel Tancer
Louise Taylor
Elizabeth C. Teeter
Louise Townley
Marianne Udow-Phillips and
Bill Phillips Fawwaz Ulaby and
Jean Cunningham Members of the UMS Choral Union Doug and Andrea Van Houweling Shirley Verrett Harue and Tsuguyasu Wada Elizabeth A. and David C. Walker Liina and Bob Wallin Gary Wasserman Zachary B. Wasserman Angela and Lyndon Welch
Iris and Fred Whitehouse Father Francis E. Williams Robert J. and Anne Marie Willis I.W. and Beth Winsten Lawrence and Mary Wise James H. and Gail Woods Frances A. Wright Bryant Wu and Theresa Chang
Judith Abrams
Dorit Adler
Martha Agnew and Webster Smith
Dr. Diane M. Agresta
Mr. and Mrs. W. Dean Alseth
Catherine M. Andrea
Rosemary and John Austgen
Drs. John and Lillian Back
J. Albert and Mary P. Bailey
Robert L. Baird
Bruce Baker and Genie Wolfson
Barbara and Daniel Balbach
Barnes & Noble Booksellers
Frank and Gail Beaver
Gary M. Beckman and Karla Taylor
Ken and Eileen Behmer
Harry and Kathryn Benford
Dr. Rosemary R. Berardi
Andrew H. Berry
Naren and Nishta Bhatia
Jack Billi and Sheryl Hirsch
Sara Billmann and Jeffrey Kuras
Horace and Francine Bomar
Mark D. Bomia
Bob and Sharon Bordeau
Victoria C. Botek and
William M. Edwards Stacy Brackens Dr. R.M. Bradley and Dr. CM.
William R. Brashear Joel Bregman and Elaine Pomerantz Christie Brown and Jerry Davis Pamela I. Brown Richard and Karen Brown Anthony and Jane Burton Heather Byrne Susan and Oliver Cameron Thomas and Colleen Carey Jack and Wendy Carman Jim and Lou Carras Margaret W. and Dennis B. Carroll Dennis J. Carter
Prof, and Mrs. James A. Chaffers J.W. and Patricia Chapman Samuel and Roberta Chappell Kwang and Soon Cho
Reginald and Beverly Ciokajlo
Mark Clague and Laura Jackson
Coffee Express Co.
George Collins and Paula Hencken
Anne and Edward Comeau
Gordon and Marjorie Comfort
Kevin and Judy Compton
Nancy Connell
Jud Coon
Dr. Hugh and Elly Cooper
Katharine Cosovich
Kathy and Clifford Cox
Lois Crabtree
Clifford and Laura Craig
Susie Bozell Craig
Merle and Mary Ann Crawford
Mr. Michael and Dr. Joan Crawford
George and Constance Cress
John and Mary Curtis
Marylee Dalton
Timothy and Robin Damschroder
Sunil and Merial Das
Ed and Ellie Davidson
Linda Davis and Robert Richter
Mr. and Mrs. William J. Davis
Dawda, Mann, Mulcahy & Sadler, PLC
Michelle Deatrick and
Steven Przybylski Jean and John Debbink Elena and Nicholas Delbanco Elizabeth Dexter Michael and Elizabeth Drake Elizabeth Duell Bill and Marg Dunifon Peter and Grace Duren Theodore and Susan Dushane Swati Dutta
J. Dutton and L. Sandelands Gavin Eadie and Barbara Murphy Morgan and Sally Edwards Dr. Alan S. Eiser Charles and Julie Ellis Johanna Epstein and Steven Katz The Equisport Agency Mary Ann Faeth Afaf Vicky Farah Dr. and Mrs. S.M. Farhat James and Flora Ferrara Jean Fine
Herschel and Adrienne Fink Sara and Bill Fink Scott and Janet Fogler David Fox and Paula Bockenstedt Shari and Ben Fox Willard G. Fraumann Susan L. Froelich and
