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UMS Concert Program, Friday Nov. 20 To Jan. 08: University Musical Society: Fall 2009 - Friday Nov. 20 To Jan. 08 --

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Day
20
Month
November
Year
2009
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Rights Held By
University Musical Society
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Season: Fall 2009
University Of Michigan, Ann Arbor

Fall 2009 Season
University Musical Society of the University of Michigan Ann Arbo
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
Programs
UMSSupport 33 Corporate Sponsorship and Advertising
33 Individual Donations
35 UMS Advisory Committee
37 Annual Fund Support
44 Endowment Fund Support
P48 UMS AdvertisersMember Organizations
Cover: Gal Costa, Grizzly Bear, Ravi Shankar (photo: Ken Howard),
Bill I JonesArnie Zane Dance Company (photo: Paul B. Goode)

FROM THE U-M PRESIDENT
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 www.umich.edu.
Sincerely,
Mary Sue Coleman
President, University of Michigan
FROM THE UMS PRESIDENT
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.
constitute the
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 kenfisch@umich.edu or call me at 734.647.1174.
And thanks again for coming to this event.
Very best wishes,
Kenneth C. Fischer UMS President
FROM UMS CHAIRMAN, JIM STANLEY
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 www.ums.org. 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.
Sincerely,
James C. Stanley
Chair, UMS Board of Directors
UMSLeadership
CORPORATE AND FOUNDATION LEADERS
James G. Vella
President, Ford Motor Company Fund 4 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
Vice 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 _J
"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 t
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."
FOUNDATION AND GOVERNMENT SUPPORT
UMS gratefully acknowledges the support of the following foundations and government agencies:
SIOO.OOO and above Doris Duke Charitable Foundation W.K. Kellogg Foundation National Endowment for the Arts
$50,000-599,999
Anonymous
Doris Duke Foundation for Islamic Art DTE Energy Foundation Esperance Family Foundation
$20,000-549,999
Cairn Foundation
EmcArts
Maxine and Stuart Frankel Foundation
Charles H. Gershenson Trust
The Mosaic Foundation, Washington DC
$10,000-519,999
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)
S1,000-S9,999
Consulate General of The Netherlands in New York
Mohamed and Hayat Issalssa Foundation
National Dance Project of the New England Foundation
for the Arts Sarns Ann Arbor Fund Target
UNIVERSITY MUSICAL S 0 C I E T Y of the University of Michigan UMS BOARD OF DIRECTORS
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
Committee
UMS NATIONAL COUNCIL
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 5. Amster Gail Davis Barnes Richard S. Berger Maurice 5. Binkow Lee C. Bollinger Janice Stevens
Botsford Paul C. Boylan Carl A. Brauer William M. Broucek Barbara Everitt Bryant Letitia J. 8yrd 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 O. Simpson Herbert Sloan Timothy P. Slottow Carol Shalita Smokier Jorge A. Solis Peter Sparling Lois U. Stegeman Edward D. Surovell James L. Telfer Susan B. Ullrich Michael D. VanHemert Eileen Lappin Weiser B. Joseph White Marina v.N. Whitman Clayton E. Wilhite Iva M. Wilson Karen Wolff
UMS ADVISORY COMMITTEE
Janet Callaway, Chair Betty Palms,
Wee Chair
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 I. 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 Grimley Susan Gross Susan Gulow Lynn Hamilton Charlene Hancock Shelia Harden
Alice Han
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 Poggr Lisa Psarouthakis Ma re i Raver Agnes Moy Sarns Penny Schreiber 8ev 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
UMS STAFF
AdministrationFinance
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
Development
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
Coordinator
ProgrammingProduction
Michael J. Kondziolka, Director Jeffrey Beyersdorf,
Technical Director Mark Jacobson,
Programming Manager Carlos Palomares,
Artist Services Coordinator Liz Stover, Programming
Coordinator
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
Students
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
UMS CORPORATE COUNCIL
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
UMS TEACHER ADVISORY COMMITTEE
Abby Alwin 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 Fillion Deiores Flagg Joey Fukuchi Jeff Gaynor Joyce Gerber Barb Grabbe Joan Gnssing
Linda tones
Jeff Kass
Rosalie Koenig Sue Kohfeldt laura Machida Jose Mejia Kim Mobley Eunice Moore Michelle Peet Anne Perigo Rebeca Pietrzak Cathy Reisthl Jessica Rizor
Vicki Shields Sandra Smith Gretchen Suhre Julie Taylor Cayla Tchalo Dan Tolly Alex Wagner Barbara Wallgren Kimbertey Wright Kathryn Young
UMSlnfo
GENERAL INFORMATION
Barrier-Free Entrances
For persons with disabilities, all venues have barrier-free entrances. Wheelchair locations vary by venue; visit www.ums.orgtickets or call 734.764.2538 for details. Ushers are available for assistance.
Listening Systems
For hearing-impaired persons, Hill Auditorium, Power Center, and Rackham Auditorium are equipped with assistive listening devices. Earphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Hill Auditorium, Lydia Mendelssohn Theatre, Power Center, or Rackham Auditorium, please call University Productions at 734.763.5213. For the Michigan Theater, call 734.668.8397. For St. Francis of Assisi, call 734.821.2111.
Parking
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
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
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.
UMS TICKETS
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 umsgroupsales@umich.edu.
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.
Retums
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.
STUDENT TICKETS
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 TJVEInioS
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 www.ums.org.
HOW DO I BUY TICKETS
In Person:
League Ticket Office
911 North University Ave.
Hours:
Mon-Fri: 9am-5pm
Sat: 10am-1pm
By Phone:
734.764.2538
Outside the 734 area code, call toll-free 800.221.1229
By Internet:
www.ums.org
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.
UMSAnnals
UMS HISTORY
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.
UMS VENUES AND BURTON MEMORIAL TOWER
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.
V
Fall 2009 I Winter 2010 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 three 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, November 20, 2009 through Friday, January 8, 2010
Patti LuPone 5
Friday, November 20, 8:00 pm Hill Auditorium
Vienna Boys Choir 9
Sunday, November 29, 4:00 pm Hill Auditorium
Handel's Messiah 13
Saturday, December 5, 8:00 pm Sunday, December 6, 2:00 pm Hill Auditorium
Jean-Yves Thibaudet 29
Saturday, December 12, 8:00 pm Hill Auditorium
Souad Massi 35
Friday, January 8, 8:00 pm Michigan Theater
Fall 2009
i Winter 2010
September
Itzhak Perlman, violin with Rohan De Silva, piano Grizzly Bear with Beach House
October
Bill Charlap Trio
Punch Brothers featuring Chris Thile
Alisa Weilerstein, cello with
Inon Barnatan, piano
The Suzanne Farrell Ballet
NT Live: All's Well That Ends Well
Ravi Shankar and Anoushka Shankar
Shakespeare's Globe Theatre of London:
Love's Labour's Lost
Stile Antico: Heavenly Harmonies
Michigan Chamber Players
Belcea Quartet
November
Christine Brewer, soprano with
Craig Rutenberg, piano
Keith Terry and the SLAMMIN
All-Body Band
Gal Costa and Romero Lubambo
St. Lawrence String Quartet
Yasmin Levy
Berliner Philharmoniker
Patti LuPone: Coulda, Woulda, Shoulda
Vienna Boys Choir: Christmas in Vienna
December
Handel's Messiah Jean-Yves Thibaudet, piano
January
8 Souad Massi
22-23 Bill T. JonesArnie Zane Dance Company: Fondly Do We Hope.. .Fervently Do We Pray
27 Chicago Symphony Orchestra 31 Ladysmith Black Mambazo
February
4 ! The Bad Plus
6 So Percussion
7 i 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
March
13 Cyro Baptista's Beat the Donkey
15 Takacs Quartet
17 Jazz at Lincoln Center Orchestra with Wynton Marsalis
19 ; San Francisco Symphony
I 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
St. Petersburg: Anton Chekhov's
! Unde Vanya
April
7 i Schleswig-Holstein Festival Orchestra with
Lang Lang, piano
8 Danilo Perez & Friends: Things to Come: 21st-century Dizzy
10 Baaba Maal with NOMO
12 i Michigan Chamber Players 20 Trio Mediaeval
22-24 Hubbard Street Dance Chicago 25 i The Rest is Noise in Performance: ; Alex Ross and Ethan Iverson, piano
May
9 j NT Live: The Habit of Art 15 Breakin' Curfew
Through Sunday, December 6, 2009
UMS Educational and Community 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 www.ums.org or contact the UMS Education Department at 734.615.4077 or umsed@umich. edu.
Vienna Boys Choir
Caroling on the Steps of Hill
Sunday, November 29, 3:00-4:00 pm Hill Auditorium
Area choral groups perform music and invite the public to join them for carols on the steps of Hill Auditorium prior to the Vienna Boys Choir concert.
Africa Series
Africa Festival Kickoff
Friday, December 4, 7:00 pm Biomedical Science Research Building, 109 Zina Pitcher Place
Help UMS kick off the 0910 season focus on the Performing Arts of Africa and celebrate the African talent within our own community at this community performance and reception featuring food, performing artists, and pageantry from many African nations represented in our region.
A collaboration with the United African Community Organization, U-M African Studies Center, U-M Center for Afro and African American Studies, U-M Institute for the Humanities, and Arts on Earth.
Handel's Messiah
Masterpieces Revealed: Handel's Messiah
Saturday, December 5, 1:30-3:00 pm Hill Auditorium
Performing Handel's Messiah is an annual tradition in Ann Arbor. As part of the pre-concert festivities, conductor Jerry Blackstone, singer Freda Herseth, and University singers will delve into the wonders of this oft-performed work.
A collaboration with the U-M School of Music, Theatre & Dance.
Caroling on the Steps of Hill
Saturday, December 5, 7:00-8:00 pm Sunday, December 6, 1:00-2:00 pm Hill Auditorium
Area choral groups perform music and invite the public to join them for carols on the steps of Hill Auditorium prior to the performances of Handel's Messiah.
and
Robert and Pearson Macek
present
Patti LuPone
Joseph Thalken, Piano
Program
Friday Evening, November 20, 2009 at 8:00 Hill Auditorium Ann Arbor
Coulda, Woulda, Shoulda
Musical Direction by Joseph Thalken Conceived and Directed by Scott Wittman Dialogue by Jeffrey Richman and Patti LuPone
Tonight's program will be performed with one intermission.
This concert is performed in loving memory of its co-creator, Dick Gallagher.
Photo: Rahav (Cosi)
26th Performance of the 131st Annual Season
The photographing or sound and video recording of this performance or possession of any device for such recording is prohibited.
