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UMS Concert Program, Friday Jan. 22 To 31: University Musical Society: Winter 2010 - Friday Jan. 22 To 31 --

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University Musical Society
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Season: Winter 2010
University Of Michigan, Ann Arbor

University Musical Society of the University of Michigan Ann Arbor
ums 0910
university musical society
Winter 10 University of Michigan Ann Arbor
P2 Letters from the Presidents
P5 Letter from the Chair
UMSLeadership 7 UMS Corporate and Foundation Leaders
14 UMS Board of DirectorsNational Council
SenateAdvisory Committee
P15 UMS StaffCorporate Council
Teacher Advisory Committee
UMSlnfo 17 General Information
P19 UMS Tickets
UMSAn rials 21 UMS History
22 UMS Venues and Burton Memorial Tower
Event Program 24 Your event program content follows page 24
UMSExperience 25 UMS Education and Audience Development
UMSSupport 33 Corporate Sponsorship and Advertising
P33 Individual Donations
35 UMS Advisory Committee
37 Annual Fund Support
P 44 Endowment Fund Support
P48 UMS Advertisers
Cover: Cyro Baptista, Bill T. JonesArnie Zane Dance Company (photo: Paul B. Goode),
Bela Fleck. Maly Drama Theater of St. Petersburg (photo: Viktor Vassiliev)

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 educational programs UMS offers to people of all ages and of the new works in dance, theater, and music it com?missions and premieres. Through the U-MUMS
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 pro?grams 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.
UMS is a member of the University's Public Goods Council (PGC), a cluster of campus organizations dedicated to advancing scholarship and culture through music, works of art, special collections, historical archives, natural science resources, per?formance programs, coursework, and experiential learning. The PGC promotes collaboration in ways that enrich the educational and cultural experience on campus and in the community.
I encourage you to attend more UMS events and those offered by the other many outstanding arts and cultural organizations of the University. To learn more about these activities, visit the University's website at
Mary Sue Coleman
President, University of Michigan
Photo: Lu Huang
Welcome to this UMS performance. All of us associated with UMS are grateful that you're here. We hope you will enjoy the experience and attend more UMS events during our 131st season. You will find a listing of events on page 2 of this program book.
The UMS Fall 2009 Season. Many thanks to those of you who attended some of the out?standing events of the UMS Fall 2009 Season. Whether it was embracing a young artist making her UMS debut (cellist Alisa Weilerstein), laughing riotously at the behavior of the actors on and off the stage (Shakespeare's Globe Theatre's Love's Labour's Lost), or being totally captivated by the glorious sounds in the reverberant St. Francis sanctuary (Stile Antico), you demonstrated once again why artists like to come to Ann Arbor. You were totally engaged with them, listening intent?ly, absorbing their performances, and then letting them know how much you appreciate them. When I visited Sir Simon Rattle in his dressing room before his Ann Arbor debut as conductor of the Berliner Philharmoniker, the first words out of his mouth were, "There was no way Ann Arbor would be left off this tour. The orchestra members insisted we return here." When I visited with him after the concert, he picked up where he left off, saying, "And now I know why. What a glorious hall--and what a remarkable audience! I could hear them listening."
UMS Strategic Plan. In January 2009, UMS began a strategic planning process with the assis?tance of external consultant Stephen Y. Nose of SYN Associates in Ann Arbor. Many members of the UMS community took part in gathering data through focus groups, personal interviews, sur?veys, and other means in assessing competition, trends, products, and our partnerships. The UMS Board approved key goals and objectives in the fall, and the UMS staff is working on the develop?ment of implementation strategies to achieve them. Many of the goals and objectives deal with internal matters related to staff development, board and staff succession, the UMS brand, and our relationship with key partners including the University of Michigan. The most important objectives are those that deal most directly with
our mission, which is "To inspire individuals and enrich communities by connecting audiences and artists in uncommon and engaging experiences." These include enabling UMS to take greater artis?tic and programmatic risks on an ongoing basis, increasing participation of emerging and new audiences in UMS programs, and creating deeper UMS experiences by providing new and renewed connection points for audiences and artists in both virtual and physical spaces. Stay tuned for
more information as we complete the strategies.
Ford Honors Program.
The 15th Ford Honors Program occurs on Saturday, March 20 during the residency of the San Francisco Symphony when we honor both the SFS and its music director, Michael Tilson Thomas, with the UMS Distinguished Artist
Award. The format takes a different approach this year. The gala dinner precedes the performance, and a champagne reception follows, both planned and organized by our dynamic Advisory Committee. A very brief awards presentation on the Hill stage precedes the performance of Mahler's Symphony No. 2 featuring the SFS and the UMS Choral Union. Look for more informa?tion on our website at
Feel free to get in touch with me if you have any questions, comments, or problems. If you don't see me in the lobby, send me an e-mail message at or call me at 734.647.1174.
Thanks again for coming to this event. Very best wishes,
Kenneth C. Fischer UMS President
The UMS Lobby
In June 2009, UMS was one of four organizations awarded an "Innovation Lab" grant by EMCArts, with support from the Doris Duke Charitable Foundation, to develop an idea that could have a profound impact on how they do business. UMS will launch a beta version of the project in February.
The UMS Lobby will expand and redefine what we mean by "the UMS experience." By combining online and live components in everything UMS does, we will enable a wide range of participants to engage more continuously and more deeply with each other, with the extraordinary history of UMS, with the artists we now present, and with the life of UMS in Ann Arbor and throughout the region.
The UMS Lobby is both a virtual and physical space where people meet, exchange ideas, and build relation?ships -a bridge between daily life and the special places we devote to artistic experiences. The UMS Lobby will include:
-Live preand post-performance events that extend the UMS experience
-A digitized historical archive that includes access to UMS's extraordinary 131-year history, including the opportunity to submit your own comments, memories, and observations about events that you've attended
-A multimedia blog with articles, video, audio, photos, and links
-Stories from patrons and others about the impact of UMS -in essence, a "living archive" that will grow with time and supplement the historical archive
-Conversation areas that include feeds from our facebook, twitter, and other networks, but that also provide a place to listen and to be heard
How fortunate we are to be part of a UMS audience experiencing artistic performanc?es that have the potential to transform lives. That is of little surprise given the role UMS has in inspiring 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 theater, UMS has brought extraordi?nary performances and new experiences from some of the world's most distinctive artists to us for 131 years. UMS is regarded as one of the country's most respected organizations bringing artists and audiences together. UMS makes a dif?ference.
UMS events are presented in many diverse venues, all of which are chosen to create an unusual bond between the performers and the audience. Both the seasoned attendee and the newcomer quickly grasp this unique connection. Lasting ovations and knowledgeable chatter of those leaving the hall let the artists know they have been deeply appreciated and understood. That atmosphere has established a special rela?tionship between UMS audiences and artists. It's been that way for generations.
But there is more than simply a few hours of respite from our busy lives. Our forbearers knew the importance of sustaining their emotional and intellectual spirit by revisiting the many cultural roots that surround them. And so do we. In today's times of world conflict and economic stress, UMS plays a most valuable role in sustain?ing our global community's well being. The 0910 season is a testament to that role. As a starter, the first half of the year witnessed the likes of the Berlin Philharmonic, Shakespeare's Globe Theatre of London, The Suzanne Farrell Ballet, and the Vienna Boys Choir. The second half offers the classical music of the Chicago Symphony Orchestra and the San Francisco Symphony, Lang Lang at the piano and Julia Fischer on the violin, the moods of Wynton
Marsalis and the Jazz at Lincoln Center Orchestra, the singing of Ladysmith Black Mambazo, the voices of St. Petersburg's Maly Drama Theater, the motion of Hubbard Street Dance Chicago, and the wit of The New Yorker music critic Alex Ross. These performances are a small bit of what UMS is doing for us now. It just doesn't get any better anywhere.
The UMS Board and I encourage you to engage yourself in the many experiences afford-
ed by UMS. Dare yourself to be exposed to the different sounds and colors that are part of our ever-shrinking planet. They are all here. Enjoy the pride in being among our individual and corporate donors whose contributions fund more than half the expenses of bringing worldwide artists to our doors each year. The
back of this program documents the wonderful support, both large and small, from our benefac?tors. Join them and participate as advocates for the cultural contributions that UMS offers to our greater community. Do it for yourself and for those who follow. Learn about us and talk to us at We like to listen. And remem?ber how very fortunate you are to be part of the UMS difference.
James C. Stanley
Chair, UMS Board of Directors
James G. Vella
President, Ford Motor Company Fund and Community Services "Through music and the arts, we are inspired to broaden our horizons, bridge differences among cultures, and set our spirits free. We are proud to support the University Musical Society and acknowledge the important role it plays in our community."
Dr. Ora Hirsch Pescovitz
Executive Vice President for Medical Affairs, University of Michigan, and CEO, University of Michigan Health System 'When I was young, I contemplated becoming a concert pianist. Though I didn't pursue that career path, the arts have remained a prominent fixture in my life, both personally and professionally. Music and the arts feed our imaginations, heal our spirits, and inspire us to evolve and grow. We are very fortunate to have the University Musical Society as part of our community, and the University of Michigan Health System is privileged to sponsor such a creative, vibrant part of our culture. Here's to a great year!"
Douglass P.. Fox
President, Ann Arbor Automotive 'We at Ann Arbor Automotive are pleased to support the artistic variety and program excellence given to us by the University Musical Society."
Timothy G. Marshall
President and CEO, Bank of Ann Arbor "Bank of Ann Arbor is pleased to continue its longstanding tradition of supporting the arts and cultural organizations in our town and region. The University Musical Society provides all of us a wonderful and unique opportunity to enjoy first-class performances covering a wide range of artists from around the world. We are proud to continue our support of UMS for the 0910 season."
Habte Dadi
Manager, Blue Nile Restaurant "At the Blue Nile, we believe in giving back to the community that sustains our business. We are proud to support an organization that provides such an important service to Ann Arbor."
Claes Fornell
Chairman, CFI Group, Inc.
'The University Musical Society is a marvelous magnet for attracting the world's finest in the performing arts. There are many good things in Ann Arbor, but UMS is a jewel. We are all richer because of it, and CFI is proud to lend its support."
Bruce Duncan
Ann Arbor Regional Bank President, Comerica Bank 'Comerica is proud to support the University Musical Society. UMS continues to enrich the local community by bringing the finest performing arts to Ann Arbor, and we're pleased to continue to support this long-standing tradition."
Fred Shell
Wee President, Corporate and Government Affairs,
DTE Energy
'The DTE Energy Foundation is pleased to support exemplary
organizations like UMS that inspire the soul, instruct the
mind, and enrich the community."
Edward Surovell
President, Edward Surovell Realtors
"Edward Surovell Realtors and its 300 employees and sales asso?ciates are proud of our 21-year relationship with the University Musical Society. We honor its tradition of bringing the world's leading performers to the people of Michigan and setting a standard of artistic leadership recognized internationally."
Leo Legatski
President, Elastizell Corporation of America "Elastizell is pleased to be involved with UMS. UMS's strengths are its programming--innovative, experimental, and pioneering--and its education and outreach programs in the schools and the community."
Joseph A. Maffesoli
Branch ManagerVice President, Ann Arbor Investor Center "The Fidelity Investments Ann Arbor Investor Center is proud to support the University Musical Society and the continued effort to inspire our community through the arts. We look forward to another season of great performances!"
Carl W. Herstein _
Partner, Honigman Miller Schwartz and Cohn LLP -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 H
Market President, South Central Michigan, National City "National City Bank is proud to support the efforts of the University Musical Society and the Ann Arbor community."
Michael B. Staebler
Senior Partner, Pepper Hamilton LLP "The University Musical Society is an essential part of the great quality of life in southeastern Michigan. We at Pepper Hamilton support UMS with enthusiasm."
Joe Sesi
President, Sesi Lincoln Mercury Volvo Mazda "The University Musical Society is an important cultural asset for our community. The Sesi Lincoln Mercury Volvo Mazda team is delighted to sponsor such a fine organization."
Thomas B. McMullen
President, Thomas B. McMullen Co., Inc.
"I used to feel that a U-M-Ohio State football ticket was
the best ticket in Ann Arbor. Not anymore. UMS provides
the best in educational and artistic entertainment."
Tom Thompson
Owner, Tom Thompson Flowers
"Judy and I are enthusiastic participants in the UMS family. We appreciate how our lives have been elevated by this relationship."
Shigeki Terashi
President, Toyota Technical Center "Toyota Technical Center is proud to support UMS, an organization with a long and rich history of serving diverse audiences through a wide variety of arts programming."
Jeff Trapp
President, University of Michigan Credit Union "Thank you to the University Musical Society for enriching our lives. The University of Michigan Credit Union is proud to be a part of another great season of performing arts."
