UMS Concert Program, Saturday Sep. 25 To Oct. 09: Ums 10 11 - Fall 2010 - Saturday Sep. 25 To Oct. 09 --

Season: Fall 2010
University Of Michigan Ann Arbor

ums
Jniversity Musical Society of the University of Michigan Ann Arbor
Ul
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university musical society
Fall 10
University of Michigan Ann Arbor
2 Letters from the Presidents 5 Letter from the Board Chair
UMSLeadership
7 UMS Corporate and Foundation Leaders
14 UMS Board of DirectorsNational Council SenateAdvisory Committee
15 UMS StaffCorporate Council Teacher Advisory Committee
UMSlnfo 17 19 General Information UMS Tickets
UMSAnnals 21 22 UMS History UMS Venues and Burton Memorial Tower
Event Program 24 Your event program follows page 24
UMSExperience 25 27 29 UMS Education and Community Engagement Programs Adult, University, and Community Programs Youth, Teen, and Family Programs
UMSSupport 33 33 35 37 38 48 Corporate Sponsorship and Advertising Individual Donations UMS Advisory Committee Member Organizations Lifetime Giving to UMS Annual Fund Support UMS Advertisers

Cover: Rosanne Cash (photo: Deborah Feingold); La Capella Reial de Catalunya with Hesperion XXI, Tembembe Ensamble Continuo, and Jordi Savall; Carolina Chocolate Drops; Sankai Juku
FROM THE U-M PRESIDENT
Welcome to this University Musical Society (UMS) performance. At the University of Michigan we are proud of UMS and of the world-class artists and ensem?bles it brings each season to the University and southeast Michigan.
We are also proud of the outstanding edu?cational programs UMS offers to people of all
ages and of the new works in dance, theater, and music it commissions and premieres. UMS's educational programs for U-M students provide academic context and back?ground for arts performances in both classroom and infor?mal settings as well as direct practical experience in arts
administration through significant work-study and internship opportunities.
Through the U-MUMS Partnership Program, the University is pleased to provide support to UMS as it carries out its commitment to education, creation, and presentation, paralleling the Uni?versity's commitment to teaching, research, and public engagement.
UMS gained national distinction recently from two leading foundations when it received a three-year grant from the Andrew W. Mellon Foundation to support UMS's commitment to classical music programming of "ambition, scope, and rigor" and a two-year grant from the Doris Duke Charitable Foundation to partner with the U-M Health System on a project titled "Medical Training and the Arts." This project seeks to enhance the ability of medical students and house officers to deliver high-quality,
humanistic clinical care through immersion in and analysis of specially designed arts activities and to offer experiences in health care for artists. On the regional level, I'm excited that UMS is partner?ing with two key Detroit cultural institutions, the Detroit Symphony Orchestra and Michigan Opera Theater, to bring Mahler's Symphony No. 8 with its hundreds of performers to both Detroit and Ann Arbor in March 2011. A work of this magnitude can be mounted only when organizations commit to working together.
UMS is a member of the University's Public Goods Council (PGC), a cluster of campus orga?nizations dedicated to advancing scholarship and culture through music, works of art, special collec?tions, historical archives, natural science resources, performance programs, coursework, and experi?ential learning. The PGC promotes collaboration in ways that enrich the educational and cultural experience on campus and in the community. One of UMS's longtime PGC collaborators is the U-M Museum of Art whose new director, Joseph Rosa, joined us in July from the Art Institute of Chicago.
I encourage you to attend more UMS events and those offered by the many other outstanding arts and cultural organizations of the University. To learn more about these activities, visit the University's arts portal, Montage, at www.montage.umich.edu.
Sincerely,
Mary Sue Coleman
President, University of Michigan
FROM THE UMS PRESIDENT
Welcome! All of us associated with UMS are grateful that you're here at this performance. We hope you'll enjoy the experience and attend more UMS events during our 132nd season. You will find a listing of events on page 2 towards the center of this program book.
In these demanding economic times, people are focusing on the idea of "return on investment": What are the benefits realized for each dollar invested in a given project or organization In the nonprofit world, this question is often re-phrased as: Is the recipient of my donation using my money wisely and effectively
Here at UMS, I can assure you that the answer is a resounding "yes." Though the past few years have presented many challenges, we have main?tained our commitment to excellence in everything we do, whether it's presenting performances by great artists; offering educational events for stu?dents and the community; creating new ways for audiences to connect with artists through our new online initiative, www.umsLOBBY.org; or running a lean, efficient, responsible organization.
Thanks to you, we achieved our goals for the past season, hitting both programmatic and finan?cial targets. We are committed to doing the same this season, and with your help we know we will.
We are fortunate at UMS to have an out?standing Board of Directors, led by Chair James C. Stanley, M.D. At the June annual meeting, we wel?comed five new members to the Board: Janet Calla-way, Stephen R. Forrest, Shelia M. Harden, Donald Morelock, and David N. Parsigian. We also recog?nized five Board members who completed six years of distinguished service on the Board and who will
now become members of the UMS Senate: Kathleen Benton, Charles W. Borgsdorf, Maxine J. Frankel, Patricia M. Garcia, and John J. H. Schwarz.