This evening's performance is co-sponsored by Robert and Pearson Macek.
This evening's performance is hosted by Thomas B. McMullen Co. and Loretta Skewes and Dody Viola.
Media partnership for this performance is provided by Between the Lines.
The Steinway piano used in this evening's performance is made possible by William and Mary Palmer and by the Steinway Piano Gallery of Detroit.
Special thanks to Brent Wagner, Associate Professor and Chair of Musical Theatre, U-M School of Music, Theatre & Dance, for speaking at this evening's Prelude Dinner.
Special thanks to Steven Ball for coordinating the pre-concert music on the Charles Baird Carillon.
Ms. LuPone appears by arrangement with Opus 3 Artists, New York, NY.
Large print programs are available upon request.
Patti LuPone first performed Coulda, Woulda, Shoulda as her solo concert debut at New York's Carnegie Hall, and was invited to return to perform a sold-out encore performance in February 2002. She has since returned to Carnegie Hall for a subsequent one-woman show The Lady With The Torch. She most recently starred on Broadway as Rose in the hit revival of Gypsy, for which she won the Tony, Drama Desk, and Outer Critics Circle Awards for "Best Actress in a Musical" as well as the Drama League Award for "Outstanding Performance" of the 0809 season. In addition to Coulda, Woulda, Shoulda and The
Lady With The Torch, Ms. LuPone also tours in her one-woman concerts Matters of the Heart and The Gypsy In My Soul and with her Evita co-star Mandy Patinkin in a new concert titled An Evening with Patti LuPone and Mandy Patinkin.
Ms. LuPone's New York stage credits include John Doyle's hit Broadway production of Sweeney Todd, Passion, Candide, Can Can, Noises Off, Sweeney Todd (with the New York Philharmonic), The Old Neighborhood, Master Class, Patti LuPone on Broadway (Outer Critics Circle Award), Pal Joey, Anything Goes, Oliver!, Accidental Death of An Anarchist, The Woods, Edmond, The Cradle Will
Patti LuPone
Photo: Ethan Hill
Rock, Fwfa(Tonyand Drama Desk Awards), Working, The Water Engine, and 77ie Robber Bridegroom (Tony Award and Drama Desk nominations). Her London stage credits include Matters of the Heart, Master Class, Sunset Boulevard (Olivier Award nomination), and she was awarded Olivier Awards for her performances in Les Miserables (RSC world premiere production) and The Cradle Will Rock.
Ms. LuPone's opera credits include Jake Heggie's To Hell and Back for San Francisco's Philharmonia Baroque Orchestra, Weill-Brecht's The Rise and Fall of the City of Mahagonny for her Los Angeles Opera debut and Marc Blitzstein's Regina at the Kennedy Center. Her film credits include City By The Sea, David Mamet's Heist and State and Main, Just Looking, Summer of Sam, Driving Miss Daisy, and Witness. Ms. LuPone has appeared on TV shows including 30 Rock, Ugly Betty, Will & Grace, the Emmy-winning telecasts of Passion and Sweeney Todd, Oz, Monday Night Mayhem, Evening At the Pops with John Williams and Yo-Yo Ma, Frasier (Emmy nomination), Law & Order, The Water Engine, LBJ, and Life Goes On.
Ms. LuPone's recordings include Patti LuPone Live, Heatwave with John Mauceri and the Hollywood Bowl Orchestra, Pal Joey, Matters of the Heart, Sweeney Todd (on the New York Philharmonic's Special Editions label), the 2006 and 2008 recordings of Sweeney Todd and Gypsy, the Ghostlight Records release of The Lady With The Torch, and Patti LuPone at Les Mouches, a digitally-remastered live performance CD of her now-legendary 1980 nightclub act. Ms. LuPone is a founding member of the Drama Division of The Juilliard School and a founding member of John Houseman's The Acting Company.
Joseph Thalken is the composer of the musicals Was (book and lyrics by Barry Kleinbort, based on the novel by Geoff Ryman), Harold and Maude (book and lyrics by the estimable Tom Jones of The Fantasticks), and he also contributed to Mark Campbell's Songs From an Unmade Bed at the New York Theatre Workshop. He is the recipient of a grant and commission from the Shen Family Foundation and the Signature Theatre in Arlington, Virginia, and has received support from the Gilbert & Gonzalez-Falla Theater Foundation, Meet the Composer, and the National Endowment for the Arts. He was the Broadway conductor for Victor Victoria (with Julie Andrews and Liza Minnelli) and most recently for Gypsy with Patti LuPone. As a pianist or conductor, he has worked with Polly Bergen, Bernadette Peters, Barry Manilow, Rebecca Luker, Kristin Chenoweth, Catherine Malfitano, Elizabeth Futral, and Joshua Bell. Orchestrations include albums for Howard McGillin, Kathy Lee Gifford, Marin Mazzie and Jason Danieley, Nathan Gunn, and Judy Collins. He can be heard as a pianist on the cast albums for My Favorite Year, Tip-Toes, Oh Kay, Ziegfeld Follies Of 1936, Babes in Arms, Bernstein's New York, Call Me Madam, and St. Louis Woman.
This evening's performance marks the UMS debuts of Patti LuPone and Joseph Thalken.
presents
Vienna Boys Choir
Gerald Wirth, Artistic Director Manolo Cagnin, Conductor
Program Sunday Afternoon, November 29, 2009 at 4:00 Hill Auditorium Ann Arbor
Christmas in Vienna
Medieval Latin Songs, Arr. Gerald Wirth Piae Cantiones (Excerpt) Gaudete
Carl Orff Carmina burana (Excerpt) 0 Fortuna
John V. Mochnick Ave Maria
Wolfgang Amadeus Mozart Vesperae solennes de confessore, K. 339 (Excerpt) Laudate Dominum
Giuseppe Verdi Four Sacred Pieces (Excerpt) Praise of the Virgin Mary
Gabriel-Urbain Faure Cantique de Jean Racine, Op. 11
Heinz Kratochwil Jubilate Deo, Op. 157a
Ascr. to Teodoro Cottrau Naples (Excerpt) Santa Lucia Barcarole
Russian Folk Song, Arr. Martin Schebesta Kalinka
Jerry Bock Fiddler on the Roof (Excerpt) If I Were a Rich Man
Joseph Lanner, Arr. Wirth Die Schonbrunner Waltz, Op. 200
Johann Strauss Jr., Arr. Uwe Theimer Tritsch Tratsch, Op. 214
INTERMISSION

Karl Neuner, Arr. Wirth
Thurlngian Carol, Arr. Wirth
French Carol, Arr. Anton Neyder
German Lullaby,
Arr. Hermann Furthmoser
Eduard Ebel, Arr. Wirth Michael Pratorius French Carol, Arr. Wirth Italian Lullaby, Arr. Wirth
French Carol,
Arr. Andrew Carter
Jay Livingston,
Arr. Martin Schebesta
Walter Kent, Arr. Mac Huff
Johann Ritter von Herbeck
Merry Christmas Everywhere
Mary Walked Through a Thorn Brush
Angels from the Realms of Glory Quiet, Quiet, Quiet
Softly Falls the Snow Lo, How a Rose E'er Blooming He is Born, the Divine Child Sleep, Sleep, Beautiful Baby
Mr. Cagnin will announce a solo from the stage.
A Maiden Most Gentle
Silver Bells
I'll Be Home for Christmas
Boys, Begin
27th Performance of the 131st Annual Season
Family Series
The photographing or sound and video recording of this concert or possession of any device for such recording is prohibited.
The 0910 Family Series is sponsored by Toyota.
Media partnership for this concert is provided by WRCJ 90.9 FM.
The Steinway piano used in this afternoon's performance is made possible by William and Mary Palmer and by the Steinway Piano Gallery of Detroit.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of seasonal decorations.
Special thanks to Steven Ball for coordinating the pre-concert music on the Charles Baird Carillon.
Hotel Residenz Palais Coburg is the Vienna Boys Choir general sponsor.
The Vienna Boys Choir appears by arrangement with Opus 3 Artists, New York, NY.
Large print programs are available upon request.
Boys have been singing at the court of the Holy Roman Emperor since the early 15th century. In 1498, more than half a millennium ago, Emperor Maximilian I moved his court and his court musicians to Vienna. He gave instructions that there were to be six singing boys among his musicians. Historians have settled on 1498 as the foundation date of the Vienna Hofmusikkapelle and, in consequence, the Vienna Boys Choir. Until 1918, the choir sang exclusively for the imperial court, at mass, at private concerts and functions, and on state occasions.
Musicians like Heinrich Isaac, Paul Hofhaimer, Heinrich Ignaz Franz Biber, Johann Joseph Fux, Wolfgang Amadeus Mozart, Antonio Caldara, Antonio Salieri, and Anton Bruckner worked with the choir. Composers Jacobus Gallus and Franz Schubert and conductors Hans Richter, Felix Mottl, and Clemens Krauss were themselves choristers. Brothers Joseph and Michael Haydn were members of the choir of St. Stephen's Cathedral, and frequently sang with the imperial boys' choir.
In 1918, after the breakdown of the Habsburg Empire, the Austrian government took over the court opera, its orchestra and the adult singers, but not the boys' choir. The Vienna Boys Choir owes its survival to the initiative of Josef Schnitt, who became Dean of the Imperial Chapel in 1921. Schnitt established the boys' choir as a private institution: the former court choir boys became the Wiener Sangerknaben (Vienna Boys Choir), the imperial uniform was replaced by the sailor suit, then the height of boys' fashion. Funding was not enough to pay for the boys' upkeep, and in 1926 the choir started to give concerts outside of the chapel, performing motets, secular works, and, at the boys' request, children's operas. The impact was amazing: within a year, the choir performed in Berlin (where Erich Kleiber conducted them), Prague, and Zurich. Athens and Riga (1928) followed, then Spain, France, Denmark, Norway, and Sweden (1929), the US (1932), Australia (1934), and South America (1936).
Today there are around 100 choristers between the ages of 10 and 14, divided into four touring choirs. The four choirs give around 300 concerts and performances each year in front of almost half a million people. Each group spends nine to 11 weeks of the school year on tour. They visit virtually all European countries, and they are frequent guests in Asia, Australia, and the Americas.