UMS gratefully acknowledges the support of the following foundations and government agencies:
$100,000 and above
Doris Duke Charitable Foundation W.K. Kellogg Foundation National Endowment for the Arts
Community Foundation for Southeast Michigan Doris Duke Foundation for Islamic Art Esperance Family Foundation
Cairn Foundation
DTE Energy Foundation
Maxine and Stuart Frankel Foundation
Charles H. Gershenson Trust
Masco Corporation Foundation
The Mosaic Foundation, Washington DC
Arts Midwest's Performing Arts Fund Eugene and Emily Grant Foundation Martin Family Foundation Michigan Council for Arts and Cultural Affairs THE MOSAIC FOUNDATION (of R. & P. Heydon)
Consulate General of The Netherlands in New York
Mohamad and Hayat Issalssa Foundation
National Dance Project of the New England Foundation
for the Arts Sarns Ann Arbor Fund Target
James C. Stanley,
Chair David J. Herzig,
Wee Chair Martha Darling,
Secretary Robert C. Macek,
Treasurer Carl W. Herstein,
Past Chair
Wadad Abed Carol L. Amster
Kathleen Benton Lynda W. Berg DJ Boehm
Charles W. Borgsdorf Robert Buckler David Canter Mary Sue Coleman Julia Donovan Darlow Junia Doan Maxine J. Frankel Patricia M. Garcia Chris Genteel Anne Glendon
Joel D. Howell Christopher Kendall S. Rani Kotha Melvin A. Lester Joetta Mial Lester P. Monts Roger Newton Stephen G. Palms Todd Roberts Sharon Rothwell Edward R. Schulak John J.H. Schwarz Ellie Serras
Joseph A. Sesi Anthony L. Smith Cheryl L. Soper
Clayton E. Wilhite,
Chair, National
Council A. Douglas Rothwell,
Chair, Corporate
Council Janet Callaway,
Chair, Advisory
Clayton E. Wilhite, Chair Marylene Delbourg-Delphis John Edman Janet Eilber
Eugene Grant Charles Hamlen Katherine Hein David Heleniak
Toni Hoover Judith Istock Wallis Klein Zarin Mehta
Herbert Ruben Russell Willis Taylor Carl W. Herstein, Ex-offido James C. Stanley, Ex-offido
UMS SENATE (former members of the UMS Board of Directors)
Robert G. Aldrich Michael C. Allemang Herbert S. Amster Gail Davis Barnes Richard S. Berger Maurice S. Binkow Lee C. Bollinger Janice Stevens
Botsford Paul C. Boylan Carl A. Brauer William M. Broucek Barbara Everitt Bryant Letitia J. Byrd Kathleen G. Charla Leon S. Cohan Jill A. Corr Peter B. Corr Ronald M. Cresswell
Hal Davis
Sally Stegeman DiCarlo Robert F. DiRomualdo Cynthia Dodd Al Dodds
James J. Duderstadt Aaron P. Dworkm 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 8. Kennedy Gloria James Kerry Thomas C. Kinnear Marvin Krislov F. Bruce Kulp Leo A. Legatski Earl Lewis Patrick B. Long Helen B. Love Judythe H. Maugh Paul W. McCracken Rebecca McGowan Barbara Meadows Alberto Nacif
Shirley C. Neuman Jan Barney Newman Len Niehoff Gilbert 5. Omenn Joe E. O'Neal John D. Paul Randall Pittman Philip H. Power John Psarouthakis Rossi Ray-Taylor John W. Reed Richard H. Rogel Prudence L. Rosenthal A. Douglas Rothwell Judy Dow Rumelhart Maya Savarino Ann Schriber Erik H. Serr Harold T. Shapiro
George I. Shirley John 0. Simpson Herbert Sloan Timothy P. Slottow Carol Shalita Smokier Jorge A. Solis Peter Sparling Lois U. Stegeman Edward D. Suravell James L. Telfer Susan B. Ullrich Michael D. VanHemert Eileen Lappin Weiser B. Joseph White Marina v.N. Whitman Clayton E. Wilhite Iva M. Wilson Karen Wolff
Janet Callaway, Chair Betty Palms, Wee Chair Karen Stutz, Secretary Sarah Nicoli, Treasurer Phyllis Herzig, Past Chair
Ricky Agranoff MariAnn Apley Sandy Aquino Lone Arbour Barbara Bach Pat Bantle Franc me Bomar
Luciana Borbely Dennis J. Carter Stefani Carter Cheryl Cassidy Patricia Chapman Cheryl Clarkson Wendy Comstock Sheila Crowley Doug Czinder Norma Davis Mary Dempsey Mary Ann Faeth Michaelene Farreil Sara Fink
Susan A. Fisher Susan R. Fisher Rosamund Forrest Kathy Goldberg Walter Graves Linda Grekin Nicki Griffith Joe Gnmley Susan Gross Susan Gutow Charlene Hancock Sheha Harden Alice Hart Meg Kennedy Shaw
Pam Krogness Marci Raver Lash Mary LeDuc Joan Levitsky Jean Long Eleanor Lord Jane Maehr Jennifer J. Maisch Melame Mandell Ann Martin Fran Martin Joanna McNamara Deborah Meadows Liz Messiter
Robin Miesel Natalie Mobley Bonita Davis Neighbors Kay Ness Thomas Ogar Liz Othman Allison Poggi Lisa Psarouthakis Agnes Moy Sarns Penny Schreiber Bev Seiford Aliza Shevhn Alida Silverman
Loretta Skewes Andrea Smith Becki Spangler Nancy Stanley Carlin C. Stockson Gail Ferguson Stout Eileen Thacker Janet Torno Louise Townley Amanda Uhle Enid Wasserman Kirsten Williams Ellen Woodman
Kenneth C. Fischer, President Kathy M. Brown, Executive Assistant John B. Kennard, Jr.,
Director of Administration Beth Gilliland,
Gift ProcessorIT Assistant Patricia Hayes, Senior Accountant John Peckham,
Information Systems Manager
Choral Union
Jerry Blackstone,
Conductor and Music Director Jason Harris, Assistant Conductor Kathleen Operhall, Chorus Manager Nancy K. Paul, Librarian Jean Schneider, Accompanist Scott VanOrnum, Accompanist Donald Bryant, Conductor Emeritus
Susan McClanahan, Director Susan Bozell Craig, Senior Manager
for Marketing and Corporate
Partnerships Rachelle Lesko, Development
Administrative Assistant Lisa Michiko Murray,
Manager of Foundation and
Government Grants M. Joanne Navarre, Manager of
Annual Giving Marnie Reid, Manager of
Individual Support Cynthia Straub, Advisory Committee
and Events Coordinator
EducationAudience Development
Claire C. Rice, Interim Director Mary Roeder,
Residency Coordinator Omari Rush, Education Manager
MarketingPublic Relations
Sara Billmann, Director
Susan Bozell Craig, Senior Manager
for Marketing and Corporate
Partnerships James P. Leija, Public Relations
Manager Stephanie Normann, Marketing
Michael J. Kondziolka, Director Jeffrey Beyersdorf,
Technical Director Mark Jacobson,
Programming Manager Carlos Palomares,
Production Manager Liz Stover, Programming
Ticket Services
Jennifer Graf, Ticket Services
Manager Sally A. Cushing, Ticket Office
Associate Suzanne Davidson, Assistant Ticket
Services Manager Adrienne Escamilla,
Ticket Office Associate Sara Sanders, Front-of-House
Coordinator Sarah Wilber, Group Sales
Coordinator Dennis Carter, Bruce Oshaben,
Brian Roddy, Head Ushers
Emily Barkakati Adam Bichir Greg Briley Tyler Brunsman Allison Carron Shannon Deasy Michelle Dimuzio Kelsy Durkin Carrie Fisk Dana Harlan Tim Hausler Jasmine Hentschel Jennifer Howard Harsh Jhaveri Mark Johnson Andy Jones Neal Kelley Olivia Lloyd Rachel Lum Brooke Lundin Mary Martin Michael Matlock
Michael Mauskapf Bryan McGivern Michael Michelon Paula Muldoon Leonard Navarro Scott Padden Steven Rish Michael Rochelle Andrew Smith Cahill Smith David Jones Sparks Trevor Sponseller Bennett Stein Maureen Stych Catherine Tippman Julie Wallace
A. Douglas
Rothwell, Chair Albert Berriz
Bruce Brownlee Robert Buckler James Garavaglia
Steven K. Hamp Mary Kramer David Parsigian
Sharon Rothwell Michael B. Staebler James G. Vella
James C. Stanley, Ex-officio
Abby Alwin Fran Ampey Robin Bailey Greta Barfield Joey Barker Alana Barter Judy Barthwell Rob Bauman Suzanne Bayer Eli Bleiler Ann Manp Bnrriprs
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 Grissing Linda Jones Jeff Kass
Rosalie Koenig Sue Kohfeldt Laura Machida Jose Mejia Kim Mobley Eunice Moore Michelle Peet Anne Pengo Rebeca Pietrzak Cathy Reischl Jessica Rizor
Vicki Shields Sandra Smith Gretchen Suhre Julie Taylor Cayla Tchalo Dan Tolly Alex Wagner Barbara Wallgren Kimberley Wright Kathryn Young
Barrier-Free Entrances
For persons with disabilities, all venues have barrier-free entrances. Wheelchair locations vary by venue; visit www.ums.orgtickets or call 734.764.2538 for details. Ushers are available for assistance.
Listening Systems
For hearing-impaired persons, Hill Auditorium, Power Center, and Rackham Auditorium are equipped with assistive listening devices. Earphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Hill Auditorium, Lydia Mendelssohn Theatre, Power Center, or Rackham Auditorium, please call University Productions at 734.763.5213. For the Michigan Theater, call 734.668.8397. For St. Francis of Assisi, call 734.821.2111.
Please allow plenty of time for parking as the campus area may be congested.
Parking is available in the Church Street, Maynard Street, Thayer Street, Fletcher Street, and Fourth Avenue structures for a minimal fee. Please allow enough time to park before the performance begins. UMS donors at the Patron level and above ($1,000) receive 10 complimentary parking passes for use at the Thayer Street or Fletcher Street structures in Ann Arbor.
UMS offers valet parking service for Hill Auditorium performances in the 0910 Choral Union series. Cars may be dropped off in front of Hill Auditorium beginning one
hour before each performance. There is a $20 fee for this service. UMS donors at the Concertmaster level ($7,500) and above are invited to use this service at no charge.
Other recommended parking that may not be as crowded as on-campus structures: Liberty Square structure (formerly Tally Hall), entrance off of Washington Street between Division and State; about a two-block walk from most performance venues, $2 after 3 pm weekdays and all day SaturdaySunday. Maynard Street structure, entrances off Maynard and Thompson between Willliam and Liberty, $.45half-hour, free on Sunday.
For up-to-date parking information, please visit www.ums.orgparking.
Refreshments are available in the lobby during intermissions at events in the Power Center, in the lower lobby of Hill Auditorium (beginning 75 minutes prior to concerts--enter through the west lobby doors), and in the Michigan Theater. Refreshments are not allowed in the seating areas.
Non-Smoking Venues
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
Start Time
UMS makes every effort to begin concerts at the published time. Most of our events take place in the heart of central campus, which does have limited parking and may have several events occurring simultaneously in different theaters. Please allow plenty of extra time to park and find your seats.
Latecomers will be asked to wait in the lobby until seated by ushers. Most lobbies have been outfitted with monitors andor speakers so that latecomers will not miss the performance.
The late-seating break is determined by the artist and will generally occur during a suitable repertory break in the program (e.g., after the first entire piece, not after individual movements of classical works). There may be occasions where latecomers are not seated until intermission, as determined by the artist. UMS makes every effort to alert patrons in advance when we know that there will be no late seating. Please be sure the Ticket Office has your e-mail address on file.
UMS works with artists to allow a flexible late-seating policy for family performances.
Group Tickets
Treat 10 or more friends, co-workers, or family members to an unforgettable performance of live music, dance, or theater. Whether you have a group of students, a business gathering, a college reunion, or just you and a group of friends, the UMS Group Sales Office can help you plan the perfect outing. You can make it formal or casual, a special celebration, or just friends enjoying each other's company. The many advantages to booking as a group include:
Reserving tickets before tickets go on sale to the general public
Discounts of 15-25 for most performances
Accessibility accommodations
No-risk reservations that are fully refundable up to 14 days before the performance, unless the group order is completed
1-3 complimentary tickets for the group organizer (depending on size of group). Complimentary tickets are not offered for performances without a group discount.
For more information, please contact 734.763.3100 or
Classical Kids Club
Parents can introduce their children to world-renowned classical music artists through the Classical Kids Club. The Classical Kids Club allows students in grades 1-8 to purchase tick?ets to all classical music concerts at significantly discounted rates. Parents can purchase up to two children's tickets for $10 each with the purchase of a $20 adult ticket beginning two weeks before the concert. Seating is subject to availability. For information, call 734.764.2538 or sign-up for UMS E-News and check the box for Classical Kids Club.
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets until curtain time by calling the Ticket Office. Refunds are not available; how?ever, you will be given a receipt for an income tax deduction. Please note: ticket retums do not count towards UMS giving levels.
Ticket Exchanges
Subscribers may exchange tickets free of charge up until 48 hours prior to the perform?ance. Non-subscribers may exchange tickets for a $6 per ticket exchange fee up until 48 hours prior to the performance. Exchanged tickets must be received by the Ticket Office (by mail or in person) at least 48 hours prior to the per?formance. The value of the tickets may be applied to another performance or will be held as UMS Credit until the end of the season. You may also fax a copy of your torn tickets to 734.647.1171. Lost or misplaced tickets cannot be exchanged. UMS Credit must be redeemed by Sunday, April 25, 2010.
New this year! UMS now accepts ticket exchanges within 48 hours of the performance for a $10 per ticket exchange fee (applies to both subscribers and single ticket buyers). Tickets must be exchanged at least one hour before the published performance time. Tickets received less than one hour before the per?formance will be returned as a tax-deductible contribution.
A variety of discounted ticket programs are available for University students and teenagers.
Half-Price Student Ticket Sales
At the beginning of each semester, UMS offers half-price tickets to college students. A limited number of tickets are available for each event in select seating areas. Simply visit www.ums.orgstudents, log-in using your U-M uniqname and Kerberos password, and fill out your form. Orders will be processed in the order they are received. You will pay for and pick up your tickets at a later date at the Michigan League Ticket Office.
Winter Semester Sale: Begins Sunday, January 10 at 8pm and ends Tuesday, January 12 at 5pm.
Sponsored by
UMS Rush Bucks
Worried about finding yourself strapped for cash in the middle of the semester UMS Rush Bucks provide online access to Rush Tickets two weeks before most performances. UMS Rush Bucks are available in $60 and $100 increments. Please visit www.ums.orgstudents for more information.
Teen Tickets
Teens can attend UMS performances at signifi?cant discounts. Tickets are available to teens for $10 the day of the performance (or on the Friday before weekend events) at the Michigan League Ticket Office and $15 beginning 90 minutes before the performance at the venue. One ticket per student ID, subject to availability.
Gift Certificates
Available in any amount and redeemable for any 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 present when new friends move to town.
UMS Gift Certificates are valid for five years from the date of purchase. For more information, please visit
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 131 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 1879, 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 60 performances and more than 125 educational events each season. UMS has flourished with the support of a generous community that this year gathers in seven different Ann Arbor venues.
The UMS Choral Union has likewise expanded its charge over its 131-year history. Recent collaborations have included the Grammy Award-winning recording of William Bolcom's Songs of Innocence and of Experience (2004), Shostakovich's Symphony No. 13 ("Babi Yar") with the Kirov Orchestra of St. Petersburg (2006), John Adams's On the Transmigration of Souls with the Detroit Symphony Orchestra (2007), and Orff's Carmina Burana during Maestro Leonard Slatkin's opening weekend as Music Director of the Detroit Symphony Orchestra (2008).
While proudly affiliated with the University of Michigan, housed on the Ann Arbor campus, and a regular collaborator with many University units, UMS is a separate not-for-profit organiza?tion that supports itself from ticket sales, corpo?rate and individual contributions, foundation and government grants, special project support from U-M, and endowment income.
Hill Auditorium
Originally built in 1913, a $38.6-million dollar renovation overseen by Albert Kahn Associates, Inc. and historic preservation architects Quinn EvansArchitects has updated Hill's infrastructure and restored much of the interior to its original splendor. Exterior renovations include the reworking of brick paving and stone retaining wall areas, restoration of the south entrance plaza, the reworking of the west barrier-free ramp and loading dock, and improvements to landscaping. Hill Auditorium re-opened to the public in January 2004.