Richard E. Ingram Philip and Renee Frost
Carol Gagliardi and David Flesher Martin Garber and Beth German Sandra Gast and Gregory Kolecki Michael Gatti and Lisa Murray Deborah and Henry Gerst Elmer G. Gilbert and
Lois M. Verbrugge J. Martin Gillespie and
Tara M. Gillespie Maureen and David Ginsburg Edie Goldenberg
Irwin Goldstein and Martha Mayo Mitch and Barb Goodkin Enid Gosling and Wendy Comstock Mr. and Mrs. Charles and Janet Goss Michael L. Gowing Larry and Martha Gray Jeffrey B. Green
Nancy Green and William Robinson Raymond and Daphne Grew Susan and Mark Griffin Nicki Griffith Werner H. Grilk Milton and Susan Gross Bob and Jane Grover Robin and Stephen Gruber Anna Grzymala-Busse and
Joshua Berke
Susan Guszynski and Gregory Mazure George and Mary Haddad M. Peter and Anne Hagiwara Tom Hammond Walt and Charlene Hancock Jeff Hannah and Nur Akcasu Abdelkader and Huda Hawasli Dan and Jane Hayes Rose and John Henderson J. Lawrence Henkel and
Jacqueline Stearns Paul and Erin Hickman James C. Hitchcock John Hogikyan and Barbara Kaye Richard and Cathy Hollingsworth Ronald and Ann Holz Cyrus C. Hopkins James and Wendy Fisher House Sun-Chien and Betty Hsiao Mabelle Hsueh Ruth and Harry Huff Robert B. Ingling Mr. and Mrs. Eugene 0. Ingram Richard Isackson John H. and Joan L. Jackson Elizabeth Jahn Rebecca Jahn Jerome Jelinek Harold R. Johnson Mark and Linda Johnson
Mary and Kent Johnson Paul and Olga Johnson John and Linda Jonides The Jonna Companies Profs. Monica and Fritz Kaenzig Jack and Sharon Kalbfleisch Helen and Irving Kao Arthur Kaselemas MD Morris and Evelyn Katz Alfred and Susan Kellam John B. Kennard, Jr. Nancy Keppelman and
Michael Smerza Drs. Nabil and Mouna Khoury Roland and Jeanette Kibler Don and Mary Kiel Paul and Leah Kileny Kirkland & Ellis Foundation Dana and Paul Kissner Jean and Arnold Kluge Rosalie and Ron Koenig Joseph and Marilynn Kokoszka Michael J. Kondziolka and
Mathias-Philippe Florent Badin Alan and Sandra Kortesoja Charles and Mary Krieger Vejayan Krishnan Donald John Lachowicz Lucy and Kenneth Langa Neal and Anne Laurance Jean Lawton and James Ellis Doug Laycock and Teresa A. Sullivan Bob and Laurie Lazebnik Leslie Meyer Lazzerin John and Theresa Lee Sue Leong
Joan and Melvyn Levitsky David Baker Lewis Jacqueline H. Lewis Ken and Jane Lieberthal Michael and Debra Lisull Michael Litt
Dr. and Mrs. Lennart Lofstrom Julie M. Loftin Bruce W. Loughry William and Lois Lovejoy Joan Lowenstein and Jonathan Trobe Charles and Judy Lucas Claire and Richard Malvin Melvin and Jean Manis Manpower, Inc. of
Southeastern Michigan Michael and Pamela Marcovitz Nancy and Philip Margolis Stacy and David Markel Howard L. Mason Laurie McCauley and Jessy Grizzle Margaret and Harris McClamroch
James H. Mdntosh and
Elaine K. Gazda Peggy McCracken and
Doug Anderson
Joanna McNamara and Mel Guyer Frances McSparran Russ and Brigitte Merz Gabrielle Meyer Shirley and Bill Meyers George Miller and Deborah Webster Jack and Carmen Miller Patricia Mooradian Michael and Patricia Morgan Melinda Morris