Born in Treviso, Italy, in 1976, Manolo Cagnin developed an interest in music early in life. He studied violin and viola at the Conservatory of Venice "B. Marcello" as well as choral music, choral conducting, and polyphony. From 1998-
2004 Mr. Cagnin attended the Conservatory of Milan "G. Verdi" furthering his studies in composition and conducting. In 2008, Mr. Cagnin was awarded a postgraduate degree in orchestral conducting from the University of Music & Theatre in Leipzig where he worked with such notable
conductors as Fabio Luisi and Kurt Masur and was a member of the ERASMUS student exchange program.
While in school, Mr. Cagnin served as the assistant to the Thomanerchor's chorus master Georg Christoph Biller. In 2007, he served as music director of the Gewandhaus Orchestra's production of La Tragedie de Carmen, and, beginning in the fall of 2008, Mr. Cagnin was named conductor of one of the Wiener Sangerknaben's (Vienna Boys Choir) four concert choirs.
With the Vienna Boys Choir, he prepares the boys for masses with the Vienna Hofmusikkapelle and concerts both abroad and in Vienna, including appearances with the Vienna State Opera. Previous tours have taken Mr. Cagnin through several countries in Asia as well as Ireland, Spain, and Germany. The Fall 2009 tour is Mr. Cagnin's first visit to North America with the boys.
Manolo Cagnin
Photo Vienna Boyi Char
UMS Archives
This afternoon's concert marks the Vienna Boys Choir's 13th UMS appearance. The Choir made its UMS debut in November 1933 at Hill Auditorium under the direction of Hans von Urbanek, and most recently appeared in March 1992 at Hill Auditorium under the direction of Jaume Miranda.
This afternoon's concert marks Manolo Cagnin's UMS debut.
and the
Carl and Isabelle
Brauer Fund
present
Messiah
Composed by George Frideric Handel
UMS Choral Union
Ann Arbor Symphony Orchestra
Jerry Blackstone, Conductor and Music Director
Ava Pine, Soprano
Anthony Roth Costanzo, Countertenor
Robert Bracey, Tenor
Kyle Ketelsen, Bass-Baritone
Edward Parmentier, Harpsichord Scott VanOrnum, Organ
Program
Saturday Evening, December 5, 2009 at 8:00 Sunday Afternoon, December 6, 2009 at 2:00 Hill Auditorium Ann Arbor
28th and 29th Performances of the 131st Annual Season
The photographing or sound and video recording of these performances or possession of any device for such recording is prohibited.
This weekend's performances are supported by the Carl and Isabelle Brauer Fund.
Media partnership for these performances is provided by WRCJ 90.9 FM, Michigan Radio 91.7 FM, and Ann Arbor's 107one.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of seasonal decorations.
Special thanks to Steven Ball for coordinating the pre-concert music on the Charles Baird Carillon.
Special thanks to Jerry Blackstone and Freda Herseth of the U-M School of Music, Theatre & Dance for their support of and participation in events surrounding the Messiah performances.
Ms. Pine appears by arrangement with Mirshak Artists Management, New York, NY. Mr. Costanzo appears by arrangement with Opus 3 Artists, New York, NY. Mr. Bracey appears by arrangement with Seidel Artists Management, Naples, FL. Mr. Ketelsen appears by arrangement with IMG Artists, New York, NY.
Large print programs are available upon request.
1 Sinfonia
Parti
Arioso Isaiah 40: 1 Isaiah 40:2
Isaiah 40: 3
Air
Isaiah 40: 4
Chorus
Isaiah 40: 5
Mr. Bracey
Comfort ye, comfort ye my people, saith your God.
Speak ye comfortably to Jerusalem, and cry unto her that her
warfare is accomplished, that her iniquity is pardoned. The voice of him that crieth in the wilderness: Prepare ye the way of
the Lord, make straight in the desert a highway for our God.
Mr. Bracey
Every valley shall be exalted, and every hill and mountain . ..
made low: the crooked ... straight, and the rough places plain:
And the glory of the Lord shall be revealed, and all flesh shall see it together: for the mouth of the Lord hath spoken it.
5 Accompanied recitative Mr. Ketelsen
Haggai 2:6 ... thus saith the Lord of hosts: Yet once, ... a little while, and I
will shake the heavens and the earth, the sea and the dry land; Haggai 2: 7 And I will shake all nations, and the desire of all nations
shall come:... Malachi 3: 1 ... the Lord, whom ye seek, shall suddenly come to his temple,
even the messenger of the covenant, whom ye delight in:
behold, he shall come, saith the Lord of hosts.
6 Air
Malachi 3:2
7 Chorus
Malachi 3: 3
8 Recitative Isaiah 7: 14
9 Air and Chorus Isaiah 40: 9
Isaiah 60: 1
Mr. Costanzo
But who may abide the day of his coming And who shall stand when he appeareth For he is like a refiner's fire, . . .
... and he shall purify the sons of Levi, . . . that they may offer unto the Lord an offering in righteousness.
Mr. Costanzo
Behold, a virgin shall conceive, and bear a son, and shall call his name Immanuel, "God-with-us."
Mr. Costanzo
0 thou that tellest good tidings to Zion, get thee up into the high mountain; 0 thou that tellest good tidings to Jerusalem, lift up thy voice with strength; lift it up, be not afraid; say unto the cities of Judah: Behold your God!
Arise, shine; for thy light is come, and the glory of the Lord is risen upon thee.
10 Arioso
Isaiah 60: 2
Isaiah 60: 3
11 Air
Isaiah 9: 2
12 Chorus
Isaiah 9: 6
13 Pifa
14 Recitative Luke 2: 8
15 Arioso Luke 2: 9
16 Recitative Luke 2: 10
Luke 2: 11
Mr. Ketelsen
For behold,... darkness shall cover the earth, and gross darkness the people: but the Lord shall arise upon thee, and His glory shall be seen upon thee.
And the Gentiles shall come to thy light, and kings to the brightness of thy rising.
Mr. Ketelsen
The people that walked in darkness have seen a great light: and they that dwell in the land of the shadow of death, upon them hath the light shined.
For unto us a child is born, unto us a son is given: and the
government shall be upon his shoulder, and his name shall be called Wonderful, Counselor, The Mighty God, The Everlasting Father, The Prince of Peace.
(Pastoral Symphony)
Ms. Pine
... there were ... shepherds abiding in the field, keeping watch over their flock by night.
Ms. Pine
And, lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them: and they were sore afraid.
Ms. Pine
And the angel said unto them, Fear not: for, behold, I bring you good tidings of great joy, which shall be to all people.
For unto you is born this day in the city of David a Saviour, which is Christ the Lord.
17 Arioso Luke 2: 13
18 Chorus
Luke 2: 14
19 Air
Zechariah 9: 9
Zechariah 9: 10
Ms. Pine
And suddenly there was with the angel a multitude of the heavenly host praising God and saying,
Glory to God in the highest, and peace on earth, good will toward men.
Ms. Pine
Rejoice greatly, O daughter of Zion; shout, O daughter of
Jerusalem: behold, thy King cometh unto thee: he is the righteous Saviour, .. .
... and he shall speak peace unto the heathen:...
20 Recitative Isaiah 35: 5
Isaiah 35: 6
21 Air
Isaiah 40: 11
Matthew 11: 28 Matthew 11:29
22 Chorus
Matthew 11:30
Mr. Costanzo
Then shall the eyes of the blind be opened, and the ears of the
deaf. . .unstopped. Then shall the lame man leap as a hart, and the tongue of the
dumb shall sing:...
Mr. Costanzo and Ms. Pine
He shall feed his flock like a shepherd: and he shall gather the lambs
with his arm, and carry them in his bosom, and . . . gently lead
those that are with young. Come unto Him, all ye that labour and are heavy laden, and He
will give you rest. Take His yoke upon you, and learn of Him, for He is meek and
lowly of heart: and ye shall find rest unto your souls.
... His yoke is easy, and His burden is light.
Intermission
Part II
23 Chorus
John 1:29
24 Air
Isaiah 53: 3
Isaiah 50: 6
25 Chorus
Isaiah 53: 4
Isaiah 53: 5
26 Chorus
Isaiah 53: 4
27 Arioso
Psalm 22: 7
Behold, the Lamb of God, that taketh away the sin of the world! . . .
Mr. Costanzo
He was despised and rejected of men; a man of sorrows, and
acquainted with grief: ... He gave his back to the smiters, and His cheeks to them that
plucked off the hair: He hid not His face from shame and spitting.
Surely he hath borne our griefs, and carried our sorrows:...
... he was wounded for our transgressions, he was bruised for our
iniquities: the chastisement of our peace was upon him; and with
his stripes are we healed.
All we like sheep have gone astray; we have turned every one to his own way; and the Lord hath laid on him the iniquity of us all.
Mr. Bracey
All they that see him laugh him to scorn: they shoot our their lips, and shake their heads, saying:
28 Chorus Psalm 22: 8
29 Accompanied Psalm 69: 20
30 Arioso
Lamentations
31 Accompanied Isaiah 53: 8
32 Air
Psalm 16: 10
33 Chorus
Psalm 24: 7
Psalm 24: 8 Psalm 24: 9 Psalm 24: 10
34 Recitative Hebrews 1: 5
35 Chorus
Hebrews 1: 6
36 Air
Psalm 68: 18
37 Chorus
Psalm 68: 11
38 Air
Isaiah 52: 7
He trusted in God that he would deliver him: let him deliver him, if he delight in him.
recitative Mr. Bracey
Thy rebuke hath broken his heart; he is full of heaviness: he looked for some to have pity on him, but there was no man; neither found he any to comfort him.
Mr. Bracey
1: 12 ... Behold and see if there be any sorrow like unto his sorrow . . .
recitative Mr. Bracey
... he was cut off out of the land of the living: for the transgressions of thy people was he stricken.
Mr. Bracey
But thou didst not leave his soul in hell; nor didst thou suffer thy Holy One to see corruption.
Lift up your heads, 0 ye gates; and be ye lift up, ye everlasting
doors; and the King of glory shall come in. Who is this King of glory The Lord strong and mighty, the Lord
mighty in battle. Lift up your heads, O ye gates; and be ye lift up, ye everlasting
doors; and the King of glory shall come in. Who is this King of glory The Lord of hosts, he is the King of
glory.
Mr. Bracey
. . . unto which of the angels said he at any time, Thou art my son, this day have I begotten thee . ..
... let all the angels of God worship him.
Mr. Costanzo
Thou art gone up on high, thou has lead captivity captive: and
received gifts for men; yea, even for thine enemies, that the Lord God might dwell among them.
The Lord gave the word: great was the company of the preachers.
Ms. Pine
How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things ...