Interior renovations included the demolition of lower-level spaces to ready the area for future improvements, the creation of additional rest-rooms, the improvement of barrier-free circula?tion by providing elevators and an addition with ramps, the replacement of seating to increase patron comfort, introduction of barrier-free seating and stage access, the replacement of theatrical performance and audio-visual sys?tems, and the complete replacement of mechanical and electrical infrastructure systems for heating, ventilation, and air conditioning.
Hill Auditorium seats 3,575.
Lydia Mendelssohn 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.
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.
University of Michigan Museum of Art
The University of Michigan Museum of Art (UMMA) is a dynamic meeting place for the arts that bridges visual art and contemporary cul?ture, scholarship and accessibility, and tradition and innovation. With the addition in March 2009 of the 53,000-square-foot Maxine and Stuart Frankel and the Frankel Family Wing and the restoration of historic Alumni Memorial Hall, UMMA ushered in a new era, a reimagining of the university art museum as a "town square" for the 21st century. With dramatically expand?ed galleries, special exhibition spaces that soar with new life, "open storage" galleries, and a range of lively educational and event spaces, UMS periodically presents events in multiple spaces throughout the museum.
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.
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, January 22 through Sunday, January 31, 2010
Bill T. JonesArnie Zane Dance Company 5
Fondly Do We Hope...Fervently Do We Pray
Friday, January 22, 8:00 pm Saturday, January 23, 8:00 pm Power Center
Chicago Symphony Orchestra 13
Wednesday, January 27, 8:00 pm Hill Auditorium
Ladysmith Black Mambazo 23
Sunday, January 31, 4:00 pm Hill Auditorium
Itzhak Perlman, violin with Rohan De Silva, piano Grizzly Bear with Beach House
Bill CharlapTrio
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
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
Handel's Messiah Jean-Yves Thibaudet, piano
Winter 2010
22-23 Bill T. JonesArnie Zane Dance Company: Fondly Do We Hope... Fervently Do We Pray
27 Chicago Symphony Orchestra 31 i Ladysmith Black Mambazo
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 i Swedish Radio Choir
13 I Cyro Baptista's Beat the Donkey
15 Takacs Quartet
17 Jazz at Lincoln Center Orchestra I with Wynton Marsalis
19 San Francisco Symphony
! with Christian Tetzlaff, violin
20 San Francisco Symphony ; with UMS Choral Union:
; 15th Ford Honors Program 24-25 Julia Fischer, violin:
Solo Violin Works of J.S. Bach 25-28 I Maly Drama Theater of
I St. Petersburg: Anton Chekhov's
: Uncle Vanya
7 i Schleswig-Holstein Festival Orchestra ! with Lang Lang, piano
8 Danilo Perez & Friends: 21st-century Dizzy 10 Baaba Maal with NOMO
12 Michigan Chamber Players 20 : Trio Mediaeval
22-24 Hubbard Street Dance Chicago 25 The Rest is Noise in Performance: Alex Ross and Ethan Iverson, piano
9 NT Live: The Habit of Art 15 i Breakin' Curfew
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 or contact the UMS Education Department at 734.615.4077 or
Bill T. JonesArnie Zane Dance Company
The Penny W. Stamps Distinguished Visitors Series: Bill T. Jones
A Question of Strategy and Objectives in Fondly Do We Hope, Fervently Do We Pray
Thursday, January 21, 5:10-7:00 pm Michigan Theater, 603 E. Liberty Street
The Tony and MacArthur "Genius" Grant Award-winning iconic American choreographer Bill T. Jones is renowned for taking risks and making bold statements in his distinguished dance pieces. The fierce artistry we see on stage is rooted in a research-intensive and highly collaborative choreographic process. Bill T. Jones will share his thoughts on how a work is made and the process of understanding it.
Established with the generous support of alumna Penny W. Stamps, the Distinguished Visitors Program brings respected emerging and established artistsdesigners from a broad spectrum of media to the school to conduct a public lecture and engage with students, faculty, and the larger university and Ann Arbor communities.
A collaboration with the U-M Penny W. Stamps Distinguished Lecture Series.
Arts of Citizenship Breakfast: Lincoln in American Culture's Collective Memory
Friday, January 22, 9:00-10:30 am
U-M Museum of Art Commons, 525 S. State Street
In conjunction with the UMS presentation of Fondly Do We Hope... Fervently Do We Pray, Arts of Citizenship and UMS host a participatory discussion on the role of the arts, culture, and politics in the shaping of public memory of President Lincoln, the Civil War, and the end of slavery, featuring faculty members from the U-M Center for African and African American Studies, the Program in American Culture, the Department of History, and the Department of Dance. Participating faculty
will include Kristin Hass, Assistant Professor of American Culture and author of Carried to the Wall: American Memory and The Vietnam Veterans MemorialXI998); Martha Jones, Associate Professor of History and African-American Studies and author of All Bound Up Together: The Woman Question in African American Public Culture, 1830-1900 (2007); Julie Ellison, Professor, Department of English; and Robin Wilson, Associate Professor of Dance, choreographer, and dance historian.
A collaboration with the U-M Ginsburg Center, Arts of Citizenship, and UMMA.
Post-Performance Q&A
Friday, January 22, post-performance Power Center
Following Friday's performance, members of the Bill T. JonesArnie Zane Dance Company will take audience members' questions from the stage about Fondly Do We Hope... Fervently Do We Pray. Event ticket to Friday evening's performance is required to attend.
Chicago Symphony Orchestra
Who is Bela Bartok
Monday, January 25, 7:00-8:30 pm
Ann Arbor District Library Downtown Branch,
Multipurpose Room
This incarnation of the Who is... Series will explore Bartok's unique life story, including his work as an ethnographer, his transition to American life, and the formative importance of Bluebeard's Castle. Musicologists Mark Clague and Michael Mauskapf will discuss how, as one of the foremost composers of the 20th century, Bart6k was a complex figure whose legacy is only now beginning to be understood fully.
A collaboration with the Ann Arbor District Library and the U-M School of Music, Theatre S Dance.
American Orchestras Summit at U-M: Creating Partnerships in Research and Performance
Tuesday, January 26-Thursday January 28, See website below for complete listing of sessions and times. Rackham Auditorium, 915 E. Washington Street
A landmark conference concerning the American orchestra will unearth the wide-reaching cultural impact that the orchestra has had in America, discerning what these institutions can tell us about our society. The conference will bring together arts administrators and scholars from across disciplines to explore two issues in particular: organizational structures and strategies, past and present, that have aided (or hindered) the orchestra's success; and the symbiotic relationship between an orchestra and its community. By considering the institutional history and practices of the American orchestra, we can better understand and address the challenges and opportunities of the present.
Participants include Joseph Horowitz (writer and consultant), Henry Fogel (Dean, Roosevelt University), Rob Birman (CEO, Louisville Symphony), Larry Tamburri (President, Pittsburgh Symphony), Susan Feder (Mellon Foundation), Wayne Brown (NEA), and others.
To register for the conference and participate as an audience member, please e-mail or visit http:sitemaker.umich.eduorchestrasummit.There is a $25 registration fee for non-students.
A collaboration with the U-M School of Music, Theatre & Dance, the Ann Arbor Symphony Orchestra, and Arts Enterprise.
Artist Interview: Pierre Boulez
Thursday, January 28, 12:00 pm Rackham Amphitheatre, Fourth Floor, 915 E. Washington Street
No longer the enfant terrible of his youth, Pierre Boulez reigns in his "Late Style" as one of the few dominant figures in the world of the performing arts. More than a conductor and more than a composer, he defines the intellectual epicenter of 20th-century music. U-M Professor Emeritus of Musicology Glenn Watkins and Maestro Boulez will discuss the past, present, and future of orchestras, live performance, artistic choices, and contemporary composition.
A collaboration with the U-M School of Music, Theatre & Dance.
Ladysmith Black Mambazo
Screening of Poetry in Motion: 100 Years of Zanzibar's Nadi Ikhwan Safaa
Tuesday, January 26, 7:00 pm
U-M Biomedical Science Research Building
Auditorium, 109Zina Pitcher Place
As part of the 2010 focus on African performing arts traditions, UMS will host a series of film screenings beginning with Poetry in Motion: 100 Years of Zanzibar's Nadi Ikhwan Saffaa, a celebration and history of Zanzibar's oldest taarab orchestra. This full-length feature documentary was produced by Kelly Askew, Director of the U-M African Studies Center and Associate Professor of Anthropology and the Center for Afro-American and African Studies. The film screening will be preceded by a brief introduction by Professor Askew.
A collaboration with UMMA, the U-M African Studies Center, and the U-M Center for Afro and African American Studies.
The Bad Plus
Masterpieces Revealed: Music of The Bad Plus
Tuesday, February 2, 7:00-8:30 pm
U-M Museum of Art Commons, 525 S. State Street
U-M Jazz Professor and saxophonistcomposer Andrew Bishop will lead a program surrounding the eclectic and unforgettable music of The Bad Plus. With collaborating musicians, Bishop will use performance and discussion to help deconstruct why exactly the group's music is so distinctive and genre-defying.
A collaboration with UMMA and the U-M School of Music, Theatre & Dance.
presents Fondly Do We Hope... Fervently Do We Pray
a production of
Bill T. JonesArnie Zane Dance Company Bill T. Jones, Artistic Director Jean Davidson, Executive Director Janet Wong, Associate Artistic Director
Company Asli Bulbul LaMichael Leonard Jr. Antonio Brown I-Ling Liu Peter Chamberlin Paul Matteson Talli Jackson Erick Montes Shayla-Vie Jenkins Jennifer Nugent with Jamyl Dobson, Actor
Musicians Christopher Antonio William Lancaster, Band Leader, Cello Wynne Bennett, Piano George Lewis, Jr., Guitar, Vocals Clarissa Sinceno, Vocals
Ravinia Festival, Lead Commissioner
Program Friday Evening, January 22, 2010 at 8:00 Saturday Evening, January 23, 2010 at 8:00 Power Center Ann Arbor
Act I Introduction The Crossing Biographies Crossing Brooklyn Ferry Lady Liberty The Auction DebatesThe Boil that Bursts
Act II The War
This evening's program will be performed with no intermission.

31st and 32nd Performances of the 131st Annual Season
19th Annual Dance Series
The photographing or sound and video recording of these performances or possession of any device for such recording is prohibited.
Funded in part by the National Endowment for the Arts as part of American Masterpieces: Three Centuries of Artistic Genius.
Also funded in part by the MetLife Community Connections Fund of the National Dance Project (NDP), a program administered by the New England Foundation for the Arts. Major support for NDP is also provided by the Doris Duke Charitable Foundation with additional support from the Ford Foundation and the Andrew W. Mellon Foundation.
Also funded in part by the Performing Arts Fund, a program of Arts Midwest funded by the National Endowment for the Arts, which believes a great nation deserves great art, with additional contributions from Michigan Council for Arts and Cultural Affairs, General Mills Foundation, and Land O'Lakes Foundation.
Media partnership is provided by Between the Lines, Metro Times, Michigan Chronicle, Michigan Radio 91.7 FM, and Ann Arbor's 107one.
Special thanks to Chrisstina Hamilton and the U-M Penny W. Stamps Distin?guished Lecture Series; Margaret Dewar, Matthew Countryman, and Kamilah Henderson of the U-M Ginsburg Center and Arts of Citizenship; and UMMA for their support of and participation in events surrounding the Bill T. JonesArnie Zane Dance Company performances.
The Bill T. JonesArnie Zane Dance Company appears by arrangement with IMG Artists, New York, NY.
The Ravinia Festival Association is the lead commissioner of Fondly Do We Hope... Fervently Do We Pray.
Fondly Do We Hope...Fervently Do We Pray is made possible with lead support from the Company's commissioning program, "Partners in Creation," which includes the following donors: the Argosy Foundation, Abigail Congdon and Joe Azrack, Anne Delaney, Eleanor Friedman, Barbara and Eric Dobkin, Sandra Eskin, Ruth and Stephen Hendel, Ellen Poss, Jane Bovingdon Semel, and Carol H. Tolan.
Large print programs are available upon request.
Fondly Do We Hope...Fervently Do We Pray
Concept and Direction Choreography Decor
Lighting Design Video Design Costume Design Sound Design
Bill I Jones
Bill T. Jones with Janet Wong and members of the Company
Bjorn Amelan
Robert Wierzel
Janet Wong
Liz Prince
Lindsay Jones
Original music composed and arranged by
Additional music and lyrics
Additional text With excerpts from
Jerome Begin, Christopher Antonio William Lancaster, and George Lewis, Jr.
Annie Laurie, Scottish Traditional
Weevily Wheat, American Folk Song
Since I Laid My Burden Down, American Spiritual
St. Paul, Op. 36, Felix Mendelssohn
The Last Leaf, Oliver Wendell Holmes
The Wound-Dresser, Walt Whitman
Second Inaugural Address, Abraham Lincoln
Song of Solomon and Book of Revelation, King James Version
Bill I Jones with Janet Wong
LaMichael Leonard, Jr., Peter Chamberlin, and Michelle Elliott
First Inaugural Address and Address to Temperance Society, Abraham Lincoln
House Divided Speech, Abraham Lincoln, from the Lincoln-Douglass debates
Crossing Brooklyn Ferry and Poem of the Body, Walt Whitman
Colonization, Frederick Douglass, from The North Star
Declaration of Independence
Book of Revelation, King James Version
Poem of the Body read by Jordan Taylor
Production Staff
Artistic Staff
Administrative Staff
Kyle Maude, Production Stage Manager
Laura Bickford, Lighting Supervisor
Eric Launer, Technical Director
Betania Vazquez, Company Manager
Sam Crawford, Sound Supervisor
Dean Perry, Head Carpenter
Solomon Weisbard, Associate Set Designer
Dallas Nichols, Video Programmer Micah Stieglitz, Video Programmer
Bjorn G. Amelan, Creative Director Robert Wierzel, Resident Lighting Designer Liz Prince, Resident Costume Designer Bill Katz, Artistic Consultant
Bob Bursey, Producing Director
Bill Wagner, Director of Finance
Leah Cox, Education Coordinator
JJ Lind, Director of Development
Sheila Parekh, Development Associate, Individual Giving
JilMan Sweeney, Public Relations & Marketing Associate
Marcus Dargan, Office Manager I Executive Assistant
Lowenstein Sandier PC, Counsel
Daniel Wiener, Webmaster
Real Design, Identity Design Concept
Co-commissioning support provided by Lincoln Center Festival and Indiana University Auditorium.
Development support provided by The Performing Arts Center Purchase College.
Additional support provided by the National Endowment for the Arts, the National Dance Project of the New England Foundation for the Arts, and the MAP Fund, a program of Creative Capital supported by the Doris Duke Charitable Foundation and the Rockefeller Foundation.