Sean Morrison and Theodora Ross Ronald S. Mucha Drs. Louis and Julie Jaffee Nagel Sabine Nakouzi and Scott Phillips Gerry and Joanne Navarre Gayl and Kay Ness Sharon and Chuck Newman Eugene W. Nissen Laura Nitzberg Arthur S. Nusbaum Kathleen I. Operhall Hedda and William Panzer Donna D. Park Katherine Pattridge David and Renee Pinsky Don and Evonne Plantinga Susan Pollans and Alan Levy Pomeroy Financial Services, Inc. Garrod S. Post and Robert A. Hill Helen S. Post Bill and Diana Pratt Ann Preuss
Karen and Berislav Primorac The Produce Station Elisabeth and Michael Psarouthakis Marci Raver and Robert Lash Maxwell and Marjorie Reade Mr. and Mrs. Stanislav Rehak Marnie Reid Alice Rhodes Claire Conley Rice Todd Roberts and Arleen Song Jonathan and Anala Rodgers Jean P. Rowan Rosemarie Haag Rowney Lisa and William Rozek Carol D. Rugg and
Richard K. Montmorency Omari Rush Arnold Sameroff and
Susan McDonough Ina and Terry Sandalow David Sarns and Agnes Moy-Sarns Michael and Kimm Sarosi
Rosalyn Sarver and
Stephen Rosenblum Nabil Sater
Joseph M. Saul and Lisa A. Leutheuser Albert and Jane Sayed David and Marcia Schmidt Ann and Thomas J. Schriber Harriet Selin
David and Elvera Shappirio James and Teri Shields George and Gladys Shirley Jean and Thomas Shope George and Nancy Shorney Hollis and Martha A. Showalter Mary A. Shulman Drs. Andrew and Emily Shuman Bruce M. Siegan Dr. Terry M. Silver Scott and Joan Singer Ken and Marcia Slotkowski Tim and Marie Slottow Carl and Jari Smith David and Renate Smith Robert W. Smith Yoram and Eliana Sorokin Joseph H. Spiegel Jeff Spindler David and Ann Staiger Rick and Lia Stevens James L. Stoddard Cynthia Straub Bashar and Hoda Succar Nancy Bielby Sudia Barbara and Donald Sugerman Brian and Lee Talbot Sam and Eva Taylor Steve and Diane Telian Mark and Pat Tessler Textron
Mary H. Thieme Janet E. and Randall C. Torno Claire and Jerry Turcotte Alvan and Katharine Uhle Michael Updike
Drs. Alison and Matthew Uzieblo Hugo and Karla Vandersypen Chris and Steven Vantrease Virginia Wait Jack and Carolyn Wallace Charles R. and Barbara H. Wallgren Tim Wang and Molly Herndon Jo Ann Ward
Arthur and Renata Wasserman Enid Wasserman Jack and Jerry Weidenbach Leslie Whitfield Nancy Wiernik Ralph G. Williams
Margaret W. Winkelman and
Robert A. Krause Charlotte A. Wolfe Amanda and Ira Wollner Stan and Pris Woollams Ellen Woodman Mary Jean and John Yablonky Richard and Kathryn Yarmain Zakhour and Androulla Youssef Gail and David Zuk
UMS also expresses its deepest appreciation to its many donors who give less than $250 each year, enabling the ongoing success of UMS programs.
July 1, 2008-June 30, 2009
The University Musical Society is grateful to those have supported UMS endowment funds, which will generate income for UMS in perpetuity and benefit UMS audiences in the future.