39 Chorus
Romans 10: 18
40 Air
Psalm 2: 1
Psalm 2: 2
41 Chorus
Psalm 2: 3
42 Recitative
Psalm 2:4
43 Air
Psalm 2: 9
44 Chorus
Revelation 19:6
Revelation 11: 15
Revelation 19: 16
Their sound is gone out into all lands, and their words unto the ends of the world.
Mr. Ketelsen Why do the nations so furiously rage together, . . . why do the
people imagine a vain thing The kings of the earth rise up, and the rulers take counsel together
against the Lord and his anointed,. ..
Let us break their bonds asunder, and cast away their yokes from us.
Mr. Bracey
He that dwelleth in heaven shall laugh them to scorn: the Lord shall leave them in derision.
Mr. Bracey
Thou shalt break them with a rod of iron; thou shalt dash them in pieces like a potter's vessel.
Hallelujah: for the Lord God omnipotent reigneth.
. . . The kingdom of this world is become the kingdom of our
Lord, and of his Christ; and he shall reign for ever and ever. . . . King of Kings, and Lord of Lords.
You are invited to join the Choral Union in singing the "Hallelujah" chorus. Please leave the music at the door when exiting the auditorium. Thank you.
Part III
45 Air
Job 19:25
Job 19: 26 I Cor. 15:20
Ms. Pine
I know that my redeemer liveth, and that he shall stand at the
latter day upon the earth. And though ... worms destroy this body, yet in my flesh shall I
see God. For now is Christ risen from the dead,... the first fruits of them
that sleep.
46 Chorus
I Cor. 15:21
I Cor. 15: 22
47 Accompanied recitative Cor. 15: 51
I Cor. 15: 52
48 Air
Cor. 15: 52
I Cor. 15: 53
49 Recitative
Cor. 15: 54
50 Duet
Cor. 15: 55 I Cor. 15: 56
51 Chorus
Cor. 15: 57
52 Air
Romans 8: 31 Romans 8: 33
Romans 8: 34
... since by man came death, by man came also the resurrection
of the dead. For as in Adam all die, even so in Christ shall all be made alive.
Mr. Ketelsen
Behold, I tell you a mystery; we shall not all sleep, but we shall all
be changed, In a moment, in the twinkling of an eye at the last trumpet:
Mr. Ketelsen
... the trumpet shall sound, and the dead shall be raised
incorruptible, and we shall be changed. For this corruptible must put on incorruption, and this mortal must
put on immortality.
Mr. Costanzo
... then shall be brought to pass the saying that is written, Death is swallowed up in victory.
Mr. Costanzo and Mr. Bracey
0 death, where is thy sting O grave, where is thy victory The sting of death is sin; and the strength of sin is the law.
But thanks be to God, who giveth us the victory through our Lord Jesus Christ.
Ms. Pine
If God be for us, who can be against us
Who shall lay anything to the charge of God's elect It is God
that justifieth. Who is he that condemneth It is Christ that died, yea rather, that
is risen again, who is... at the right hand of God, who ...
maketh intercession for us.
53 Chorus
Revelation 5: 12
Revelation 5: 13
. Worthy is the Lamb that was slain and hath redeemed us to God by His blood to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing.
. Blessing, and honour,... glory, and power, be unto Him that sitteth upon the throne, and unto the Lamb for ever and ever.
Amen.
Messiah (1741)
George Frideric Handel
Bom February 23, 1685 in Halle, Germany
Died April 14, 1759 in London
George Frideric Handel's sacred oratorio Messiah is without question one of the most popular works in the choralorchestral repertoire today. In what has become an indispensable Christmas tradition, amateur and professional musicians in almost every city and town throughout the country perform this work as a seasonal entertainment, and are rewarded with the satisfaction of taking part in one of the great communal musical events.
The text for Messiah was selected and compiled from the Authorized (King James) Version of the Bible by Charles Jennens, an aristocrat and musician poet of modest talent and exceptional ego. With Messiah, Jennens seems to have outdone himself in compiling a libretto with profound thematic coherence and an acute sensitivity to the inherent musical structure. With the finished libretto in his possession, Handel began setting it to music on August 22, 1741, and completed it 24 days later. He was certainly working at white-hot speed, but this didn't necessarily indicate he was in the throes of devotional fervor, as legend has often stated. Handel composed many of his works in haste, and immediately after completing Messiah he wrote his next oratorio, Samson, in a similarly brief time-span.
The swiftness with which Handel composed Messiah can be partially explained by the musical borrowings from his own earlier compositions. For example, the melodies used in the two choruses "And He shall purify" and "His yoke is easy" were taken from an Italian chamber duet Handel had written earlier in 1741, "Quel fior che all' alba ride." Another secular duet, "A6, di voi non vo' fidarmi," provided material for the famous chorus "For unto us a Child is born," and the delightful "All we like sheep" borrows its wandering melismas from the same duet. A madrigal from 1712, "Se tu non lasciamore," was transformed into a duet-chorus pair for the end of the oratorio, "O Death, where is thy sting," and "But thanks be to God." In each instance, however, Handel does more than simply provide new words to old tunes. There is considerable re-composition, and any frivolity that remains from the light-hearted secular models is more than compensated for by the new material Handel masterfully worked into each chorus.
Over-enthusiastic "Handelists" in the 19th century perpetuated all sorts of legends regarding the composition of Messiah. An often-repeated story relates how Handel's servant found him sobbing with emotion while writing the famous "Hallelujah Chorus," and the composer claiming, "I did think I did see all Heaven before me and the great God Himself." Supposedly Handel often left his meals untouched during this compositional period, in an apparent display of devotional fasting and monastic self-denial. Present-day historians more familiar with Handel's life and religious views tend to downplay these stories. It's been suggested that if Handel did indeed have visions of Heaven while he composed Messiah, then it was only in the same manner in which he visualized the Roman pantheon of gods while he composed his opera Semele. Handel's religious faith was sincere, but tended to be practical rather than mystical.
The tradition of performing Messiah at Christmas began later in the 18th century. Although the work was occasionally performed during Advent in Dublin, the oratorio was usually regarded in England as an entertainment for the penitential season of Lent, when performances of opera were banned. Messiah's extended musical focus on Christ's redeeming sacrifice also makes it particularly suitable for Passion Week and Holy Week, the periods when it was usually performed during Handel's lifetime. But in 1791, the Caecilian Society of London began its annual Christmas performances, and in 1818 the Handel and Haydn Society of Boston gave the work's first complete performance in the US on Christmas Day--establishing a tradition that continues to the present. The University Musical Society is a direct result of this tradition. In 1879, a group of local university and townspeople gathered together to study Handel's Messiah; this group assumed the name "The Choral Union" and, in 1880, the members of the Choral Union established the University Musical Society.
Following the pattern of Italian baroque opera, Messiah is divided into three parts. The first is concerned with prophecies of the Messiah's coming, drawing heavily from messianic texts in the Book of Isaiah, and concludes with an account of the Christmas story that mixes both Old and New Testament sources. The second part deals with Christ's mission and sacrifice, culminating in the grand "Hallelujah Chorus." The final, shortest section is an extended hymn of thanksgiving, an
expression of faith beginning with Job's statement "I know that my Redeemer liveth" and closing with the majestic chorus "Worthy is the Lamb" and a fugal "Amen." In its focus on Christ's sacrifice Messiah resembles the great Lutheran Passions of Schutz and Bach, but with much less direct narrative and more meditative commentary on the redemptive nature of the Messiah's earthly mission. Handel scholar Robert Myers suggested that "logically Handel's masterpiece should be called Redemption, for its author celebrates the idea of Redemption, rather than the personality of Christ."
For the believer and non-believer alike, Handel's Messiah is undoubtedly a majestic musical edifice. But while a truly popular favorite around the world, Messiah aspires to more than just a reputation as an enjoyable musical event. After an early performance of the work in London, Lord Kinnoul congratulated Handel on the "noble entertainment" he had recently brought to the city. Handel is said to have replied, "My Lord, I should be sorry if I only entertained them; I wished to make them better." Certainly Messiah carries an ennobling message to people of all faiths and credos, proclaiming "peace on earth, and goodwill towards men"--a message that continues to be timely and universal.
Program note by Luke Howard.
Grammy Award-winning conductor Jerry Blackstone is Director of Choirs and Chair of the Conducting Department at the U-M School of Music, Theatre & Dance. He conducts the Chamber Choir, teaches conducting at the graduate level, and administers a choral program of 11 choirs. In February 2006, Dr. Blackstone won two Grammy Awards for "Best Choral Performance" and "Best Classical Album" as chorus master for the critically acclaimed Naxos recording of William Bolcom's Songs of Innocence and of Experience. In 2006, the Chamber Choir presented a special invitational performance under Dr. Blackstone's direction at the inaugural national convention of the National Collegiate Choral Organization in San Antonio.
Dr. Blackstone is considered one of the country's leading conducting teachers, and his students have received first place awards and been finalists in both the graduate and undergraduate divisions of the American Choral Directors Association biennial
National Choral
Conducting Awards competition.
In 2004, Dr. Blackstone was named Conductor and Music Director of the UMS Choral Union. In March 2008, he conducted the UMS Choral Union and the Detroit Symphony Orchestra in a special
performance of Bach's St. Matthew Passion. Choirs prepared by Dr. Blackstone have appeared under the batons of Valery Gergiev, Neeme Jarvi, Leonard Slatkin, John Adams, Helmuth Rilling, James Conlon, Nicholas McGegan, Rafael Fruhbeck de Burgos, Peter Oundjian, and Itzhak Perlman.
As conductor of the U-M Men's Glee Club from 1988-2002, Dr. Blackstone led the ensemble in performances at ACDA national and division conventions and on extensive concert tours throughout Australia, Eastern and Central Europe, Asia, South America, and the US. The recently released U-M Men's Glee Club CD, have had singing, is a retrospective of his tenure as conductor of the ensemble.
Santa Barbara Music Publishing distributes Dr. Blackstone's acclaimed educational video Working with Male Voices and publishes the Jerry Blackstone Choral Series, a set of choral publications that presents works by several composers in a variety of musical styles.
Prior to coming to U-M in 1988, Dr. Blackstone served on the music faculties of Phillips University in Oklahoma, Westmont College in California, and Huntington College in Indiana.