Music commissioning support provided by the O'Donnell Green Music for Dance Foundation.
The world premiere of Fondly Do We Hope. ..Fervently Do We Pray was presented at the Ravinia Festival in Highland Park, Illinois on September 17, 2009 in honor of the bicentennial of Abraham Lincoln's birth.
The Company wishes to thank the tdf Costume Collection for their assistance in this production.
Rehearsed at the New 42nd Street Studios.
The Bill T. JonesArnie Zane Dance Company is currently celebrating its 25th anniversary season. The Company was founded after 11 years of collaboration during which Bill T. Jones and Arnie Zane (1948-1988) redefined the duet form and foreshadowed issues of identity, form, and social commentary that would change the face of American dance. It emerged onto the international scene in 1983 with the world premiere of Intuitive Momentum at the Brooklyn Academy of Music, which featured legendary drummer Max Roach. Since then, the 10-member Company has performed worldwide in over 200 cities in 30 countries including Australia, Brazil, Canada, the Czech Republic, Germany, France, Israel, Italy, Japan, Mexico, South Africa, and the UK. Today, the Harlem-based Company is recognized as one of the most innovative and powerful forces in the modern dance world.
The Company has distinguished itself through its teaching and performing at various universities, festivals, and under the aegis of government agencies such as the US Information Agency
(in Eastern Europe, Asia, and South East Asia). Audiences of approximately 50,000 to 100,000 annually see the Company across the country and around the world.
The work of the Bill T. JonesArnie Zane Dance Company freely explores both musically driven works and works using a wide variety of texts (such as Reading, Mercy and the Artificial Nigger based on Flannery O'Connor's 1955 short story The Artificial Nigger). The repertoire is widely varied in its subject matter, visual imagery, and stylistic approach to movement, voice, and stagecraft. The Company has been acknowledged for its intensely collaborative method of creation that has included artists as diverse as Keith Haring, The Orion String Quartet, the Chamber Music Society of Lincoln Center, Cassandra Wilson, fado singer Misia, jazz pianist Fred Hersch, Ross Bleckner, Jenny Holzer, Robert Longo, Julius Hemphill, and Peteris Vasks. The collaborations of the Bill T. JonesArnie Zane Dance Company with visual artists were the subject of Art Performs Life (1998), a groundbreaking exhibition at the Walker Art Center in Minneapolis, MN.
Photo: Paul Goode
Photo Russell Jenkins-flavmia F
Bill T. Jones
In 2007, Ravinia Festival in Highland Park, IL commissioned the Company to create a work to honor the bicentennial of Abraham Lincoln's birth. The Company created three new productions in response: 100 Migrations (2008), a site-specific community performance project; Serenade The Proposition (2008), examining the nature of history; and Fondly Do We Hope...Fervently Do We Pray (2009), the making of which is the subject of a feature-length documentary by Kartemquin Films entitled A Good Man, to be broadcast on PBS American Masters in 2011.
For more information, please visit
Bill T. Jones {Artistic DirectorCo-Founder Choreographer), a multi-talented artist, choreographer, dancer, theater director, and writer, has received such major awards including a 1994 MacArthur "Genius" Award and a 2007 Tony Award. His work in dance has been recognized with the 2003 Dorothy and Lillian Gish
Prize, the 2005 Wexner Prize, the 2005 Samuel H. Scripps American Dance Festival Award for Lifetime Achievement, and the 1993 Dance Magazine Award. His venture into off-Broadway theater (77ie Seven) resulted in a 2006 Lucille Lortel Award and his choreography for the Broadway show Spring Awakening was acknowledged with a 2007 Tony Award as well as an Obie Award for the show's 2006 off-Broadway run.
Before forming the Bill T. JonesArnie Zane Dance Company in 1982, Mr. Jones choreographed and performed nationally and internationally as a soloist and duet company with his late partner, Arnie Zane. In addition to creating more than 140 works for his own company, Mr. Jones has received many commissions to create dances for modern and ballet companies. In 1995, Mr. Jones directed and performed in a collaborative work with Toni Morrison and Max Roach, Degga, at Alice Tully Hall, commissioned by Lincoln Center's Serious Fun Festival. His collaboration with Jessye Norman, How! Do! We! Do! premiered at New York's City Center in 1999.
Mr. Jones has received honorary doctorates from Yale University, Art Institute of Chicago, Bard College, Columbia College, Skidmore College, The Juilliard School, Swarthmore College, and the State University of New York at Binghamton Distinguished Alumni Award, where he began his dance training with studies in classical ballet and modern dance.
Mr. Jones's memoirs. Last Night on Earth, were published by Pantheon Books in 1995. An in-depth look at the work of Bill T. Jones and Arnie Zane can be found in Body Against Body: The Dance and Other Collaborations of Bill T. Jones andArnieZane, published in 1989 by Station Hill Press. Hyperion Books published Dance, a children's book written by Bill T. Jones and photographer Susan Kuklin, in 1998. Mr. Jones contributed to Continuous Replay: The Photography of Arnie Zane, published by MIT Press in 1999.
Mr. Jones created, directed, and choreographed Fela! A New Musical, based on the life of Fela Kuti, which played to sold-out houses off-Broadway in the summer of 2008 and which moved to Broadway in the fall of 2009. Most recently, Mr. Jones was one of 22 prominent black Americans featured in Timothy Greenfield-Sanders and Elvis Mitchell's HBO documentary The Black List, which premiered at the Sundance Festival in January 2008 and was broadcast nationally in the fall of 2008.
Arnie Zane (Co-Founder, 1948-1988) was a native New Yorker born in the Bronx and educated at the State University of New York (SUNY) at Binghamton. In 1971, Mr. Zane and Mr. Jones began their long collaboration in choreography and in 1973 formed the American Dance Asylum in Binghamton with Lois Welk. Mr. Zane's first recognition in the arts came as a photographer when he received a Creative Artists Public Service (CAPS) Fellowship in 1973. Mr. Zane was the recipient of a second CAPS Fellowship in 1981 for choreography, as well as two Choreographic Fellowships from the National Endowment for the Arts (1983 and 1984). In 1980, Mr. Zane was co-recipient, with Bill T. Jones, of the German Critics Award for his work Blauvelt Mountain. Rotary Action, a duet with Mr. Jones, was filmed for television, co-produced by WGBH-TV Boston and Channel 4 in London.
The Alvin Ailey American Dance Theater commissioned a new work from Mr. Zane and Mr. Jones, How to Walk an Elephant, which premiered at Wolf Trap in August 1985. Mr. Zane (along with Mr. Jones) received a 1985-86 New York Dance and Performance ("Bessie") Award for Choreographer Creator. Continuous Replay: The Photographs of Arnie Zane was published by MIT Press in April 1999.
Janet Wong (Associate Artistic DirectorVideo Designer) was born in Hong Kong and trained in Hong Kong and London. Upon graduation, she joined the Berlin Ballet where she first met Mr. Jones when he was invited to choreograph for the company. In 1993, Ms. Wong moved to New York to pursue other interests. Ms. Wong became Rehearsal Director of the Company in 1996 and Associate Artistic Director in August 2006.
UMS Archives
This weekend's performances mark the Bill T. JonesArnie Zane Dance Company's sixth and seventh appearances under UMS auspices. The Company made its debut in March 1995 with performances of StillHere at the Power Center. The Company most recently appeared in January 2003 at the Power Center with repertory performances in collaboration with the Chamber Music Society of Lincoln Center and the Orion String Quartet.
with The Linda and Maurice Binkow Philanthropic Fund, The Charles H. Gershenson Trust, and An Anonymous Donor presents Chicago Symphony Orchestra Pierre Boulez, Conductor Mathieu Dufour, Flute Michelle DeYoung, Mezzo-Soprano Falk Struckmann, Bass-Baritone
Program Maurice Ravel Marc-Andre Dalbavie Beta Bartok Wednesday Evening, January 27, 2010 at 8:00 Hill Auditorium Ann Arbor Le tombeau de Couperin Prelude Forlane Menuet Rigaudon Flute Concerto In one movement Mr. Dufour INTERMISSION Bluebeard's Castle Ms. DeYoung, Mr. Struckmann
33rd Performance of the 131st Annual Season 131st Annual Choral Union 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 sponsored by the Linda and Maurice Binkow Philanthropic Fund, the Charles H. Gershenson Trust, and an anonymous donor. This evening's performance is hosted by Sesi Motors. Media partnership for this performance is provided by WGTE 91.3 FM. Special thanks to Mark Clague, Associate Professor of Musicology, U-M School of Music, Theatre & Dance, for speaking at this evening's Prelude Dinner. Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for this evening's performance. Supertitle system courtesy of Digital Tech Services, LLC, Portsmouth, VA. Special thanks to Mark Clague, Glenn Watkins, and Michael Mauskapf from the U-M School of Music, Theatre & Dance for their support of and participation in events surrounding this performance and the American Orchestras Summit. Pierre Boulez @ 85 is supported in part by an award from the National Endowment for the Arts. Large print programs are available upon request.

Le tombeau de Couperin (1919)
Maurice Ravel
Born March 7, 1875, in Ciboure,
Basses-Pyrenees, France Died December 28, 1937, in Paris
Considered too small and delicate for military service, Maurice Ravel realized that he could serve his country by writing music. But when his brother Edouard enlisted at the start of World War I, Ravel didn't want to sit on the sidelines. At the age of 39, he managed to get accepted as a nurse's aide, leaving behind a number of unfinished scores and his 74-year-old mother. Music was still on his mind, however. In October 1914, his first month on the job, he wrote to his former pupil, Roland-Manuel, about two new piano pieces he was planning, including a French suite--"No, it isn't what you think: la Marseillaise will not be in it, but it will have a forlane and a gigue; no tango, however." That was the beginning of Le tombeau de Couperin.
In March 1915, Ravel became a truck driver for the 13th Artillery Regiment. (He named the truck Adelaide and signed his letters Chauffeur Ravel.) It was a dangerous, exhausting, and stressful assignment, and his health suffered. At least for a while, music took a back seat to the more pressing concerns of life and death. Early in 1917, his mother died; it was a terrible blow, which contributed even further to his physical and mental decline, and he was discharged from the army a few months later. While recuperating at his godmother's country house, Ravel returned to writing music, beginning with the French suite for piano.
Ravel had been tempered by his first-hand experience of war. A frothy symphonic poem, Wen, which he abandoned during the war, now became the bitter La valse. And the benign piano suite he had long envisioned, perhaps as a genial bit of nationalism, now carried the horrible weight of tragedy: each movement was dedicated to a friend who had died at the front. Back in familiar surroundings, but still haunted by memories of the war, Ravel completed the suite he now called Le tombeau de Couperin. What had begun as a homage to a golden era of French music--the age of Francois Couperin and the 18th century in general--now paid gentle tribute to the victims of World War I. Ravel designed his own title page for the score, which included a draped funerary urn. The piano suite contained six movements; as the composer promised, there was no hint of the Marseillaise.
Before the war, Ravel's own orchestrations of his piano pieces Mother Goose and the Valses nobles et sentimentales were wildly popular. In 1919, after the first performance of Le tombeau de Couperin, he began to orchestrate four of the six movements. As Roland-Manuel wrote, "This metamorphosis of piano pieces into symphonic works was a game for Ravel, a game played to perfection, so that the transcription outdid the charm of the original." Le tombeau de Couperin is arguably Ravel's greatest success in the sport. The translation from piano to full orchestra is handled with an almost impossible finesse; Ravel carefully weighed every choice of instrument, showing impeccable concern for color, in all its subtle modulations, as well as for clarity and balance. The orchestration is a work of both enormous care and extreme economy.
Le tombeau de Couperin is the most gentle of war memorials--it's about memory, not combat. It has neither the morbid sadness of Richard Strauss's Metamorphosen nor the anger of Dmitri Shostakovich's grand wartime symphonies. It evokes those it honors, not the tragic circumstances of their deaths. Ravel borrows the forms of the baroque dance suite, beginning with a prelude that sets the presiding graceful tone. (The piano version includes a fugue and a toccata that Ravel chose not to orchestrate.) The second movement is a forlane, a Northern Italian dance; before composing a note of his own, Ravel transcribed a forlane by Couperin as a way of getting to know the style. Ravel's "Menuet" (like the "Prelude") gives the oboe a prominent role. The "Rigaudon" that concludes Ravel's suite is an old dance from Provence that was sometimes used by Rameau and Bach, and much later by Grieg in his Holberg Suite, Op. 40, though seldom with such brilliance and panache.
Flute Concerto (2006)
Marc-Andre Dalbavie
Born February 10, 7967, in Neuilly-sur-Seine, France
Marc-Andre Dalbavie regularly retreats to a 15th-century farmhouse in the French countryside to compose. "I'm completely alone," he said recently. "Every door is shut and the windows shut also, and I really work every day in this atelier in a sort of isolation ward." Nevertheless, Dalbavie is very much a composer of our time, and his music is a reflection of life in today's complex world. This
recent Flute Concerto, like his Piano Concerto, which the Chicago Symphony played four years ago, is a prime example of Dalbavie's unique brand of modernism, steeped in the concerns that have preoccupied composers for centuries yet expressed in a language that would have been unrecognizable only a few years ago.
Dalbavie's training is defined by avant-garde big names and cutting-edge trends. His composer's voice was initially influenced by "spectralism"--a compositional style of the 1970s and 1980s that is based on a rigorous, computer-derived exploration of timbre (the color of sound)--and then at the technology-based world of IRCAM, the music research temple in Paris launched by Pierre Boulez. He also worked with John Cage and Merce Cunningham in London in 1980, with Italian pioneer Franco Donatoni in Sienna four years later, and he studied orchestral conducting with Boulez in the late 1980s.
Beginning with his earliest works, Dalbavie became known for writing music that explores color and texture. His scores are often characterized by a complex layering of foreground and background, like several stories all unfolding simultaneously. (He once compared the technique not to Proust, who moves back and forth between past and present, but to the American soap opera Dallas, which had obviously infiltrated French television at the time.) He also is fascinated by sound and acoustics-and in the way music relates to the performance space. His first concerto, for violin, composed in 1996--Dalbavie's first composition without electronics--planted individual members of the orchestra within the audience. "The idea," he said at the time, "was to take a very conventional form and put it into space, destabilize the form." Concertate il suono (which was commissioned by the Chicago Symphony and the Cleveland Orchestra to honor Boulez's 75th birthday) carried the idea further, placing chamber groups of instruments throughout the concert hall. Dalbavie has compared the idea to seeing Mantegna's celebrated fresco Camera degli Sposi (The bridal chamber) in Mantua, which covers not only the walls, but the ceiling as well: "You're in the painting," he has said.