$100,000 or more
Doris Duke Charitable Foundation
Lenore M. Delanghe Trust Estate of Lillian G. Ostrand
Estate of Betty Ann Peck James and Nancy Stanley
AMGEN Foundation
Herb and Carol Amster
John R. Edman and Betty B. Edman
Susan and Richard Gutow
Gilbert Omenn and Martha Darling
Stephen and Agnes Reading
Susan B. Ullrich
Marina and Robert Whitman
Bernard and Raquel Agranoff Jean and Ken Casey Charles and Julia Eisendrath Sid Gilman and Carol Barbour Paul and Anne Glendon Debbie and Norman Herbert Diane S. Hoff Natalie Matovinovic Prue and Ami Rosenthal Jay and Mary Kate Zelenock
Jerry and Gloria Abrams
Dr. Jo Ann Aebersold
Hiroko and Michael Akiyama
Bob and Martha Ause
Emily W. Bandera
Ramon and Peggyann Nowak Berguer
Inderpal and Martha Bhatia
Anne Chase
Malcolm and Juanita Cox
Linda Davis and Robert Richter
Stefan and Ruth Fajans
David Fink and Marina Mata
Neal R. Foster and Meredith Lois Spencer Foster
Robert and Frances Gamble Trust
Thomas and Barbara Gelehrter
Lewis and Mary Green
John and Joyce Henderson
Dr. and Mrs. Robert Hensinger
Marilyn G. Jeffs
Robert and Jeri Kelch
Dorothea Kroll and Michael Jonietz
John Lawrence and Jeanine DeLay
Richard LeSueur
Joan and Melvyn Levitsky
Barbara and Michael Lott
Joan Lowenstein and Jonathan Trobe
Regent Olivia Maynard and Olof Karlstrom
Frieda H. Morgenstern
Robert and Elizabeth Oneal
Valerie and Tony Opipari
Zoe and Joe Pearson
Michelle Peet and Rex Robinson
Stephen R. and Ellen J. Ramsburgh
Larry and Bev Seiford
Becki Spangler and Peyton Bland
Karen and David Stutz
Carrie and Peter Throm
Jacqueline Tonks
Richard and Madelon Weber
Mary Ann Whipple
Mary C. Crichton
Edith and Richard Croake
Sheila Feld
Enid and Richard Grauer
Jonathan and Jennifer Haft
Nancy Houk
Ginny Maturen
G. Elizabeth Ong
Richard L. and Lauren G. Prager
Charles W. Ross
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 and Bonnie Ackley Endowment Fund
Herbert S. and Carol Amster Fund
Catherine S. Arcure Endowment Fund
Carl and Isabelle Brauer Endowment Fund
Frances Mauney Lohr Choral Union Endowment Fund
Hal and Ann Davis Endowment Fund
Doris Duke Charitable Foundation Endowment Fund
Ottmar Eberbach Funds
Epstein Endowment Fund
David and Phyllis Herzig Endowment Fund
JazzNet Endowment Fund
William R. Kinney Endowment Fund
Natalie Matovinovic Endowment Fund
NEA Matching Fund
Palmer Endowment Fund
Mary R. Romig-deYoung Music Appreciation Fund
Prudence and Amnon Rosenthal K-12 Education
Endowment Fund Charles A. Sink Endowment Fund Catherine S. ArcureHerbert E. Sloan Endowment Fund University Musical Society Endowment Fund The Wallace Endowment Fund
Burton Tower Society
77ie Burton Tower Society recognizes and honors those very special friends who have included UMS in their estate plans. UMS is grate?ful for this important support, which will continue the great tradi?tions of artistic excellence, educational opportunities, 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
Barbara K. and Laurence R. Baker
Kathy Benton and Robert Brawn
Linda and Maurice 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
Mary C. Crichton
H. Michael and Judith L. Endres
Dr. James F. Filgas
Ken and Penny Fischer
Ms. Susan Ruth Fischer
Meredith L. and Neal Foster
Beverley and Gerson Geltner
Paul and Anne Glendon
Debbie and Norman Herbert
John and Martha Hicks
Mr. and Mrs. Richard Ives
Marilyn G. Jeffs
Thomas C. and Constance M. Kinnear
Diane Kirkpatrick
Richard LeSueur
Pearson and Robert Macek
Susan McClanahan
Charlotte McGeoch
Michael G. McGuire
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 Ricketts
Mr. and Mrs. Willard L. Rodgers
Prudence and Amnon Rosenthal