Ava Pine (Soprano) draws from a rich well of experience in both classical music and the theatrical stage, which she uses to maxi?mum effect to communicate with her audiences. Highlights of her stage performances include her debut engagement with the Fort Worth Opera as The Angel in Angels in America, based on the Pulit?zer-Prize winning play by Tony Kushner, where she performed the role with theatrical aerials. She sang Morgana in Handel's Alcina at Wolf Trap Opera, Sophie in Werther, Frasquita in Carmen, and Lady Larken in Once Upon a Mattress all at Chautauqua
Jerry Blackstone
Opera, and both Rosina in barbiere di Siviglia and Zerlina in Don Gio?vanni with the Seagle Music Colony. She has joined Boston Baroque as Romilda in Xerxes, the Florentine Opera as Pamina in The Magic Flute, and the Arizona Opera as Adina in L'Elisir d'amore. At the
Dallas Opera, where she was the company's first young artist-in-residence, she has performed as the Lady in Waiting in Macbeth, Zozo in The Merry Widow, a Slave in Salome, the Shepherd Boy in Tosca, Anna in Nabucco, Yvette in La rondine, Adele in Die Fledermaus, and Elvira in L'italiana in Algeri.
On the concert stage, she has performed with the Dallas Symphony Orchestra, Orpheus Chamber Singers, Fort Worth Symphony Orchestra, Concert Royal, New York Baroque Dance Company, Dallas Bach Society, Orchestra of New Spain, Ars Lyrica Houston, and Texas Camerata. Ms. Pine's awards and honors include first prize from the Metropoli?tan Opera National Council Auditions, Tulsa District (2006), and the Audience Favorite and Female En?couragement Awards in the 2006 Fort Worth Op?era McCammon Voice Competition. She was se?lected as a finalist in competitions sponsored by the Jensen Foundation, Dallas Opera Guild, Palm Beach Opera, and the Oratorio Society of New York.
Ava Pine
This season, Anthony Roth Costanzo (Countertenor) appears as Polinesso in Ariodante with Gary Wedow and the Julliard Opera Center, retums to the Glimmerglass Opera for the title role in Tolemeo, and makes his debuts at the New York City Opera as Armindo in Partenope, and both the Cleveland Orchestra and the University Musical Society in Ann Arbor in Handel's Messiah. He also retums to Carnegie Hall for performances of Messiah with Musica Sacra. Recent engagements have included the Sorceress in Dido and Aeneas and Nireno in Giulio Cesare in Egitto at the Glimmerglass Opera, Oberon in A Midsummer Night's Dream with the Seattle Opera's Young Artists Program, the First Witch and the Second Woman in Dido and Aeneas at the Spoleto Festival USA, Cherubino in Mozart's Le Nozze
di Figaro with the Santa Barbara Opera Company, and the title role in Manhattan School of Music's mainstage production of Griffelkin by Lucas Foss.
On the concert and recital platforms, Mr. Costanzo has been a featured soloist with
the orchestras of Indianapolis, Alabama, Detroit, Denver, Seattle, and was the soloist in the premiere of John Corigliano's A Dylan Thomas Trilogy with the National Symphony Orchestra at both the Kennedy Center and Carnegie Hall.
Mr. Costanzo began performing professionally at the age of 11 when he appeared in the Broadway touring production of Falsettos. He continued to work for several years in musical theater, touring with Marie Osmond in The Sound of Music and appearing on Broadway in the Paramount Theater production of A Christmas Carol. He made his film debut in the role of Francis in the Merchant Ivory film A Soldier's Daughter Never Cries, earning international critical acclaim as well as a nomination for "Best Debut Performance" from the Independent Spirit Awards.
Mr. Costanzo also co-wrote, produced, and starred in a narrative pasticcio about the life of a fictional 18th-century castrato entitled The Double Life of Zefirino, directed by Karole Armitage. A documentary about the creation of the piece was directed by Gerardo Puglia and was subsequently selected for the Cannes Film Festival and qualified for an Academy Award. It will air on PBS during the 0910 season.
Mr. Costanzo graduated magna cum laude and Phi Beta Kappa from Princeton University. He received his MM at the Manhattan School of Music. His many awards include the Grand Finals Winner of the 2009 Metropolitan Opera National Council Auditions; the Sullivan Foundation Award; encouragement awards from the George London Foundation Competition, the Jensen Foundation, and the Mario Lanza Foundation; and first place winner in the National Opera Association Vocal Competition's Vocal Division. He also has the honor of being the first countertenor ever to win first place in the Opera Index Competition.
Anthony Roth Costanzo
PhotoMatihu Placet
Robert Bracey (Tenor) has performed throughout the US and made appearances in Canada, Russia, Europe, India, and Japan. He was awarded first place in the Oratorio Society of New York's Annual International Solo Competition at Carnegie Hall. He returned to Carnegie Hall for performances of Handel's Messiah later that year. He made his Detroit Symphony debut at Orchestra Hall and his Kennedy Center debut in Washington DC with the Choral Arts Society of Washington.
Recent engagements include performances with the Symphony Orchestra of India and the Paranjoti Academy Chorus at the National Centre for the Performing Arts in Mumbai, the Telemann Chamber Orchestra in Tokyo and Osaka, Oratorio Society of New York, Wisconsin Chamber Orchestra, Detroit Symphony, Grand Rapids Symphony, Pacific Symphony, Orlando Philharmonic, Choral Arts Society of Washington, ProMusica Chamber Orchestra, Dayton Philharmonic, Syracuse Symphony, Wichita Symphony, Elgin Symphony, Southwest Florida Symphony, North Carolina Symphony, Duluth-Superior Symphony, Fort Wayne Philharmonic, Illinois Symphony, Flint Symphony, Midland Symphony, East Texas Symphony, Duke University Chapel Choir, Boise Philharmonic, Independence Messiah Festival, Choral Arts Society of Greensboro, Ann Arbor Symphony, Greater Lansing Symphony, Bach Festival Society of Winter Park, Messiah Choral Society of Orlando, Choral Society of Durham, Kalamazoo Bach Festival, and the University Musical Society in Ann Arbor, Michigan.
Mr. Bracey has worked with conductors including Helmuth Rilling, Simon Preston, Sir Philip Ledger, Norman Scribner, Carl St. Clair, Jos van Veldhoven, David Lockington, Hal France, Lyndon Woodside, Gustav Meier, Grant Llewellyn, Robert Hanson, Enrique Diemecke, Jerry Blackstone, and Andrew Sewell.
A regional finalist in the New York Metropolitan Opera Auditions, Mr. Bracey also won first place in the National Association of Teachers of Singing Regional Competition where he was awarded the Jessye Norman Award for the most outstanding soloist at
Robert Bracey
the competition. Centaur Records released Mr. Bracey's first solo CD in 2006. The recording of English art songs entitled Sweet was the Song also features pianist Andrew Harley and violist Scott Rawls.
Mr. Bracey holds his BM in Music Education from Michigan State University, and MM and DMA in Voice Performance from U-M. He has previously served on the faculties at Bowling Green State University and Michigan State University. He is currently Associate Professor of Voice and Chair of the Department of Vocal Studies at the University of North Carolina at Greensboro.
Kyle Ketelsen (Bass-Baritone) is in regular demand by the world's leading opera companies and orchestras for his vibrant and handsome stage presence and his distinctive vocalism. Recent performances include Leporello in Don Giovanni at the Royal Opera Covent Garden conducted by Sir Charles Mackerras, the title role in Le Nozze di Figaro and Leporello in Don Giovanni at the Gran Teatre del Liceu in Barcelona,
the tour villains in a new production of Les Contes d'Hoffmann for his debut at the Hamburg State Opera, and Raimondo in Lucia di Lammermoor at Madison Opera. Other operaengagementsthis season include Faust with the Minnesota Opera and his debut at De Nederlandse
Opera in Amsterdam in Carmen conducted by Mariss Jansons. Concert engagements include appearances with the Philharmonia Orchestra in Stravinsky's Oedipus Rex under Esa-Pekka Salonen, his debut with the Chicago Symphony Orchestra in Stravinsky's Pultinella under the baton of Pierre Boulez, the St. Louis Symphony Orchestra in Berlioz's The Damnation of Faust under David Zinman, and Verdi's Requiem with the Madison Symphony.
Mr. Ketelsen made his Covent Garden debut as the Sprecher in Die Zauberflote under Charles Mackerras, where he later returned that season as Henrik in Carl Nielsen's Maskerade in a new
Kyle Ketelsen
Photo Dano AcosU
production by David Pountney. His Lyric Opera of Chicago debut was as Masetto in a new production of Don Giovanni conducted by Christoph Eschenbach and directed by Peter Stein. In recent seasons, he made his debut with the Metropolitan Opera as Angelotti in Tosca; sang the title role of Don Giovanni for his debut with the Minnesota Opera; sang Mozart's Le Nozze di Figaro for his New York City Opera debut and with Opera Pacific; sang the role of Leporello with Glimmerglass Opera and Michigan Opera Theater; performed as Escamillo in Carmen with Washington National Opera, Opera Theater of St. Louis, Michigan Opera Theater, the Teatro Real, and Madrid and Orlando Operas; and made his debut performances of Gounod's Mephistopheles in Faust with Michigan Opera Theater. Other roles in Washington include Oroveso in Norma, the Sprecher in DieZauberflote, the villains in Les Contes d'Hoffmann, and Abimelech in Samson et Dalila. He has also sung Colline in La Boheme with Opera Pacific, Michigan Opera Theater, and Opera Theater of St. Louis. Mr. Ketelsen's other repertoire includes Basilio in Barbiere di Siviglia and Ferrando in Trovatore.
Edward Parmentier (Harpsichord) is Professor of Harpsichord and Director of the Early Music Ensemble at U-M School of Music, Theatre & Dance. He has performed throughout the US, Russia, Western Europe, Japan, and Korea on harpsichord and on historic organs, and is a frequent recitalist, lecturer, and adjudicator at symposia and festivals. His collection of recordings has won both critical and popular acclaim. Recent releases include Bach's partitas, French 17th-century harpsichord music, sonatas of Scarlatti, and music of the English virginalists. Mr. Parmentier appears frequently in ensemble settings as a continuist and
concerto soloist. His harpsichord teachers were Albert Fuller and Gustav Leonhardt.
In 2009, Mr. Parmentier gave duo recitals with U-M faculty violinist Aaron Berofsky and violist Yitzak Schotten, performed a recital at Christ Church Cranbrook,
Edward Parmentier
and played a duo-harpsichord recital with Shin-Ae Chun in Toledo, Ohio, among various other recitals in the Michigan area. He taught summer workshops on Bach and on fundamentals of harpsichord performance, and conducted lecture demonstrations for piano teachers' associations in Michigan. On December 20, Mr. Parmentier will perform a recital at the Detroit Institute of Arts with Mr. Berofsky.