But beginning with Color in 2002, Dalbavie moved away from composing these spatial works to concentrate on pieces that investigate sonority and texture from the confines of the conventional orchestral stage and to refine his ideas of musical "development." In Dalbavie's recent scores.
including the Piano Concerto performed in Chicago in 2006 (with Leif Ove Andsnes, its dedicatee, as the soloist), the music is in a constant state of transformation--of one sound or one idea evolving into another.
Dalbavie's standard composing method-literally behind closed doors--is very much his own. "I have the piece finished before I write," he told The New York Times a few years ago:
Of course, the detail changes as I work. But I am the contrary of Boulez in that, because he starts with a little motif and sees what he can make of it, and the motif grows, like a plant. With me the piece arrives like a block, after a certain time. I'm a little like the Japanese painter who would spend months waiting and then do a picture in three seconds. Of course, in music three seconds is not possible. You have months of work to do. But still, I don't discover the piece progressively. Suddenly it's there.
While writing his Piano Concerto five years ago--composed after extensive study of the most famous piano concertos of the past--Dalbavie formed strong ideas about the relationship between the solo instrument and the orchestra. In the end, it was the traditional "classical confrontation," as he put it, that he chose to avoid. The Flute Concerto is a further exploration of the idea that the two do not so much face off or argue, as in many of the most dramatic concertos in the repertory, but coexist in an ever-changing world. The flute and orchestra begin and end playing together, and in between there is constant interaction.
Dalbavie's fascination with color still runs deep throughout this work, reflecting his earlier stance as a "specialist" (he told The New York Times that "specialist" composers work like Monet, who broke down colors into components. "We de-compose sound and then redeploy it," he said). The Flute Concerto, like much of Dalbavie's more recent work, also shows an occasional unexpected affinity with certain elements of so-called minimalism--the gradually shifting patterns, the sense of stasis. And, after years of focusing on color and harmony, Dalbavie has begun to turn his attention to melody--"I started with vertical music and I have moved progressively towards horizontal music," is how he has put it. (A new chamber work, Melodia, which Dalbavie has described as a "symbol of my evolution," was premiered in New York in December.)
Like his Piano Concerto, the Flute Concerto unfolds as one unbroken paragraph. The work is subtly indebted to tradition, from its echoes of the classical fast-slow-fast form, and its orchestra of almost Mozartean proportions to the nature of the solo flute part itself. Dalbavie has taken the cliches of virtuoso flute writing, from the vaulting arpeggios with which the concerto opens, and used them in unexpected ways. It's as if a new light--from a new century--has been cast over the flute music of the past, splintering its familiar gestures into an original sonic world. The entire work is characterized by clearly defined ideas and lucid textures combined with surprisingly complex colors. It is easy to follow, yet it resonates with provocative thoughts and sounds.
Over the years, Dalbavie has noticed that of all the people who talk to him after a performance, no two ever describe what they've heard in the same way. "I'm deeply convinced that art is the explosion of meaning," Dalbavie once said. "Each person finds his own meaning in music. I don't want the public to understand what I wanted to do for myself. If they find a different meaning I am happy."
Bluebeard's Castle (1911)
Bela Bart6k
Born March 25, 1881, in Nagyszentmiklos,
Hungary [now Sinnicolau Mare, Romania] Died September 26, 1945 in New York
Bluebeard first appears in the pages of Charles Perault's Mother Goose tales, in the company of Tom Thumb and Little Red Riding Hood. There was an actual Bluebeard, a 15th-century dandy named Gilles de Retz who dyed his beard blue, dressed in the best silks and jewels, and is said to have committed a number of crimes, although the cold-blooded murder of his six wives is not among them. Perault added that detail in his 1697 collection: Bluebeard's newest bride discovers the heads of her predecessors neatly hanging behind a closet door. In the 200 years between Perault and Bartok, this legend took many forms and eventually made its way to the world of opera; Gretry's Raoul Barbe-bleue, Offenbach's Barbe-bleue, and Dukas's setting of Maeterlinck's Ariane et Barbe-bleue were the most successful.
Dukas's version was only four years old in 1911 when Bela Bartok began to write his first and only opera, which is also based on the Bluebeard legend. Bartok took a text already prepared by his fellow countryman Bela Balazs for Zoltan Kodaly, who never used it. In Balazs's version, the drama is compressed into one act with only two characters. (The former wives, of which there are now only three, are mute; Balazs renames the newest bride Judith.)
The basic stages of the drama can be quickly summarized. The aging Bluebeard and his young bride Judith enter the dark, vast, circular hall of his castle. There are no windows, only seven massive doors. Judith vows that their love will bring sunlight and joy to the castle; Bluebeard says it can never be. She insists on knowing what is behind the seven locked doors. Finally, Bluebeard gives her the first key, and thus begins the terrifying series of discoveries that seals Judith's own fate. The first six doors produce:
1. A torture chamber, its walls weeping blood
2. An armory, the weapons of war all stained with blood
3. Great wealth and treasure, the jewels bathed in blood
4. A perfumed garden, its soil soaked with blood
5. A vast panorama of the countryside, with clouds casting a bloody shadow
6. Still waters, a great lake of tears
Bluebeard begs Judith to leave the last, seventh door unopened; fearing that she already knows the truth, she insists. The seventh door is unlocked, revealing Bluebeard's three previous wives. Bluebeard introduces the first, who came at dawn; the second, who came at midday; and the third, who came at twilight. Now Judith, who came in the night sown with stars, joins the others behind the seventh door. The door closes, and Bluebeard is left in darkness.
As Peter Bart6k, the composer's son, has written:
Bluebeard represents Man as a tragic figure: in fulfilling his nature, he must forego joy and satisfaction; he must suffer and make others suffer. Seeking truth, he is obliged to sacrifice
happiness. Judith is woman as the embodiment of love. She loves Bluebeard because he is the essential Man, the unhappy seeker of uncompromising and joyless truth. She wants to redeem him, to reconcile him with life, to make him accept happiness.
All three of Bart6k's stage works--the others are the ballets The Wooden Prince and The Miraculous Mandarin--focus on the relationship between man and woman. In Bluebeard's Castle, Bartok uses contrasting music to distinguish the two: pentatonic and folklike for Bluebeard; chromatic and romantic for Judith. These are the only singing roles, and the relationship between them is not defined by stock operatic gestures or forms; they sing to each other, but not together until the very end, and then only for a few measures. The symbolism is powerful: they cannot reach one another. The drama in Bluebeard's Castle is accomplished through music, not action. (As the bard who speaks the prologue suggests, the stage on which the work unfolds may well be one of the mind.)
The opera begins and ends in total darkness, with music based on a pentatonic scale (using only five notes) starting on F-sharp; but with the flood of light at the fifth door, Bartok unleashes a blinding flash of pure C Major. (Significantly, C is the note furthest from F-sharp.) That moment, capped by Judith's cry on a high C, comes at the very center of the piece and suggested to Bartok the arch form that became his favorite architectural plan. Bluebeard's Castle is a gradual crescendo from darkness to light and then back again.
The opening of the doors invites orchestral music that is richly descriptive of each discovery. The horrors of the torture chamber are illustrated in chilling sounds from the entire orchestra: there are shrieks from the piccolos and a nervous trilling throughout. Trumpet and horn fanfares introduce the armory. Glistening patterns from the celesta and harps accompany the discovery of the jewels. The garden behind the fourth door is depicted in a pastoral horn theme over a wash of quiet string music. The broad vistas of Bluebeard's kingdom are scanned in slow progressions of brilliant triads, ceremonial and spine-tingling in the sheer power of their sound. Arpeggios from the celesta, harps, and winds suggest the immense waters behind the sixth door.
At the seventh door, the drama is turned on its head. Judith has heard the rumors and believes the last door will reveal the bodies of Bluebeard's
murdered wives. But the women are not dead. As Peter Bartbk explains, "In Balazs's symbolic version, representing Bluebeard as the prototype of tragic and creative man, the central motif of the old folk tale, Bluebeard as the wicked wife-killer, is thoroughly sublimated." He concludes:
No woman, then, can give Bluebeard joy and happiness on her own terms, as Judith had wanted to. The women are forever enshrined, as figures of undying beauty, in the secret recesses of the castle of gloom, which in its turn symbolized man's soul. Bluebeard's women make his flowers bloom and his treasures grow; in other words, they are the source of the creative man's inspiration. But as living women, they cannot share his life. They exist only as idealized memories. Without being a wife-killer in the material sense, Bluebeard does kill his women on the "inner" stage. Tragic man can find no fulfillment in woman. This is the hidden "meaning" of the old tale.
Bluebeard's Castle is not often encountered in the opera house, partly because it must be paired with something else to make for a full evening and it is difficult to find an ideal companion, and partly because its true power does not depend on stage effects, but on an uncompromising delivery of the music. During the composer's lifetime, Bluebeard's Castle was rarely performed. As soon as the score was finished, Bart6k entered it in an important national competition; the prize, a staged production, was denied because the jurors thought the work unperformable. Bluebeard's Castle was not staged for another seven years. Shortly after the premiere in Budapest in May 1918, Bluebeard was banned throughout Hungary because its librettist, Balta, was now a political exile. A production was announced to celebrate the composer's 50th birthday in 1931, but it did not materialize. Eventually the opera was recognized as a work of singular power and brilliance, but the difficulties Bartok had endured getting Bluebeard's Castle produced soured him from writing for the stage ever again.
Program notes by Phillip Huscher, Program Annotator for the Chicago Symphony Orchestra.
In its second century, the Chicago Symphony Orchestra (CSO) holds an enviable position in the music world, with performances greeted by enthusiastic audiences both at home and abroad.
The CSO currently enjoys a unique leadership among international orchestras, with three of the world's most celebrated conductors at its helm. Eminent Dutch conductor Bernard Haitink became Principal Conductor in 2006 and will conclude his successful tenure at the end of the 0910 season. Renowned French composer and conductor Pierre Boulez--whose long-standing relationship with the CSO led to his appointment as Principal Guest Conductor in 1995--was named Helen Regenstein Conductor Emeritus in 2006. In May 2008, Riccardo Muti was appointed the CSO's 10th Music Director. Maestro Muti currently serves as Music Director Designate and will begin his tenure as Music Director in September 2010.
The CSO's self-produced weekly radio program hit the national airwaves in April 2007 and is now syndicated to more than 200 markets nationwide on the WFMT Radio Network. These broadcasts offer a new and distinctive approach to classical music radio, with lively and engaging content designed to provide deeper insight and offer further connection to the music performed in the CSO's concert season.
Recordings have been an important part of the CSO's activities. Since 1916, the CSO has amassed a discography numbering more than 900. Recordings by the CSO have earned 60 Grammy Awards from the National Academy of Recording Arts and Sciences--more than any other orchestra in the world. CSO Resound, the Orchestra's in-house label for CD and digital download releases, was launched in May 2007. The CSO Resound recording of Shostakovich's Symphony No. 4 with Maestro Haitink, which includes a DVD Beyond the Score presentation, won the 2008 Grammy Award for "Best Orchestral Performance."
Appointed the CSO's Helen Regenstein Conductor Emeritus in 2006, composer-conductor Pierre Boulez is one of the most important musical and intellectual figures of our time. Maestro Boulez was named Principal Guest Conductor of the CSO in March 1995. This year, the music world celebrates his 85th birthday.
Pierre Boulez
Born in 1925 in Montbrison, France, Maestro Boulez studied piano, composition, and choral conducting at the Paris Conservatoire, where his teachers included Olivier Messiaen and Rene Leibowitz. In 1954, he founded the Concerts du Petit Marigny, one of the first concert series dedicated to modern music, which later became the Domaine Musical series. In the next decade, he was involved with musical analysis, and he taught in Darmstadt and at Basel University. In 1963, he was a visiting professor at Harvard University, and in 1976, he became a professor at the College de France.
Maestro Boulez began his conducting career in 1958 with the South West Radio Orchestra in Germany. In 1965, George Szell invited him to conduct in the US for the first time with the Cleveland Orchestra; he subsequently held posts there as Principal Guest Conductor and Musical Advisor from 1969-72. In 1971, he became Chief Conductor of the BBC Symphony Orchestra; that same year, he became Music Director of the New York Philharmonic, a position he held until 1977.
His difference of opinion about state intervention in the arts in France led Maestro Boulez into voluntary exile for several years. He returned to France in 1974, when the government invited him to create and direct a music research center at the Pompidou Centre. From the Institut de Recherche et de Coordination AcoustiqueMusique (IRCAM) sprang the creation of a major instrumental group, the Ensemble Intercontemporain. Maestro Boulez is also co-founder of Cite de la Musique, a music center in Paris created in 1995.
Photo: Haraid Hoffmann Deutxhe Grammophon
Maestro Boulez's numerous compositions are widely performed, including ie marteau sans maitre, Pli selon pli, Notations, Le visage nuptial, Repons, ...explosante-fixe..., and three piano sonatas. Maestro Boulez has published five books about music. His many awards and honors include honorary doctorates from Leeds, Cambridge, Basel, and Oxford universities; Commander of the British Empire; Knight of the Order of Merit of the Federal Republic of Germany; and 26 Grammy Awards.
Mathieu Dufour (Flute) is principal flute of the Chicago Symphony Orchestra, a position he has held since 1999. Before coming to Chicago, he was principal solo flute of the Paris National Opera Orchestra from 1996-99. Prior to his appointment there, he served as principal solo flute of the Orchestre National du Capitole de Toulouse for three years.
Mr. Dufour began his flute studies at the age of eight with Madeleine Chassang at the National Regional Conservatory in his hometown of Paris, France. At the age of 14, he was awarded the school's gold medal by unanimous vote. He subsequently studied with Maxence Larrieu at the National
Mathieu Dufour Conservatory of Music
in Lyon, where he was unanimously awarded first prize in 1993. Additional awards include second prize at the Jean-Pierre Rampal International Flute Competition (1990); third prize at the International Flute Competition in Budapest (1991); and second prize at the International Flute Competition in Kobe, Japan (1997).
Mr. Dufour frequently appears as soloist in recitals and concerts around the world. He made his Carnegie Hall and Lucerne Festival debuts as soloist with the Chicago Symphony under Daniel Barenboim in 2002, and he has performed under conductors Pierre Boulez and Christoph Eschenbach. In demand as a coach and teacher, he has led master classes in Canada, Japan, Europe, and the US.