Margaret and Haskell Rothstein
Irma J. Sklenar
Herbert Sloan
Art and Elizabeth Solomon
Roy and JoAn Wetzel
Ann and Clayton Wilhite
Mr. and Mrs. Ronald G. Zollars
Tribute Gifts
Contributions have been made in honor andor memory of the following people:
H. Gardner Ackley
Nancy L. Ascione
Milh Baranowski
David Bay
Linda and Maurice Binkow
Jean W. Campbell
Marie Mountain Clark
Ellwood Derr
Benning Dexter
John S. Dobson
Mrs. Jane D. Douglass
John Edwards
Sidney Fine
Alexander Everett Fischer
Ken and Penny Fischer
Betty Fisher
Mr. Leslie Froelich
E James Gamble
Susan and Richard Gutow
Lloyd W. Herrold
Carl W. Herstein
Dr. Julian T. Hoff
Ben Johnson
Robert Lazzerin
Kathleen McCree Lewis
Ellen Livesay
Charles Lovelace
Zelma K. Marich
Josip Matovinovic MD
Sharon Anne McAllister
Bettie Metcalf
Valerie D. Meyer
Amir Masud Mostaghim
Betty Overberger
Brian Patchen
James Pattridge
Gwen and Emerson Powrie
Gail W. Rector
Steffi Reiss
Margaret E. Rothstein
Eric H. Rothstein
Nona Ruth Schneider
J. Barry Sloat
George E. Smith
Edith Marie Snow
James Stanley
Jennifer Steiner and Patrick Tonks
Robert Strozier
Dr. and Mrs. E. Thurston Thieme
Charles R. Tieman
Mr. and Mrs. Leon B. Verrett
Francis V. Viola III
C. Robert Wartell
Janet F. White
Ralph Williams
Carl H. Wilmot, Class of 1919
Nancy Joan Wykes
Gifts In-Kind
Ann Arbor Cooks, Natalie Marble
Ann Arbor Fire Department
Barbara Bach
Kathie Barbour
Barton Hills Country Club
Berry Goldsmiths
Bistro Renaissance
Francine Bomar
Barbara Everitt Bryant
Camp Michigania
Craig Capelli, The Chippewa Club
Pat Chapman
Cheryl Clarkson
Jill Collman
Wendy Comstock
Paul Cousins
Heather Dombey
Downtown Home and Garden
Exhibit Museum of Natural History
Mary Ann Faeth
Sara Fink
Susan A. Fisher
Susan R. Fisher
The Friars
Friend of UMS
Anne Glendon
Kathy Goldberg
Susan Gutow
Charlene Hancock
Hotel Iroquois, Mackinac Island
Chantel Jackson
Christopher Kendall
Meg Kennedy Shaw
Steve and Shira Klein
Joan Levitsky
Liberty Athletic Club
Jane Maehr
Ann Martin
Joanna McNamara
Robin Meisel
Liz Messiter
Leonard Navarro
Kay and Gayl Ness
Steve and Betty Palms
Performance Network Theatre
Pictures Plus
Plum Market
Lisa Psarouthakis
Purple Rose Theatre
Renaissance Bistro
Idelle Hammond-Sass
Dick Scheer, Village Corner
Penny Schreiber
SeloShevel Gallery
Ingrid Sheldon
John Shultz
Andrea Smith
Becki Spangler
Karen Stutz
Sweet Gem Confections
Lisa Townley
Louise Townley
University of Michigan Men's
Soccer Team Wawashkamo Golf Club,
Mackinac Island Debbie Williams-Hoak Zingerman's Bakehouse
Ann Arbor Symphony Orchestra 16 Ann Arbor Public Schools
Educational Foundation 24 Bank of Ann Arbor 24 Charles Reinhart Co. Realtors 6 Detroit Jazz Festival 6 Donaldson & Gunther 26 Edward Surovell Realtors 26 Honigman Miller Schwartz and Cohn LLP 34 Howard Cooper Import Center 16 IATSE Local 395 46 Iris Dry Cleaners 32 Kensington Court Front Cover Michigan Radio 32 Performance Network 46 Real Estate One 30 Red Hawk 30 Schakolad 16 The Gilmore 30 Totoro 32
UMS Prelude Dinners 46 U-M Alumni Association 28 U-M Museum of Art 30 United Bank & Trust 34 WEMU Back Cover WGTE 6
UMS is proud to be a member of the following organizations:
Ann Arbor Area Convention & Visitors Bureau
Ann Arbor Chamber of Commerce
Arts Alliance of the Ann Arbor Area
ArtServe Michigan
Association of Performing Arts Presenters
Chamber Music America
Cultural Alliance of Southeastern Michigan
International Society for the Performing Arts
Main Street Area Association
Michigan Association of Community Arts Agencies
National Center for Nonprofit Boards
State Street Association
Think Local First

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