A strong advocate for education and outreach, Mr. Parmentier has lectured on Baroque performance practice and composition for the Ann Arbor Piano Teachers Association and his annual summer harpsichord workshops at U-M attract performers from all over the world. In March, along with his U-M harpsichord students, Mr. Parmentier held the annual Michigan Harpsichord Saturday, an outreach program for young keyboard musicians.
Throughout its 131-year history, the UMS Choral Union has performed with many of the world's distinguished orchestras and conductors.
Based in Ann Arbor under the aegis of UMS, the 175-voice Choral Union is known for its definitive performances of large-scale works for chorus and orchestra. Fifteen years ago, the UMS Choral Union further enriched that tradition when it began appearing regularly with the Detroit Symphony Orchestra (DSO). Amidst performances of Stravinsky's Symphony of Psalms and Beethoven's Symphony No. 9, the UMS Choral Union has also recorded Tchaikovsky's The Snow Maiden with the DSO for Chandos, Ltd.
Led by Grammy Award-winning conductor and Music Director Jerry Blackstone, the UMS Choral Union was a participant chorus in a rare performance and recording of William Bolcom's Songs of Innocence and of Experience in Hill Auditorium in April 2004 under the baton of Leonard Slatkin. Naxos released a three-disc set of this recording in October 2004, featuring the UMS Choral Union and U-M School of Music ensembles. The recording won four Grammy Awards in 2006, including "Best Choral Performance" and "Best Classical Album." The recording was also selected as one of The New York Times "Best Classical Music CDs of 2004."
Last season brought further collaboration with the DSO, including an invitation to perform Carmina
Burana celebrating the inaugural weekend of new Music Director Leonard Slatkin's tenure in Detroit. The Choral Union also performed a concert in April with two pianos which featured works of Mendelssohn, Rachmaninoff, Jonathan Dove, and Carl Orff at St. Francis of Assisi Catholic Church.
The UMS Choral Union's current season includes the annual UMS performances of Messiah with the Ann Arbor Symphony Orchestra in December, and Orchestra Hall performances with the DSO of Walton's Henry V: Suite for Chorus and Orchestra in March and Mozart's Requiem in April. Under UMS auspices in March, the Choral Union will sing Mahler's Symphony No. 2 with the San Francisco Symphony under the baton of Michael Tilson Thomas at Hill Auditorium.
This year marks the Ann Arbor Symphony Orchestra's (A2SO) 81st year of exceptional music-making that involves our community, fires its imagination, and inspires the next generation of listeners. In 1941 Joseph Maddy (founder of Interlochen Music Camp) conducted this "mom and pop" orchestra of committed and talented amateur musicians. Since then, the A2SO has grown to the polished, professional orchestra we know and enjoy today.
Maestro Arie Lipsky's distinguished and inspired music-making treats growing audiences to thrilling performances. Under Lipsky's leadership, the A2SO has been favorably compared to the Leipzig Gewandhaus Orchestra, the Detroit Symphony Orchestra, and the Boston Symphony. On December 15, the A2SO's first CD, Fetler Violin Concerto, will be released to the public. This groundbreaking CD features three works by American composer Paul Fetler recorded live by the A2SO over the past two seasons. Last month, the A2SO presented American Idol phenomenon David Archuleta in his first-ever orchestra concert featuring songs from his new CD Christmas from the Heart.
Each carefully prepared season features time-honored classics, a variety of less familiar works by the great masters, plus a bouquet of accessible new works by modern composers, including the premiere of a new work by an
emerging U-M student composer. This season also marks the first Sight and Sound competition in collaboration with the Ann Arbor Film Festival and the U-M School of Music, Theatre & Dance for new works to be matched with newly created film. The Orchestra was heard over National Public Radio in November 2004, performing Once Upon a Castle, a commission created by internationally known Ann Arborite Michael Daugherty for the A2SO's and Michigan Theater's 75th anniversary.
The A2SO is also a leader off stage, serving almost 50,000 students and 10,000 adult learners annually in seven counties in southeastern Michigan.
UMS Archives
The UMS Choral Union began performing on December 16, 1879 and has presented Handel's Messiah in annual performances ever since. This weekend's performances mark the UMS Choral Union's 413th and 414th appearances under UMS auspices. This weekend Dr. Blackstone makes his 16th and 17th UMS appearances following his debut leading the Choral Union in performances of Messiah in 2003 at the Michigan Theater. The UMS Choral Union and Dr. Blackstone most recently appeared under UMS auspices in April 2009 in a concert at St. Francis of Assisi Catholic Church.
This weekend's performances mark the Ann Arbor Symphony Orchestra's 57th and 58th UMS appearances since their 1974 UMS debut.
Harpsichordist Edward Parmentier has performed in the annual UMS presentations of Messiah since 1995; this weekend's performances mark Mr. Parmentier's 31 st and 32nd appearances under UMS auspices.
UMS welcomes Ava Pine, Anthony Roth Costanzo, Robert Bracey, and Kyle Ketelsen, who make their UMS debuts this weekend.
Ann Arbor Symphony Orchestra
Arie Lipsky, Music Director and Conductor
Kim A. Eagle, President
Mary Steffek Blaske, Executive Director
Violin I
Kathryn Votapek,
Concertmaster
Stephen B. Shipps
Concertmaster Chair Yi-Ting Kuo, Assistant
Concertmaster
Ruth Merigian Adams
Chair Karen Zobel
Linda Etter Violin Chair Trina Stoneham
Sara7 and Jack Adelson
Violin Chair Judy Blank
Priscilla Johnson Violin
Chair Katie Rowan
Kim, Darlene and Taylor
Eagle Violin Chair Val Jaskiewicz Kathryn Stepulla
Violin II
Barbara Sturgis-Everett The A'SO Principal Second Violin Chair Honoring Anne Gates and Annie Rudisill
David Lamse Abraham Weiser Violin Chair
Matthew Leslie Santana Brian K. Etter Memorial Violin Chair
Sharon Meyers-Bourland
Anne Ogren
Denice Turck
Paul Lundin
Delia Turner
Viola
Rebecca Albers Tim and Leah Adams Principal Viola Chair
Alex Applegate
Leslie DeShazor
Julianne Zinn
Carolyn Tarzia
Cello
Sarah Cleveland Sundelson Endowed Principal Cello Chair
Alicia Rowe Bill and llah Weiblen Cello Chair
Mimi Morris-Kim Marijean Quigley-Young Cello Chair
Eric Amidon
Bass
Gregg Emerson Powell Gregg Emerson Powell Principal Bass Chair
Erin Zurbuchen EZ Chair
Robert Rohwer
Oboe
Harry Sargous
Gilbert Omenn Principal
Oboe Chair William Anderson
English Horn
Kristin Reynolds Bill and Jan Maxbauer Oboe Chair
Bassoon
Nathaniel Zeisler
E. Daniel Long Principal
Bassoon Chair Eric Varner Scott Armstrong
Contrabassoon
Nora Schankin
Trumpet
Jason Bergman Matthew Thomas
Timpani
James Lancioni A. Michael and Remedios Montalbo Young Principal Timpani Chair
= Principal
Gregg Emerson Powell, Personnel Manager
Kit Weber and Maureen Conroy, Librarians
Jim Wright, Operations Manager
UMS Choral Union
Jerry Blackstone, Conductor and Music Director Kathleen Operhall, Chorus Manager
Jason Harris, Assistant Conductor Nancy K. Paul, Librarian
Jean Schneider and Scott VanOrnum, Accompanists Donald Bryant, Conductor Emeritus
Soprano
Kathryn Borden Jamie Bott Debra Joy Brabenec Ann K. Burke Anne Busch Carol Callan Susan F. Campbell Antonia Chan Young Cho Jessica Chung Cheryl D. Clarkson Joy Collman Elizabeth Crabtree Marie Ankenbruck Davis Kristina Eden Jennifer Freese Keiko Goto Karen Isble Anne Jaskot Kyoung Kim Catherine Kublik Allison Lamana Kay Leopold Patricia Lindemann Loretta Lovalvo Natalie Lueth Linda Selig Marshall Carole McNamara Toni Marie Micik April Murphy Ann Ophoff Ann Orwin Nancy K. Paul Ann Payne Sara J. Peth Margaret Dearden
Petersen Julie Pierce Alexis Ridener Erin L. Scheffler-Franklin Mary A. Schieve Joy C. Schultz Susie Shaefer Elizabeth Starr Jennifer Stevenson Sue Ellen Straub
Virgina A. Thome-Herrmann
Katy Vaitkevicius-Wyner Barbara Hertz Wallgren Barbara J. Weathers Mary Wigton Abigail Wolfe Kathleen Young
Alto
Paula Allison-England Olga Astapova Carol Barnhart Dody Blackstone Lorraine Buis Anne Casper Melissa Doyle Angela C. Esquivel Jeannette Faber Marilyn Finkbeiner Katherine Fisher Norma Freeman Grace K. Gheen Heidi Goodhart Kat Hagedorn Linda Hagopian Sook Han Brianne Hawes Nancy Heaton Lynn Heberlein Carol Kraemer Hohnke Stefanie Iwashyna Sue Johnson Laura Kaplan Josephine Kasa-Vubu Katherine Klykylo Jessica Lehr Jan Leventer Cynthia Lunan Karla K. Manson Jennifer McFarlane-Harris Beth McNally Marilyn Meeker Nicole Michelotti Carol Milstein Mary Morse Stephanie Normann
Kathleen Operhall Sherry Root Susan Schilperoort Joy Schroeder Cindy Shindledecker Sue Sinta Beverly N. Slater Hanna Song Katherine Spindler Gayle Beck Stevens Ruth A. Theobald Carrie Throm Emily Tosh Alice E. Tremont Cheryl Utiger Jane A. VanSteenis Alice VanWambeke Rachelle Barcus Warren Mary Beth Westin Sandra K. Wiley Allison Anastasio Zeglis
Tenor
Michael I. Ansara Gary Banks Philip Cheng Fr. Tim Dombrowski John W. Etsweiler III Steven Fudge Randy Gilchrist Arthur Gulick Jason Harris Steve Heath Nathan Kalmoe Ezra Keshet Bob Klaffke Nils Klykken Mark A. Krempski Richard Marsh David Schnerer Ray Shuster Carl Smith Joshua Smith Jim VanBochove Vincent Zuellig
Bass
Dan A. Andrews Seth Aylesworth Sam Baetzel William Baxter Robert Boardman David Bowen Michael Coster Daniel Dryden John Dryden Don Faber Kenneth A. Freeman Seth Galligan Scott Goodhart Philip J. Gorman Matthew Gray Chris Hampson James Head Zachery Kirkland Steven K. Lundy Edward Maki-Schramm William Malone Joseph D. McCadden Gerald Miller Nicholas Mischel Michael Peterson James Cousins
Rhodenhiser Ryan Seay William Shell Donald Sizemore Jeff Spindler John Paul Stephens Robert Stevenson William Stevenson Alexander Sutton Terril 0. Tompkins Tom Trevethan John Van Bolt Alexander Von Hagen-
Jamar James Wessel Walker
= Section Leader
with
Natalie Matovinovic
and
Donald Morelock
presents
Jean-Yves Thibaudet
Piano
Program Saturday Evening, December 12, 2009 at 8:00 Hill Auditorium Ann Arbor
Maurice Ravel Pavane pour une infante defunte
Ravel Miroirs Noctuelles Oiseaux tristes Une barque sur I'ocean Alborada del gracioso La vallee des cloches
INTERMISSION
Johannes Brahms Piano Sonata No. 3 in f minor. Op. 5 Allegro maestoso Andante espressivo Scherzo: Allegro energico avec trio Intermezzo: Andante molto Finale: Allegro moderato ma rubato

30th Performance of the 131st Annual Season
131st Annual Choral Union Series
The photographing or sound and video recording of this recital or possession of any device for such recording is prohibited.