Michelle DeYoung {Mezzo-Soprano) has established herself as one of the most exciting artists of her generation. She is continually in demand throughout the world.
appearing regularly with the Chicago Symphony Orchestra, New York Philharmonic, Boston Symphony Orchestra, Cleveland Orchestra, San Francisco Symphony, Pittsburgh Symphony Orchestra, the Metropolitan Opera Orchestra, Vienna Philharmonic, BBC Symphony Orchestra, Philharmonia Orchestra, Orchestre
Michelle DeYoung & Paris Berliner Staats-
kapelle, and the Concertgebouworkest. In addition, she has performed at the Ravinia, Tanglewood, Saito Kinen, Edinburgh, and Lucerne festivals.
Equally at home on the opera stage, Ms. DeYoung has appeared with the Metropolitan Opera, Lyric Opera of Chicago, Los Angeles Opera, Houston Grand Opera, La Scala, Bayreuth Festival, Berliner Staatsoper, Paris Opera, and the Tokyo Opera.
Ms. DeYoung's most recent recording is Mahler's Symphony No. 3 with the Chicago Symphony Orchestra and Bernard Haitink (CSO Resound). She won a Grammy Award for her recordings of Kindertotenlieder and Mahler's Symphony No. 3 (San Francisco Symphony) and Les Troyens (LSO Live!).
This season, Ms. DeYoung's engagements include return appearances with the Los Angeles Opera for Achim Freyer's complete Ring Cycle (as Fricka, Waltraute, and Sieglinde) and the Berliner Staatsoper for Tristan und Isolde. She also appears at Carnegie Hall with the Orchestra of Saint Luke's and makes her debut at the Hollywood Bowl in a concert conducted by Gustavo Dudamel.
Falk Struckmann (Bass-Baritone) is one of the leading and most successful singers in his repertory. He has worked with numerous important directors and conductors, and he has been a guest artist at all of the major international opera houses, including the Berlin, Hamburg, Munich, and Vienna state operas; the Gran Teatre del Liceu in Barcelona; the Royal Opera, Covent Garden; La Scala in Milan; the Metropolitan Opera in New York; the Opera National de Paris; and at the Salzburg Festival.
A native of Heilbronn, Germany, Mr. Struckmann made his operatic debut in Kiel in 1985 and then went to Basle, where he soon was singing the major roles that comprise his repertory today. Mr. Struckmann's first guest contracts took him to several European opera houses, including
the Vienna State Opera in 1990 and the Berlin State Opera in 1992, where he has appeared regularly since his debuts. Mr. Struckmann came to international attention with his debut at the 1993 Bayreuth Festival as Kurwenal in a new production of Tristan and Isolde. He returned for further performances as Kurwenal as well as for Donner and Gunther in the new LevineKirchner production of The Ring of the Nibelung, and as Amfortas. In 2006, he sang WotanWanderer in the new production of The Ring.
Falk Struckmann
UMS Archives
TThe Chicago Symphony Orchestra has a long history of performing under UMS auspices. The Orchestra made its UMS debut in 1892, just one year after it was established. Tonight's performance marks the Orchestra's 202nd appearance under UMS auspices. The Orchestra most recently appeared at Hill Auditorium in December 2005 under the baton of Maestro Robert Spano with the Marcus Roberts Trio.
Tonight marks Maestro Pierre Boulez's third UMS appearance. Maestro Boulez made his UMS debut in December 1971 with the Cleveland Orchestra at Hill Audi?torium. He returned the following season in September 1972 with the New York Phil?harmonic.
Mathieu Dufour makes his second UMS appearance this evening. He appeared with the Chicago Symphony Orchestra in Decem?ber 2005 and makes his debut as soloist to?night.
Tonight's performance marks Michelle DeYoung's second appearance under UMS auspices. She made her UMS debut in Febru?ary 2002 at Hill Auditorium with the San Fran?cisco Symphony and Maestro Michael Tilson Thomas singing Mahler's Das Lied von der Erde.
UMS welcomes Falk Struckmann, who makes his UMS debut tonight.
Chicago Symphony Orchestra
Bernard Haitink
Principal Conductor
Pierre Boulez
Helen Regenstein Conductor Emeritus
Riccardo Muti
Music Director Designate
Duain Wolfe
Chorus Director
Osvaldo Golijov Mark-Anthony Turnage
Mead Composers-in-Residence
Robert Chen, Concertmaster
The Louis C Sudler Chair,
endowed by an anonymous
benefactor David Taylor,
Assistant Concertmaster' Yuan-Qing Yu,
Assistant Concertmaster' Cornelius Chiu Nathan Cole Alison Dalton Kozue Funakoshi Russell Hershow Qing Hou Nisanne Howell+ Blair Milton Paul Phillips, Jr. Sando Shia Susan Synnestvedt Rong-Yan Tang Akiko Tarumoto
Baird Dodge, Principal Albert Igolnikov,
Assistant Principal Lei Hou NiMei
Arnold Brostoff Fox Fehling Hermine Gagne+ Rachel Goldstein Mihaela lonescu Melanie Kupchynsky Wendy Koons Meir Aiko Noda Joyce Noh++ Nancy Park Ronald Satkiewia Florence Schwartz-Lee Jennie Wagner+
Charles Pikler, Principal
Li-Kuo Chang, Assistant Principal The Louise H. Benton Wagner Chair
John Bartholomew
Catherine Brubaker
Karen Dirks
Diane Mues
Lawrence Neuman
Yukiko Ogura
Daniel Orbach
Max Raimi
Thomas Wright
John Sharp, Principal
The Eloise W. Martin Chair
Kenneth Olsen, Assistant Principal The Adele Gidwitz Chair
Loren Brown
Richard Hirschl+
Katinka Kleijn
Jonathan Pegis
David Sanders
Gary Stucka
Brant Taylor
Joseph Guastafeste, Principal The David and Mary Winton Green Chair
Daniel Armstrong
Roger Cline
Joseph DiBello
Michael Hovnanian+
Robert Kassinger
Mark Kraemer
Stephen Lester
Bradley Opland
Sarah Bullen, Principal Lynne Turner
Mathieu Dufour, Principal Richard Graef,
Assistant Principal Louise Dixon Jennifer Gunn
Jennifer Gunn
Eugene Izotov, Principal
The Nancy and Larry Fuller
Chair Michael Henoch,
Assistant Principal
Gilchrist Foundation Chair Lora Schaefer Scott Hostetler
English Horn Scott Hostetler
John Bruce Yeh,
Acting Principal Gregory Smith J. Lawrie Bloom
E-Flat Clarinet
John Bruce Yeh
Bass Clarinet
J. Lawrie Bloom
David McGill, Principal William Buchman,
Assistant Principal Dennis Michel
Date Clevenger, Principal Daniel Gingrich,
Associate Principal James Smelser David Griffin Oto Carrillo Susanna Drake
Christopher Martin, Principal The Adolph Herseth Principal Trumpet Chair, endowed by an anonymous benefactor
Mark Ridenour, Assistant Principal
John Hagstrom
Tage Larsen
Jay Friedman, Principal James Gilbertsen,
Associate Principal Michael Mulcahy Charles Vernon
Bass Trombone
Charles Vernon
Gene Pokorny, Principal The Arnold Jacobs Principal Tuba Chair, endowed by Christine Querield
Donald Koss, Principal Vadim Karpinos, Assistant Principal
Cynthia Yeh, Principal Patricia Dash Vadim Karpinos James Ross
Mary Sauer, Principal
Peter Conover, Principal Carole Keller Mark Swanson
Orchestra Personnel
John Deverman, Director Anne MacQuarrie, Manager,
CSO Auditions and
Orchestra Personnel
Stage Technicians
Kelly Kerins, Stage Manager Dave Hartge James Hogan Christopher Lewis Patrick Reynolds Todd Snick Joe Tucker
Assistant concertmasters are listed
by seniority.
+ On leave
++ On sabbatical
The Chicago Symphony Orchestra
string sections utilize revolving
seating. Players behind the first
desk (first two desks in the violins)
change seats systematically every two
weeks and are listed alphabetically.
Section percussionists also are listed
and the University of Michigan Health System
Ladysmith Black Mambazo
Sunday Afternoon, January 31, 2010 at 4:00 Hill Auditorium Ann Arbor
This afternoon's program will be announced by the artists from the stage and will be performed with one intermission.
34th Performance of the 131st Annual Season
UMS Global: Performing Arts of Africa
The photographing or sound and video recording of this performance or possession of any device for such recording is prohibited.
This afternoon's performance is sponsored by the University of Michigan Health System.
This afternoon's performance is hosted by Comerica Bank.
Funded in part by the Community Foundation for Southeast Michigan and the National Endowment for the Arts.
Media partnership for this performance is provided by WEMU 89.1 FM, Ann Arbor's 107one, WRCJ 90.9 FM, Mefro 77mes, Michigan Chronicle, and Berween the Lines.
Special thanks to Beth James, Kelly Askew, and Sandra Schulze from the U-M African Studies Center and the U-M Center for Afro and African American Studies Center and Daniel Herwitz from the Institute for the Humanities for their support of and participation in events surrounding this performance.
Ladysmith Black Mambazo appears by arrangement with International Music Network. Ladysmith Black Mambazo records for Heads Up International.
Large print programs are available upon request.
For more than 40 years, Ladysmith Black Mambazo has married the intricate rhythms and harmonies of their native South African musical traditions to the sounds and sentiments of Christian gospel music. The result is a musical and spiritual alchemy that has touched a worldwide audience representing every corner of the religious, cultural, and ethnic landscape. Their musical efforts over the past four decades have garnered praise and accolades within the recording industry, but also solidified their identity as a cultural force to be reckoned with.
Assembled in the early 1960s in South Africa by Joseph Shabalala--then a young farmboy turned factory worker--the group took the name Ladysmith Black Mambazo: "Ladysmith" being the name of Mr. Shabalala's rural hometown; "Black" being a reference to oxen, the strongest of all farm animals; and "Mambazo" being the Zulu word for axe, a symbol of the group's vocal ability to "chop down" all things in their path. Their collective voices were so tight and their harmonies so polished that they were eventually banned from competitions, although they were welcome to participate strictly as entertainers.
Mr. Shabalala says his conversion to Christian?ity in the 1960s helped define the group's musi?cal identity. The path that the axe was chopping suddenly had a direction: "To bring this gospel of loving one another all over the world," he says. However, he is quick to point out that the mes?sage is not specific to any one religious orienta?tion. "Without hearing the lyrics, this music gets into the blood, because it comes from the blood," he says. "It evokes enthusiasm and excitement, re?gardless of what you follow spiritually."
A radio broadcast in 1970 opened the door to their first record contract--the beginning of an ambitious discography that currently includes more than 40 recordings, garnering three Grammy Awards and 15 nominations, including one for their most recent recording llembe: Honoring Sha-ka Zulu. Their philosophy in the studio was--and continues to be--just as much about preservation of musical heritage as it is about entertainment. The group borrows heavily from a traditional mu?sic called isicathamiya (is-cot-a-ME-Ya), which de?veloped in the mines of South Africa, where black workers were taken by rail to work far away from their homes and their families. Poorly housed and paid worse, the mine workers would entertain themselves after a six-day week by singing songs
into the wee hours on Sunday morning. When the miners returned to the homelands, this musical tra?dition returned with them.
In the mid-1980s, Paul Simon visited South Af?rica and incorporated Ladysmith Black Mambazo's rich tenoraltobass harmonies into his Graceland album--a landmark 1986 recording that won the Grammy Award for "Best Album" and is consid?ered seminal in introducing world music to main?stream audiences.
Ladysmith Black Mambazo has been invited to perform at many special events including events for the Queen of England and the Royal Family, two Nobel Peace Prize Ceremonies, a concert for Pope John Paul II in Rome, and the South African Presidential inaugurations.
This afternoon's performance marks the UMS debut of Ladysmith Black Mambazo.
Joseph Shabalala Msizi Shabalala Russel Mthembu Albert Mazibuko Thulani Shabalala Thamsanqa Shabalala Sibongiseni Shabalala Abednego Mazibuko Ngane Dlamini
Adam Hunt Jon Picciano
Mitch Goldstein
0910 Season: Breaking Down Walls
UMS's Education Program deepens the relation?ship between audiences and art, while efforts in Audience Development raise awareness of the positive impact the performing arts and educa?tion can have on the quality of life in our com?munity. The program creates and presents the highest quality arts education and community engagement experiences to a broad spectrum of constituencies, proceeding in the spirit of part?nership and collaboration.
Both literally and figuratively, the 0910 UMS Education season celebrates the breaking down of walls: literally in the celebration of the 20th anniversary of the fall of the Berlin Wall and events surrounding the presentation of the Berlin Philharmonic; and figuratively, in the attempt to break down walls that impede personal and intellectual growth, participation in the arts, and connections to community. Each event chal?lenges participants to expand the way they think about art, culture, and creativity, and encourages a greater investment in UMS and the arts as a whole.
In this time of economic challenge, the UMS 0910 education programs "go deeper" with projects that encourage sustained engagement over time, allow a variety of entry points for a wide range of interests and audiences, and explore the diversity of artists, art forms, ideas, and cultures featured in the current UMS season.
WinterSpring 2010 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 Bill T. JonesArnie Zane Dance Company, San Francisco Symphony, and Maly Drama Theater of St. Petersburg
Artist interviews with Bill I Jones, Pierre Boulez, and Lev Dodin
American Orchestras Summit preceding the Chicago Symphony Orchestra concert
U40, U40! Ticket discounts and special opportunities for UMS patrons under 40
Guerilla Chamber Music events: Help take music to the streets!
Details about all educational and residency events are posted approximately one month before the performance date. Join the UMS E-mail Club to have updated event information sent directly to you. For immediate event info, please e-mail, or call the numbers listed on the following pages.
Please call 734.615.4077 or e-mail for more information.
Public Events: Extending the Experience
UMS hosts a wide variety of educational and community events to inform the public about arts and culture and to provide forums for dis?cussion and celebration of the performing arts. These events include:
Artist Interactions: Public interviews, inter?active workshops with artists, master classes, and meet-and-greet opportunities for visiting and local artists to share their craft and process while getting to know the Ann Arbor community.
LecturesRound-Table DiscussionsBook Clubs: In-depth adult education related to specific artists, art forms, cultures, films, books, or ideas connected to the UMS season.
Audience as Artist: Opportunities for the public to participate in the performing arts: dance parties, jam sessions, staged readings.
Community Receptions: Relaxed events for audiences to network and socialize with each other and with artists.
Building Community Around the Arts
UMS works with 57 academic units and 175 faculty members at U-M, along with many part?ners at other regional colleges, bringing together visiting artists, faculty, students, and the broader southeastern Michigan community. UMS appre?ciates the generosity of the many faculty members who share time and talent to enrich the per?formance-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 significant?ly discounted rates (see ticket discount informa?tion on page P20). Each year, 18,000 students attend UMS events and collectively save $375,000 on tickets through our discount 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.
Winter 2010 Arts & Eats Events:
Bill T. 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 48
Sponsored by UMSKJS5 ?,!? With support from the U-M Alumni Association
Internships and College Work-Study
Internships and College Work-Study with UMS provide experience in performing arts adminis?tration, marketing, ticket sales, programming, production, fundraising, and arts education. Semesterand year-long unpaid internships are available in many of UMS's departments. If you are a U-M student interested in working at UMS, please e-mail or visit
Student Committee
As an independent council drawing on the diverse membership of the U-M community, the UMS Student Committee works to increase stu?dent interest and involvement in various UMS programs by fostering increased communication between UMS and the student community, promoting awareness and accessibility of stu-
dent programs, and promoting the value of live performance. For more information or to join, please call 734.615.6590 or email
Please call 734.615.0122 or e-mail for more information.
UMS Youth: Arts for the Next Generation
UMS has one of the largest K-12 education ini?tiatives in Michigan. Designated as a "Best Practice" program by ArtServe Michigan and the Dana Foundation, UMS is dedicated to mak?ing world-class performance opportunities and professional development activities available to K-12 students and educators.
0910 Youth Performance Series
These daytime performances give pre-K through high school students the opportunity to see the same internationally renowned performances as the general public. The Fall 2009 season fea?tured special youth presentations of Shakespeare's Globe Theatre and Keith Terry and the SLAMMIN All-Body Band. In WinterSpring 2010, UMS will present Bill I JonesArnie Zane Dance Company, Ladysmith Black Mambazo, the Sphinx Jr. Division Finals Concert, The Bad Plus, and Hubbard Street Dance Chicago. All youth performances have accompanying curricular materials, available for free at, to connect the perform?ance 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.
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
Teacher Appreciation Month! March 2010 is Teacher Appreciation Month. Visit www.ums.orgeducation for special ticket discount information.
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 on Saturday, May 15, 2010 at the Power Center, highlighting the area's best teen performers. This show is curated, designed, marketed, and produced by teens under the mentorship of UMS staff.
UMS Family Series
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. Fall 2009 family performances included The Suzanne Farrell Ballet, Keith Terry's SLAMMIN All-Body Band, and the Vienna Boys Choir. Please join us for Cyro Baptista's Beat the Donkey, the final family presentation of the 0910 season, on March 13, 2010 at 1pm and 4pm.
Education Program Supporters
Reflects gifts received between July I. 2008 and November I, 2009.
University of Michigan
Michigan Council for Arts and Cultural Affairs
Arts at Michigan
Arts Midwest's Performing
Arts Fund Bank of Ann Arbor The Dan Cameron Family
FoundationAlan and
Swanna Saltiel Community Foundation for
Southeast Michigan Doris Duke Charitable
Foundation Doris Duke Foundation for
Islamic Art
DTE Energy Foundation The Esperance Family Foundation David and Phyllis Herzig
Endowment Fund Honigman Miller Schwartz
and Cohn LLP JazzNet Endowment WK Kellogg Foundation Masco Corporation
Miller. Canfield. Paddock and
(of R. & P. Heydon) The Mosaic Foundation,
Washington DC National Dance Project of the
New England Foundation
for the Arts
National Endowment for the Arts Prudence and Amnon
Rosenthal K-12 Education
Endowment Fund Rick and Sue Snyder TCF Bank
UMS Advisory Committee University of Michigan Credit Union University of Michigan
Health System U-M Office of the Senior Vice
Provost for Academic Affairs U-M Office of the Vice
President for Research Wallace Endowment Fund
There are many ways to support the efforts of UMS, all of which are critical to the success of our season. We would like to welcome you to the UMS family and involve you more closely in our exciting programming and activities. This can happen through corporate sponsorships, business advertising, individual donations, or through volunteering. Your financial investment andor gift of time to UMS allows us to continue connecting artists and audiences, now and into the future.
When you advertise in the UMS program book you gain season-long visibility among ticket buyers while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descrip?tions that are so important to the performance experience. Call 734.764.6833 to learn how your business can benefit from advertising in the UMS program book.
As a UMS corporate sponsor, your organization comes to the attention of an educated, diverse, and growing segment not only of Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treas?ures and also receive numerous benefits from your investment. For example, UMS offers you a range of programs that, depending on your level of support, provide a unique venue for:
Cultivating clients
Developing business-to-business relationships
Targeting messages to specific demographic groups
Enhancing corporate image
Making highly visible links with arts and education programs
Recognizing employees
Showing appreciation for loyal customers
For more information, please call 734.647.1176.
We could not present our season without the invaluable financial support of individual donors. Ticket revenue only covers half of the cost of our performances and educational events. UMS donors help make up the differ?ence. If you would like to make a gift, please fill out and mail the form on page P36 or call 734.647.1175.
The UMS Advisory Committee is an organization of over 80 volunteers who contribute approxi?mately 7,000 hours of service to UMS each year. The Advisory Committee champions the mission and advances UMS's goals through community engagement, financial support, and other volun?teer service.
Advisory Committee members work to increase awareness of and participation in UMS programs through the Education Ambassador Committee, a new Community Ambassador proj?ect, ushering at UMS youth performances, and a partnership with the U-M Museum of Art (UMMA) Friends Board.
Meetings are held every other month 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.
The evening will begin with a Gala Dinner at the Michigan League, followed by the SFS's performance of Mahler's Symphony No. 2. After the performance, guests can meet SFS musicians and MTT at a Champagne Afterglow. Please call 734.764.8489 to make a reservation for the Gala Dinner and Champagne Afterglow.
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. All proceeds sup?port UMS Education programs.
Our winter Delicious Experience will be Fish & Chips at Monahan's Seafood Market on Friday, February 12, 2010. Please join us! For more information, call 734.647.8009.
Fifth Annual On the Road with UMS
On September 11, 2009 at Barton Hills Country Club, approximately 280 people enjoyed an evening of food, music, and silent and live auc?tions, netting more than $55,000 to support UMS Education programs.
UMS is proud to be a member of the following organizations:
Ann Arbor Area Convention & Visitors Bureau
Ann Arbor Chamber of Commerce
Arts Alliance of the Ann Arbor Area
ArtServe Michigan
Association of Performing Arts Presenters
Chamber Music America
Cultural Alliance of Southeastern Michigan
International Society for the Performing Arts
Main Street Area Association
Michigan Association of
Community Arts Agencies National Center for Nonprofit Boards State Street Association Think Local First
The exciting presentations described in this pro?gram book are made possible by the generous support of UMS donors--dedicated friends who value the arts in our community and step forward each year to provide financial support. Ticket rev?enue covers only 47 of the costs associated with presenting our season of vibrant performances and educational programs. UMS donors--through their generous annual contributions--help make up the difference. In return, they receive a wide variety of benefits, including the opportunity to purchase tickets prior to public sale.
For more information, please call the Development Office at 734.647.1175 or visit
Contact us for details on the specific benefits of each level
Presenters Circle
? $100,000 or more Director
? $50,000 Soloist -1 S20.000 Maestro
? $10,000 Virtuoso
LI $7,500 Concertmaster J $5,000 Producer J $3,500 Leader J 52,500 Principal
? $1,000 Patron
? $500 Benefactor _) $250 Associate J $100 Advocate
Please check your desired giving level above and complete the form below or visit us online at
(Print names exactly as you Address vish them to appear in UMS listings.)
City State Zip
Day Phone Eve. Phone E-mail
Comments or Questions
Please make checks payable to University Musical Society
Gifts of $50 or more may be charged to: Q VISA ? MasterCard ? Discover ? American Express
Account_______________________________________________________________________________Expiration Date_____________________________
? I do not wish to receive non-deductible benefits.
? My company will match this gift. Matching gift form enclosed.
Send gifts to: University Musical Society, 881 N. University, Ann Arbor, Ml 48109-1011
July 1, 2008-November 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 sup?port 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 November 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. Listing of donors to endowment funds begins on page P44.
$100,000 or more
Doris Duke Charitable Foundation
Ford Motor Company Fund and
Community Services Forest Health Services Michigan Council for Arts and
Cultural Affairs
National Endowment for the Arts Randall and Mary Pittman University of Michigan Health System
Emily W. Bandera MD
Brian and Mary Campbell
Community Foundation for Southeast
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
Linda and Maurice Binkow
Philanthropic Fund Cairn Foundation DTE Energy Foundation EmcArts Innovation Lab for the
Performing Arts
Maxine and Stuart Frankel Foundation David and Phyllis Herzig KeyBank
Robert and Pearson Macek Masco Corporation Foundation Mrs. Robert E. Meredith THE MOSAIC FOUNDATION (of R. & P.
Mosaic Foundation, Washington, DC National Dance Project of the New
England Foundation for the Arts Gilbert Omenn and Martha Darling Laurence and Beverly Price Jane and Edward Schulak Dennis and Ellie Serras Toyota University of Michigan Office of the
Vice President for Research
$10,000-$ 19,999 Jerry and Gloria Abrams Michael Allemang and
Janis Bobrin Herb and Carol Amster Anonymous Arts at Michigan Arts Midwest's Performing Arts
Bank of Ann Arbor Carl and Isabelle Brauer Fund Marilou and Tom Capo Alice B. Dobson Paul and Anne Glendon Eugene and Emily Grant
Frank Legacki and Alicia Torres Natalie Matovinovic Miller, Canfield, Paddock and
Stone, P.LC. Donald L. Morelock Pfizer Foundation Prue and Ami Rosenthal Rick and Sue Snyder James and Nancy Stanley University of Michigan Credit
Marina and Robert Whitman Ann and Clayton Wilhite
Bernard and Raquel Agranoff
Rachel Bendit and Mark Bernstein
Comerica Bank
Ken and Penny Fischer
Susan and Richard Gutow
Debbie and Norman Herbert
Carl and Charlene Herstein
Honigman Miller Schwartz and
Cohn LLP
Leo and Kathy Legatski Doug and Sharon Rothwell Herbert and Ernestine Ruben Linda Samuelson and Joel Howell
Sesi Motors Loretta Skewes Barbara Furin Sloat
American Syrian Arab Cultural
Ann Arbor Automotive Anonymous
Essel and Menakka Bailey Beverly Franzblau Baker Kathy Benton and Robert Brown Charlevoix County Community
Mary Sue and Kenneth Coleman Creative Campus Innovations
Grant Program Dennis Dahlmann and
Patricia Garcia
Sophie and Marylene Delphis The Herbert and Junia Doan
Jim and Patsy Donahey Dallas C. Dort
John Dryden and Diana Raimi Fidelity Investments llene H. Forsyth
Howard & Howard Attorneys, PC Mohamad and Hayat Issalssa
Foundation Judy and Verne Istock David and Sally Kennedy Wally and Robert Klein John S. and James L. Knight
Foundation Ms. Rani Kotha and
Dr. Howard Hu Gay and Doug Lane Jill Latta and David Bach Richard and Carolyn Lineback Martin Family Foundation Susan McClanahan and
Bill Zimmerman Michigan Critical Care
Consultants, Inc. National City M. Haskell and Jan Barney
Pepper Hamilton LLP
Phil and Kathy Power
Don and Judy Dow Rumelhart
Alan and Swanna Saltiel
Frances U. and Scott K. Simonds
Lois A. Theis
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
$3,500-$4,999 Jim and Barbara Adams Barbara A. Anderson and
John H. Romani Anonymous
Jim and Stephany Austin Raymond and Janet Bernreuter Gary Boren
Edward and Mary Cady Carolyn Carty and Thomas Haug Julia Donovan Darlow and John
Corbett O'Meara Stephen and Rosamund Forrest Tom and Katherine Goldberg Keki and Alice Irani Donald Lewis and
Carolyn Dana Lewis Ernest and Adele McCarus Virginia and Gordon Nordby Eleanor and Peter Pollack John and Dot Reed Craig and Sue Sincock Susan M. Smith and
Robert H. Gray
$2,500-$3,499 Janet and Arnold Aronoff Bob and Martha Ause Bradford and Lydia Bates Suzanne A. and Frederick J. Beutler Blue Nile Restaurant Charles and Linda Borgsdorf Dave and Pat Clyde
Elizabeth Brien and
Bruce Conybeare Barbara Everitt Bryant Jeannine and Robert Buchanan Valerie and David Canter 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 Samuel and Marilyn Krimm Jeffrey Mason and Janet Netz Mohammad and
J. Elizabeth Othman Peter and Carol Polverini Jim and Bonnie Reece Malverne Reinhart 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
$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
Dr. Lesli and Mr. Christopher
John and Ginny Bareham Norman E. Barnett Anne Beaubien and Philip Berry Ralph P. Beebe Linda and Ronald Benson Stuart and Ruth Ann Bergstein Joan A. Binkow
John Blankley and Maureen Foley Dr. DJ and Dieter Boehm Ron and Mimi Bogdasarian Margaret and Howard Bond Laurence and Grace Boxer Dale E. and Nancy M. Briggs Edalene and Ed Brown Family
Foundation 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 John Carver
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 Susan Tuttle Darrow Charles and Kathleen Davenport Hal and Ann Davis Leslie Desmond and Phil Stoffregen Sally and Larry DiCarlo Andrzej and Cynthia Dlugosz 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