This evening's performance is co-sponsored by Natalie Matovinovicand Donald Morelock.
Media partnership for this recital is provided by WGTE 91.3 FM.
The Steinway piano used in this evening's recital is made possible by William and Mary Palmer and by the Steinway Piano Gallery of Detroit.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of floral art for this evening's recital.
Special thanks to Steven Ball for coordinating the pre-concert music on the Charles Baird Carillon.
Mr. Thibaudet appears by arrangement with IMG Artists, New York, NY. Mr. Thibaudet records exclusively for Decca Records.
Large print programs are available upon request.
Now that you're in your seat...
To many, German music and French music are like night and day. The music of Brahms, while it abounds in achingly beautiful lyrical moments, is primarily characterized by gravity, muscular energy, and an emphasis on structure, while in Ravel, color, mood, and delicate grace are paramount. In addition, as we move from one side of the Rhine to the other, we will also move from absolute (or almost absolute) music to compositions that have a story to tell or an image to convey. At the same time, the piano cycle Miroirs, with its contrasting characters, will make a perfect counterpart to the Brahms sonata; after all, both works consist of five movements, which in both cases, are in turn idyllic and turbulent.
Pavane pour une infante defunte (1899)
Maurice Ravel
Born March 7, 1875 in Ciboure,
Basses-Pyrenees, France Died December 28, 1937 in Paris
Snapshot of History...
In 1899:
Schoenberg writes Verklarte Nacht {Transfigured Night)
Spanish-American War
Alfred Dreyfus is pardoned in France
Chekhov writes Uncle Vanya
The drug aspirin is first patented
Maurice Ravel's Pavane pour une infante defunte, composed in 1899, blends modernism with the neo-classical inspiration of an archaic dance form. The composer once claimed that the title is meaningless and that he added it simply because he liked the sound of the alliteration, but he may have done this only to forestall an overly sentimental or nostalgic interpretation. The pavane was never intended to be a funeral lament; Ravel described it simply as a pavane "that a little princess might, in former times, have danced at the Spanish court" (possibly having in mind one of the numerous Infanta portraits by the 17th-century Spanish painter Velazquez). The composer's own recording of the work is noticeable for its sparing use of the sustain pedal, creating a somewhat dry and detached effect that imitates the plucked lute accompaniment. It was not until he arranged the pavane for orchestra in 1910 that it became, as far as he was concerned, embarrassingly popular.
Miroirs (1904-5)
Ravel
Snapshot of History...
In 1905:
Revolution against the Czar in Russia
Albert Einstein publishes five major papers, including the one introducing the special theory of relativity, during what is known as his annus mirabilis
Richard Strauss's Salome is first performed
Revolutionary exhibit of Les Fauves in Paris
Edith Wharton publishes The House of Mirth
Ravel observed that the change in his style from the piece Jeux d'eau (composed in 1901 and conceived in a very different style to the quaintly archaic Pavane pour une infant defunte) to Miroirs (Mirrors), written in late 1904 and 1905, was sufficiently pronounced to bemuse those who had formerly claimed to understand his music. He declared as he began work on the new set, "I would really like to do something to free myself from Jeux d'eau." Miroirs did mark the start of a new period of creativity for Ravel--as Hans Heinz Stuckenschmidt noted, "the uncomplicated, shining world of his youth had disappeared"--but the work was not immediately successful. Each of the five pieces that constitute Miroirs was dedicated to one of Ravel's friends from the artistic clique known as "Les Apaches," but despite the dedications to his colleagues, only the pianist Ricardo Vines showed unqualified enthusiasm for them at the time. The title of Miroirs suggests that these are scenes with a little more definition than is usual for an impressionist work. These are not images viewed through the stereotypical morning mists or gauzy afternoon haze; they are reflections, images with sharp outlines, though, as with a mirror, the image is more distant and unreal than it seems.
Apart from the first piece in the collection, the works were composed in the same order as they appear in the final arrangement; "Noctuelles" (Night Moths) was the last written, but Ravel chose it to open the set. In this bizarre and sometimes grotesque dance, the unpredictable harmonic motion and sputtering rhythms reflect the beating of the moths' wings as they reel clumsily from one light to another. "Oiseaux tristes" evokes "birds lost in the torpor of a dark forest at the hottest time of summer." One of Ravel's gloomiest and most desolate works, it consists of an obsessively repeated note (B-flat) and a rapid ornament (mimicking the call of the blackbird) played rubato, occasionally whirling aimlessly to the forest floor. The harmonies are somewhat adventurous, even for Ravel. The third piece in the set, "line barque sur I'ocean," is water music on a grand scale, expanding the playful splashes of Jeux d'eau into a fully-realized seascape. Gentle arpeggios at the start suggest a small boat rocking in the safety of a harbor, but energetic double trills in the right hand soon carry it away into a surging swell. The performance directions point to an almost orchestral conception, imitating harp and wind sonorities. "Alborado del gracioso," the first of Ravel's major Spanish pieces to be given a Spanish title, translates as "Dawn Song of the Jester." Similarly orchestral in its textures, it has become more famous in Ravel's own arrangement for orchestra. It is perhaps a little out of place in this set, being the only piece with a human presence, yet the jester's role in treading a fine line between parody and serious thought parallels the dawn, where distinctions between light and dark, conscious and subconscious, are similarly ambiguous. The final work in Miroirs, "La vallee des cloches" (Valley of the Bells) is unusual in that it is written on three staves (prefiguring Debussy's use of three staves in the second set of Images, published later the same year). Ravel had experimented with imitating bell sonorities earlier in his Entre Cloches (for two pianos) from 1897, but what was an experiment then is here given more mature expression. Each stave represents a set of bells pealing at varying distances, lending this piece a recognizably spatial aspect: an impressionistic sound-sculpture.
Program notes by Luke Howard.
Sonata No. 3 in f minor, Op. 5 (1853)
Johannes Brahms
Born May 7, 1833 in Hamburg
Died April 3, 1897 in Vienna
Snapshot of History...
In 1853:
Franz Liszt composes his Piano Sonata in b minor, S. 178
Crimean war between Russia and the Ottoman Empire
Stephen Foster writes "My Old Kentucky Home"
Herman Melville writes Bartleby, the Scrivener
Verdi's trovatore is first performed
All three of Brahms's piano sonatas were written within a relatively short period of time, between the ages of 18 and 20. They are all characterized by robust energy and vast proportions. In these works, many elements of Brahms's later style are already present; the composer, barely out of his teens, speaks in his own unmistakable voice.
It was after hearing the first two sonatas, Op. 1 in C Major and Op. 2 in f-sharp minor, together with the Scherzo, Op. 4, that Robert Schumann proclaimed Brahms as the new musical Messiah in his article Neue Bahnen (New Paths). The third sonata, begun before Brahms met the Schumanns, was mostly conceived during that historic encounter in Dusseldorf in October 1853, and written down shortly thereafter.
This sonata is unusual in having five movements instead of three or four. The two movements composed first (movements two and four), sharing the same melodic material, are gentle and lyrical in character while the odd-numbered movements are dramatic and powerful.
Dominated almost entirely by the rhythmic figure heard in its first measure, the opening "Allegro maestoso" contains a memorable lyrical episode played by the left hand ("quasi cello," Brahms indicated in the score). It is the first incarnation of a melodic type that will appear in four of the sonata's five movements, always in the same key of D-flat Major.
The second movement, "Andante espressivo," bears a motto taken from the poet CO. Sternau:
Der Abend dammert, das Mondlicht scheint, Da sind zwei Herzen in Liebe vereint, Und halten sich selig umfangen.
Night falls and the moon shines, Two hearts are united in love, Embracing each other blissfully.
It begins with a singing melody of captivating charm and intimacy, followed by an even more tender middle section where the "D-flat" theme reappears; the same theme, in an expanded form, provides the ecstatic ending of the movement. The demands of expressivity forced Brahms to break one of the cardinal rules of classical composition here: he did not end the movement in the key in which it began.
The great arpeggios at the end of the second movement continue, suddenly accelerated, at the beginning of the "Scherzo." This movement is built upon the contrast between mighty chords and graceful melodic motives, united by an irresistible waltz rhythm. The trio, or middle section, is again in D-flat Major, and is as quiet and introspective as the other passages in that key.
Next comes an "Intermezzo" with the subtitle "Ruckblick" (Reminiscence). Here the melody of the second movement retums in the minor mode, with some mournful rhythmic figures and sinister tremolos added in the bass. The second half of the brief movement rises to a fortissimo climax, immediately followed by the pianissimo conclusion.
There is no break before the finale, "Allegro moderato ma rubato." The rubato refers to a certain degree of rhythmic freedom required for the performance of this movement whose theme is full of unexpected rests and sudden changes of character as an agitated rondo theme alternates with two expressive episodes. The first of these is in F Major, the second, significantly, in D-flat Major, treated with the consummate mastery of counterpoint Brahms already possessed at the age of 20. We hear the theme presented in canon and then with a fast-moving accompaniment that consists of the very notes of the theme, played in quick succession. The ending of the rondo is dominated by this melody, though the original rondo theme also appears, and the two are combined in the sonata's grandiose final measures.