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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
Otto and Lourdes Gago
Enid H. Galler
Lois Kennedy Gamble
Tom Gasloli
Prof. David M. Gates
Thomas and Barbara Gelehrter
Beverley and Gerson Geltner
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
Steven and Sheila Hamp
Alice and Clifford Hart
Martin and Connie Harris
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
Regan Knapp and John Scudder
Charles and Linda Koopmann 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 Bert and Kathy Moberg Lester and Jeanne Monts Paul Morel and Linda Woodworth Alan and Sheila Morgan Cyril Moscow Terence Murphy Randolph and Margaret Nesse Susan and Mark Orringer William Nolting and
Donna Parmelee Marylen S. Oberman 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 Ginny and Ray Reilly Constance Rinehart Rosalie EdwardsVibrant
Ann Arbor Fund
Jeffrey and Huda Karaman Rosen Doris E. Rowan Karem and Lena Sakallah 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 Sandy and Dick Simon Nancy and Brooks Sitterley Dr. Rodney Smith Lloyd and Ted St. Antoine Michael B. Staebler Lois and John Stegeman Virginia and Eric Stein Victor and Marlene Stoeffler Dr. and Mrs. Stanley Strasius Karen and David Stutz Charlotte Sundelson Lewis and Judy Tann Jan Svejnar and Katherine Terrell Ted and Eileen Thacker Fr. Lewis W. Towler Louise Townley Jeff and Lisa Tulin-Silver Jack and Marilyn van der Velde Florence S. Wagner Shaomeng Wang and Ju-Yun Li Harvey and Robin Wax W. Scott Westerman, Jr. Roy and JoAn Wetzel Dianne Widzinski and
James Skupski, MD Dr. and Mrs. Max V. Wisgerhof II Charles Witke and Aileen Gatten
Bonnie Ackley
Alan and Susan Aldworth
Richard and Mona Alonzo Family Fund
Fahd Al-Saghir and Family
Helen and David Aminoff
Harlene and Henry Appelman
Frank J. Ascione
Penny and Arthur Ashe
AT&T Foundation
Susan and Michael Babinec
J. Albert and Mary P. Bailey
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
Dr. Astrid B. Beck
Erling and Merete Blondal Bengtsson
James K. and Lynda W. Berg
Richard Berger
Ramon and Peggyann Nowak Berguer
L.S. Berlin
Sara Billmann and Jeffrey Kuras
William and llene Birge
Jerry and Dody Blackstone
Beverly Bole
Rebecca S. Bonnell
Bob and Sharon Bordeau
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
Margot Campos
Brent and Valerie Carey
Dennis J. Carter
A. Craig Cattell
Samuel and Roberta Chappell
Anne Chase
John and Camilla Chiapuris
Dr. Kyung and Young Cho
Janice A. Clark
Brian and Cheryl Clarkson
Jonathan Cohn
George Collins and Paula Hencken
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
Mary Ann Faeth
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
Scott and Janet Fogler
Howard and Margaret Fox
Betsy Foxman and Michael Boehnke
Jerrold A. and Nancy M. Frost
Sandro Galea and Margaret Kruk
James M. and Barbara H. Garavaglia
Richard L. Garner
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
Martha and Larry Gray
Dr. John and Renee M. Greden
Robin and Stephen Gruber
Don Haefner and Cynthia Stewart
Robert and Elizabeth Hamel
Walt and Charlene Hancock
Susan R. Harris
Dan and Jane Hayes
Dr. and Mrs. Michael Hertz
Herb and Dee Hildebrandt
Ruth and Harry Huff
Ralph M. Hulett
Ann D. Hungerman
John Huntington
Maha Hussain and Sal Jafar
Stuart and Maureen Isaac
Jerome Jelinek
Mark and Madolyn Kaminski
Alfred and Susan Kellam
Christopher Kendall and
Susan Schilperoort Nouman and Iman Khagani Elie R. and Farideh Khoury James and Jane Kister Hermine Roby Klingler Dr. and Mrs. Jerry Kolins 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
Lawrence and Rebecca Lohr
E. Daniel and Kay Long
Frances Lyman
Brigitte and Paul Maassen
Pam Macintosh
Jane and Martin Maehr
Scott and Kris Maly
Prof. Milan Marich
W. Harry Marsden
Irwin and Fran Martin
Susan E. 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
Mrs. J. Jefferson Miller
Myrna and Newell Miller
Andrew and Candice Mitchell
Olga Moir
Lewis and Kara Morgenstern
Thomas and Hedi Mulford
Gayl and Kay Ness
Susan and Richard Nisbett
Kathleen I. Operhall
Constance L. and David W. Osier
Steve and Betty Palms
Shirley and Ara Paul
Zoe and Joe Pearson
Jean and Jack Peirce
Margaret and Jack Petersen
Evelyn Pickard
Wallace and Barbara Prince
Elisabeth and Michael Psarouthakis
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
Craig and Jan Ruff
Miriam Sandweiss
David Sarns and Agnes Moy-Sarns
Betina Schlossberg
Ann and Thomas J. Schriber
Julie and Mike Shea
Howard and Aliza Shevrin
Hollis and Martha A. Showalter
Edward and Kathy Silver
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
Lia and Rick Stevens
James Christen Steward
Eric and Ines Storhok
Cynthia Straub
Kate and Don Sullivan
Timothy W. Sweeney
Manuel Tancer
Louise Taylor
Elizabeth C. Teeter
Claire and Jerry Turcotte
Marianne Udow-Phillips and Bill
Phillips Fawwaz Ulaby and Jean
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 Jo Ann Ward Gary Wasserman Zachary B. Wasserman Angela and Lyndon Welch Katherine E. White Iris and Fred Whitehouse Father Francis E. Williams Robert J. and Anne Marie Willis Margaret W. Winkelman and Robert
A. Krause
I.W. and Beth Winsten Lawrence and Mary Wise Drs. Douglas and Margo Woll James H. and Gail Woods Stan and Pris Woollams Frances A. Wright Bryant Wu and Theresa Chang
Judith Abrams Dorit Adler Martha Agnew and
Webster Smith Dr. Diane M. Agresta Mr. and Mrs.
W. Dean Alseth Catherine M. Andrea Anonymous Dan and Vicki Arbour Rosemary and John Austgen Drs. John and Lillian Back 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 Horace and Francine Bomar Mark D. Bomia Victoria C. Botek and
William M. Edwards 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 Brian Carney Jim and Lou Carras Margaret W. and
Dennis B. Carroll Jack Cederquist and
Meg Kennedy Shaw Prof, and Mrs.
James A. Chaffers J.W. and Patricia Chapman Kwang and Soon Cho
Reginald and
Beverly Ciokajlo Mark Clague and
Laura Jackson Coffee Express Co. 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 Timothy and Robin
Damschroder Sunil and Merial Das Ed and Ellie Davidson Linda Davis and
Robert Richter Mr. and Mrs.
William J. Davis Dawda, Mann, Mulcahy &
Sadler, PLC Michelle Deatrick and
Steven Przybylski Jean and John Debbink Elena and Nicholas Delbanco Elizabeth Dexter Michael DiPietro 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 Karen and Mark Falahee Afaf Vicky Farah Dr. and Mrs. S.M. Farhat
James and Flora Ferrara Jean Fine Thomas Finholt Herschel and Adrienne Fink Sara and Bill Fink David Fox and
Paula Bockenstedt Shari and Ben Fox Willard G. Fraumann Susan L. Froelich and
Richard E. Ingram Philip and Renee Frost Carol Gagliardi and
David Flesher Martin Garber and
Beth German Sandra Gast and
Gregory Kolecki Michael Gatti and
Lisa Murray
Deborah and Henry Gerst Elmer G. Gilbert and Lois
M. Verbrugge J. Martin Gillespie and
Tara M. Gillespie Maureen and David
Ginsburg Edie Goldenberg Irwin Goldstein and
Marty Mayo
Mitch and Barb Goodkin Enid Gosling Mr. and Mrs. Charles and
Janet Goss Michael L. Gowing Phyllis Gracie Jeffrey B. Green Nancy Green and
William Robinson Raymond and Daphne Grew Susan and Mark Griffin Nicki Griffith Werner H. Grilk Milton and Susan Gross Bob and Jane Grover Anna Grzymala-Busse and
Joshua Berke Susan Guszynski and
Gregory Mazure Jan and Talbot Hack George and Mary Haddad M. Peter and Anne Hagiwara Tom Hammond Jeff Hannah and Nur Akcasu Abdelkader and
Huda Hawasli 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 Robert B. Ingling Mr. and Mrs.
Eugene 0. Ingram Richard Isackson John H. and Joan L. Jackson Elizabeth Jahn Rebecca Jahn 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 Carol and H. Peter Kappus Arthur Kaselemas MD Morris and Evelyn Katz 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 Aric Knuth and Jim Leija Michael Koen Rosalie and Ron Koenig Joseph and
Marilynn Kokoszka Michael J. Kondziolka and
Florent Badin
Alan and Sandra Kortesoja Charles and Mary Krieger Vejayan Krishnan Ken and Maria Laberteaux 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 Marjory S. Luther Ormond and
Annie MacDougald Claire and Richard Malvin Melvin and Jean Manis Manpower, Inc. of
Southeastern Michigan Michael and
Pamela Marcovitz Nancy and Philip Margolis Betsy Yvonne Mark Stacy and David Markel Howard L. Mason Laurie McCauley and
Jessy Grizzle Margaret and
Harris McClamroch Peggy McCracken and
Doug Anderson James H. Mclntosh and
Elaine K. Gazda Bill and Ginny McKeachie Joanna McNamara and
Mel Guyer Frances McSparran Russ and Brigitte Merz Gabrielle Meyer Shirley and Bill Meyers Eugene and Lois Miller George Miller and
Deborah Webster Jack and Carmen Miller Patricia Mooradian Arnold and Gail Morawa 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 Sharon and Chuck Newman Dan and Sarah Nicoli Eugene W. Nissen Laura Nitzberg Carolyn and Edward Norton Arthur S. Nusbaum Norm and Charlotte Otto David and Andrea Page Hedda and William Panzer Donna D. Park Katherine Pattridge Julianne Pinsak 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 Marci Raver and Robert Lash Maxwell and Marjorie Reade Mr. and Mrs. Stanislav Rehak Mamie 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 Michael and Kimm Sarosi Rosalyn Sarver and
Stephen Rosenblum Nabil Sater Joseph Saul and
Lisa Leutheuser Albert and Jane Sayed David and Marcia Schmidt Harriet Selin
David and Elvera Shappirio Patrick and Carol Sherry James and Teri Shields George and Gladys Shirley Jean and Thomas Shope George and Nancy Shorney Mary A. Shulman Drs. Andrew and
Emily Shuman Bruce M. Siegan Dr. Terry M. Silver Scott and Joan Singer Jiirgen Skoppek Ken and Marcia Slotkowski Tim and Marie Slottow Carl and Jari Smith David and Renate Smith Robert W. Smith Ren and Susan Snyder Yoram and Eliana Sorokin Joseph H. Spiegel Gretta Spier and
Jonathan Rubin Jeff Spindler David and Ann Staiger James L. Stoddard John W. and
Gail Ferguson Stout Mary and Ken Stover 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 Denise Thai and
David Scobey Mary H. Thieme Janet E. and
Randall C. Torno Alvan and Katharine Uhle Susan B. Ullrich 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 Arthur and
Renata Wasserman Enid Wasserman Jack and Jerry Weidenbach
Leslie Whitfield Nancy Wiernik Ralph G. Williams Charlotte A. Wolfe Amanda and Ira Wollner Ellen Woodman Mary Jean and John Yablonky Richard and Kathryn Yarmain Zakhour and
Androulla Youssef Gail and David Zuk
UMS also expresses its deepest appreciation to its many donors who give less than $250 each year, enabling the ongoing success of UMS programs.
July 1, 2008-November 1, 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.
5100,000 or more
Doris Duke Charitable Foundation
Lenore M. Delanghe Trust Estate of Lillian G. Ostrand
James and Nancy Stanley
Estate of Betty Ann Peck
AMGEN Foundation
Herb and Carol Amster
John R. Edman and Betty B. Edman
Susan and Richard Gutow
Gilbert Omenn and Martha Darling
Stephen and Agnes Reading
Susan B. Ullrich
Marina and Robert Whitman
Bernard and Raquel Agranoff Jean and Ken Casey Charles and Julia Eisendrath Sid Gilman and Carol Barbour Paul and Anne Glendon Debbie and Norman Herbert Diane S. Hoff Natalie Matovinovic Prue and Ami Rosenthal Jay and Mary Kate Zelenock
Jerry and Gloria Abrams
Dr. Jo Ann Aebersold
Hiroko and Michael Akiyama
Bob and Martha Ause
Emily W. Bandera
Ramon and Peggyann Nowak Berguer
Inderpal and Martha Bhatia
Anne Chase
Malcolm and Juanita Cox
Linda Davis and Robert Richter
Stefan and Ruth Fajans
David Fink and Marina Mata
Neal R. Foster and Meredith Lois Spencer Foster
Robert and Frances Gamble Trust
Thomas and Barbara Gelehrter
Lewis and Mary Green
John and Joyce Henderson
Dr. and Mrs. Robert Hensinger
Marilyn G. Jeffs
Robert and Jeri Kelch
Dorothea Kroll and Michael Jonietz
John Lawrence and Jeanine DeLay
Richard LeSueur
Joan and Melvyn Levitsky
Barbara and Michael Lott
Joan Lowenstein and Jonathan Trobe
Regent Olivia Maynard and Olof Karlstrom
Frieda H. Morgenstern
Nebraska Book Company
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
Frances Wright
Ruth Carey
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
Mike Allemang
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
Robert and Pearson 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
Prue and Ami 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
John Andrews
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 Partridge
Gwen and Emerson Powrie
Gail W. Rector
Steffi Reiss
Sally Rogers
Edith Rose
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
Ann R. Taylor
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
Anne Yagle
Gifts In-Kind
Alumni Association of the University
of Michigan
Ann Arbor Cooks, Natalie Marble Ann Arbor District Library Ann Arbor Fire Department Station 1 Anonymous
Dale and MariAnn Apley Phil and Lorie Arbour Barbara Bach Kathie Barbour Barton Hills Country Club Berry Goldsmiths Bistro Renaissance Black Star Farms Francine Bomar Barbara Everitt Bryant Cafe Zola Camp Michigania Craig Capelli, The Chippewa Club Pat Chapman Cheryl Clarkson Jill Collman Wendy Comstock Flip and Jean Connell Paul Cousins Heather Dombey Downtown Home and Garden Mary Ann Faeth Sara Fink Susan A. Fisher Susan R. Fisher The Friars
James M. and Barbara H. Garavaglia Paul and Anne Glendon Kathy Goldberg Joe Grimley Susan Gutow Idelle Hammond-Sass Charlene Hancock Alice and Clifford Hart Heavenly Metal
Hotel Iroquois, Mackinac Island Chantel Jackson John Schulz Photography Christopher Kendall
Meg Kennedy Shaw
Steve and Shira Klein
Mary LeDuc
Joan Levitsky
Liberty Athletic Club
Martin and Jane Maehr
Melanie Mandell
Ann Martin
Kathy McKee Casting Studio
Joanna McNamara
Robin Meisel
Liz Messiter
Michigan Theater
Middle Earth
Virginia Morgan
Leonard Navarro
Kay and Gayl Ness
Steve and Betty Palms
Performance Network Theatre
Pictures Plus
Plum Market
Elisabeth and Michael Psarouthakis
Purple Rose Theatre
Renaissance Bistro
Julie Ritter
Jamie Saville
Dick Scheer, Village Corner
Penny Schreiber
SeloShevel Gallery
Ingrid Sheldon
John Shultz
Alida Silverman
Andrea Smith
Becki Spangler
Karen Stutz
Sweet Gem Confections
Ted and Eileen Thacker
Lisa Townley
Louise Townley
Amanda and Frank Uhle
University of Michigan Exhibit
Museum of Natural History University of Michigan
Men's Soccer Team Renee Vettorello Enid Waserman Wawashkamo Golf Club,
Mackinac Island Whole Foods Debbie Williams-Hoak Ellen Woodman Jay and Mary Kate Zelenock Zingerman's Bakehouse

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