The magnificence of Brahms's sonata and the innovative ways in which unity among the various movements is achieved remind us of the proximity, in time and in space, of Liszt's b-minor sonata (1852-53). The 19th century only saw the differences, which are indisputably great, between "traditionalists" like Brahms and "moderns" like Liszt. Today, more than 150 years later (and more
than 50 years after Schoenberg's influential essay "Brahms the Progressive") we can appreciate the modernity of the 20-year-old Brahms who, as Schumann said of him, "sprang like Minerva fully armed from the head of Jove."
Program note by Peter Laki.
Pianist Jean-Yves Thibaudet continues to enthrall audiences worldwide with his profound and poetic artistry, enlightened interpretations, and thrilling performances. Hailed as "one of the best pianists in the world," Mr. Thibaudet is sought-after by today's foremost orchestras, festivals, conductors, and collaborative musicians for his virtuosity and charisma. Following the summer of 2009, which included performances at major US and European festivals with orchestras such as Philadelphia, Boston, Los Angeles, and Cleveland, as well as the Sim6n Bolivar Youth Orchestra, Mr. Thibaudet's 0910 season is highlighted by an Australian tour with the London Philharmonic Orchestra, as well as European and North American tours with the Helsinki Philharmonic Orchestra, Rotterdam Philharmonic Orchestra, Royal Liverpool Philharmonic, and Orchestre Philharmonique du Luxembourg. Additional appearances abroad this season are with the Hong Kong Philharmonic, Berner Symphonie-Orchester, Museumorchester Frankfurt, Danish National Symphony Orchestra, Orchestre de la Suisse Romande, Norddeutscher Rundfunk Sinfonieorchester, Castilla y Leon Symphony Orchestra, Gelders Orchestra, and Sinfonieorchester des Westdeutschen Rundfunks. Mr. Thibaudet's performances in the US include appearances with the Los Angeles Philharmonic, National Symphony Orchestra, and the symphony orchestras of Dallas, Pittsburgh, Chicago, Baltimore, Atlanta, Cincinnati, and Nashville. A vivid recitalist, Mr. Thibaudet will perform at Carnegie Hall in December, as well as in Ann Arbor, Michigan and Seattle, Washington. In May 2010, Mr. Thibaudet will embark on a US tour with the Los Angeles Philharmonic and new Music Director Gustavo Dudamel, bringing Bernstein's Age of Anxiety to San Francisco, Nashville, Washington, New York, and Newark.
Mr. Thibaudet is an exclusive recording artist for Decca, which has released over 40 of his albums. His many awards include the Chevalier de I'Ordre des Arts et des Lettres from the Republic of France, the Premio Pegasus in Italy, and the Victoire d'Honneur, a lifetime career achievement award.
UMS Archives
This evening's recital marks Jean-Yves Thibaudet's fourth appearance under UMS auspices. Mr. Thibaudet made his UMS debut in March 1998 at the University of Michigan Museum of Art performing a recital of impressionist works by Debussy and Ravel. He most recently appeared at UMS in November 2005 in recital at Hill Auditorium.
Jean-Yves Thibaudet
Photo: Decca-Kasskara
presents
Souad Massi
Program
Friday Evening, January 8, 2010 at 8:00 Michigan Theater Ann Arbor
Tonight's program will be announced by the artists from the stage and will be performed with one intermission.
31st Performance of the 131st Annual Season
UMS Global: Performing Arts of Africa
The photographing or sound and video recording of this concert or possession of any device for such recording is prohibited.
Funded in part by the Community Foundation for Southeast Michigan.
Media partnership for this concert is provided by Metro Times and Michigan Chronicle.
Ms. Massi appears by arrangement with Mondo Mundo Agency.
Large print programs are available upon request.
Born in 1972in Babel-Oued, a neighborhood of Algiers, Souad Massi grew up in a working-class family with six children. She inherited some of her musical tastes from her parents; her father was a fan of traditional music from Algiers while her mother preferred to listen to Jacques Brel and James Brown. As a young girl, Ms. Massi was also used to hearing music around her from an early age as her uncles were jazzmen and her brothers musicians. Ms. Massi originally grew up on a diet of traditional music, listening to the songs of chaabi maestro El Hachem Guerouabi, but she soon discovered rock music through her cousins and American pop and R&B which she picked up on local radio.
Her elder brother, who is a composer, encouraged his sister's love of music, enrolling her at the Association des Beaux-Arts in Algiers where she spent three years studying guitar. The budding young musician also went on to study classical and traditional Arabic and Andalusian music. These years of study instilled Ms. Massi with a sense of rigor in terms of composition. Meanwhile, one of her friends, who possessed a large collection of country albums from the 1940s, got her listening to country music legends. She later acknowledged that she had been inspired by the work of 1980s "country queen" Emmylou Harris.
1994 to 1996 proved to be a dark period for the Algerian music scene. Artists suffered from curfew restrictions and a lack of venues. Greatly discouraged by this situation, Ms. Massi began to envisage abandoning her music career. Luckily, she had taken her mother's advice and obtained a degree in urban studies. She was able to find work in a local town planning office by day and continue her songwriting activities at night. But the struggle of reconciling artistic and professional demands lead her to give up her job as a town planner.
In 1998, she released her first cassette album, entitled Simply Souad. The six-track album, released solely on the Algerian market, found the young singer-songwriter returning to her country and folk music influences. This highly personal first album featured a number of startlingly original songs such as "Bye Bye My Love," a country ballad sung in Arabic and English which could have come straight out of a Louisiana bayou. The Algerian music scene had never heard anything like it before. In a period when jeel music (Arab pop music) was at its height, Ms. Massi defied
fashion and market trends, bravely pastiching the Elton John classic "Crocodile Rock" and bringing a few flamenco touches to a calypsosalsa number entitled "Tequiero (I Love You)." These songs attracted a whole new public as she received an enthusiastic welcome from 40-something lovers of protest songs who had flocked to see Joan Baez when she visited socialist Algeria in the 1970s.
In January 1999, Ms. Massi was invited to Paris to perform at the Femmes d'Algerie (Women of Algeria) festival. Her professional destiny was about to change: she gave a brilliant performance at the first edition of the Paris festival organized during the Muslim holy month of Ramadan. Artists from all over Algeria came together to sing and militate against fundamentalism. But it was her original repertoire and her powerful on-stage charisma that really "brought the house down." Word soon reached the ears of an artistic director at Universal Music (Island-Mercury), who rushed in to sign up the young unknown and Ms. Massi went on to sign a contract for a first album. Since then, Ms. Massi has released three albums (Raoui, Deb. and Mesk Eli!), and plans to release her fourth in North America in the spring of 2010 on Wrasse Records.
This evening's concert marks Souad Massi's UMS debut.
UMSExperience
UMS EDUCATION AND AUDIENCE DEVELOPMENT PROGRAMS
0910 Season: Breaking Down Walls
www.ums.orgeducation
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, LJ40! 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 umsed@umich.edu, or call the numbers listed on the following pages.
ADULT, UNIVERSITY, & COMMUNITY
Please call 734.615.4077 or e-mail umsed@umich.edu 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
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 jblk@umich.edu or visit www.ums.org.
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.
JMS is grateful to the University of Michigan for its support of many educational activities cheduled 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.
YOUTH, TEEN, AND FAMILY
Please call 734.615.0122 or e-mail umsyouth@umich.edu 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 www.ums.org, 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 Month. 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 umsyouth@umich.edu.
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
UMS 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 09110 fiscal year.
Ford Motor Company Fund and Community Services
Michigan Council for Arts and Cultural Affairs University of Michigan
Anonymous
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
Foundation
Miller. Canfield. Paddock and
Stone, RL.C. THE MOSAIC FOUNDATION
(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
UMSSupport
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.
CORPORATE SPONSORSHIP AND ADVERTISING
Advertising
When you advertise in the UMS program book you gain season-long visibility among ticket buyers while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descrip?tions that are so important to the performance experience. Call 734.764.6833 to learn how your business can benefit from advertising in the UMS program book.
Sponsorship
As a UMS corporate sponsor, your organization comes to the attention of an educated, diverse, and growing segment 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.
INDIVIDUAL DONATIONS
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.
UMS ADVISORY COMMITTEE
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.
ANNUAL FUND SUPPORT
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.
DIRECTOR
$100,000 or more
Anonymous
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
SOLOIST
$50,000-$99,999
Anonymous
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
MAESTRO
$20,000-49,999
Anonymous
Cairn Foundation
DTE Energy Foundation
EmcArts
Maxine and Stuart Frankel Foundation
David and Phyllis Herzig
KeyBank
Robert and Pearson Macek
THE MOSAIC FOUNDATION
(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
VIRTUOSO
$10,000-$! 9,999
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
Foundation
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
CONCERTMASTER
$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
PRODUCER
$5,000-$7,499 Jerry and Gloria Abrams American Syrian Arab Cultural
Association
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
Foundation
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 T. Wirick and
James N. Morgan Keith and Karlene Yohn Jay and Mary Kate Zelenock
LEADER
$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
PRINCIPAL
$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
PATRON
$1,000-$2,499
Wadad Abed
Roger Albin and Nili Tannenbaum
Robert and Katherine Aldrich
Michael and Suzan Alexander
David G. and Joan M. Anderson
Anonymous
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 lohn 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. Lehto Lester and Jeanne Monts Paul Morel and
Linda Woodworm Alan and Sheila Morgan Cyril Moscow Terence Murphy Randolph and Margaret Nesse M. Maskell 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 (Catherine 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
BENEFACTOR
$500-$999 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 Blbndal Bengtsson James K. and Lynda W. Berg Richard Berger Ramon and
Peggyann Nowak Berguer LS. Berlin
William and llene Birge jerry and Dody Blackstone
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
ISCIENCES. L.L.C.
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
ASSOCIATE
$250-$499
Judith Abrams
Dorit Adler
Martha Agnew and Webster Smith
Dr. Diane M. Agresta
Mr. and Mrs. W. Dean Alseth
Catherine M. Andrea
Anonymous
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.
Mistretta
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 S 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 Fleshier 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 Graver 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. Mclntosh 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.
ENDOWMENT FUND SUPPORT
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
$50,000-599,999
Lenore M. Delanghe Trust Estate of Lillian G. Ostrand
$10,000-$19,999
Estate of Betty Ann Peck James and Nancy Stanley
$5,000-$9,999
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
$1,000-$4,999
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
$100-$999
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
$1-$99
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
The 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 Brown
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
Milli 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
Melange
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
TeaHaus
Lisa Townley
Louise Townley
University of Michigan Men's
Soccer Team Wawashkamo Golf Club,
Mackinac Island Debbie Williams-Hoak Zingerman's Bakehouse
UMS ADVERTISERS
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
MEMBER ORGANIZATIONS
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
DanceUSA
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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