Feel free to get in touch with me if you have any ques?tions, comments, or prob?lems. If you don't see me in the lobby, send me an e-mail
message at kenfisch@umich.edu or call me at 734.647.1174. Thanks again for coming to this event.
Very best wishes,
Kenneth C. Fischer UMS President
"In the nonprofit world, this question is often re-phrased as: Is the recipient of my donation using my money wisely and effectively Here at UMS, I can assure you that the answer is a resounding 'yes.'"
FROM THE UMS BOARD CHAIR
How very lucky we are to experience the sound of music, the movement of dance, and the voice of theater as members of the UMS audience. Engaging artistic accomplishments, innovation, and inclusiveness have been hallmarks of extraordinary UMS performances for 132 years. UMS has enriched and inspired our communities as well as those on stage: the orchestras, ensembles, soloists, troupes, and casts performing before us. UMS makes a difference to all of us.
UMS has established an exciting bond between audiences and performers. The emotional and intellectual spirit of wide-ranging events in various venues has a sustaining importance to our well-being, and the 1011 season's 80 performances are a testament to that value. Think of the classical music of Russia's Mariinsky Orchestra and St. Petersburg Philharmonic, the singing of Renee Fleming, the flow of the Merce Cunningham Dance Company, the moods of Wynton Marsalis and the Jazz at Lincoln Center Orchestra, Shakespeare's voice of England's Propeller Theater Company, the beat of Japan's Kodo, and the authentic American music of the Carolina Chocolate Drops or the heartfelt songs of Rosanne Cash. It doesn't get any better anywhere.
The UMS Board and I encourage all of you to join the entire UMS team in enjoying the 1011 season's performances. Dare yourself to embrace the sounds and sights of diversity in the perform?ing arts. They are the very essence of life on our
ever-shrinking planet and your exposure will brighten your days. Become advocates for the cultural contributions UMS offers to our greater communities. We welcome and appreciate your presence. Talk to us at www.ums.org and participate in our preand post-performance conversations at www.umsLOBBY.org. And
remember how lucky we all are to be enriched and inspired by the UMS experience.
Sincerely,
James C. Stanley
Chair, UMS Board of Directors
"The emotional and intellectual spirit of wide-ranging events in various venues has a sustaining importance to our well-being, and the 1011 season's 80 performances are a testament to that value."
Leadership
CORPORATE AND FOUNDATION LEADERS
James G. Vella
President, Ford Motor Company Fund and Community Services "Through music and the arts, we are
inspired to broaden our horizons, bridge differences among cultures, and set our spirits free. We are proud to support the University Musical Society and acknowledge the important role it plays in our community."
Dr. Ora Hirsch Pescovitz
Executive Vice President for Medical Affairs, University of Michigan, and CEO, University of Michigan Health System "When I was young, I contemplated becoming a concert pianist. Though I didn't pursue that career path, the arts have remained a prominent fixture in my life, both personally and professionally. Music and the arts feed our imaginations, heal our spirits, and inspire us to evolve and grow. We are very fortunate to have the University Musical Society as part of our community, and the University of Michigan Health System is privileged to sponsor such a creative, vibrant part of our culture. Here's to a great year!"
Douglass R. Fox
President, Ann Arbor Automotive "We at Ann Arbor Automotive are pleased to support the artistic variety and program excellence given to us by the University Musical Society."
Timothy G. Marshall
President and CEO, Bank of Ann Arbor "Bank of Ann Arbor is pleased to continue its longstanding tra?dition 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 UMSforthe 1011 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."
Bruce Duncan
Ann Arbor Regional Bank President, Comerica Bank "Comerica is proud to support the University Musical So?ciety. UMS continues to enrich the local community by bringing the finest performing arts to Ann Arbor, and we're pleased to continue to support this long-standing tradition."
Fred Shell
Vice President, Corporate and Government Affairs, DTE Energy
"The DTE Energy Foundation is pleased to support ex?emplary 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 200 employees and sales associates are proud of our nearly 30-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."
Nancy and Randall Faber
Faber Piano Institute
"We are proud to support the University Musical Society in its tradition of program excellence and outreach that enriches our thoughts, our families, and our 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!"
David N. Parsigian
Ann Arbor Office Managing Partner, Honigman Miller Schwartz and Cohn LIP
"In our firm's tradition of supporting major cultural institutions, Honigman has been a long-time supporter of the University Musical Society. Our Ann Arbor office is proud to carry on that tradition on behalf of all of our attorneys, especially those who work and live in the Ann Arbor area. We all view the exceptional cultural experiences that UMS provides as key to the success of our community and our firm."
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
Michigan 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."
Stephen G. Palms
Principal, Miller, Canfield, Paddock and Stone, P.L.C. "Miller Canfield proudly supports the University Musical Society for enhancing our quality of life by bringing the unfiltered immediacy of live performing arts to our community."
John W. McManus
Market President, South Central Michigan, PNC Bank
"PNC Bank is proud to support the efforts of the University Musical Society and the Ann Arbor community."
Joe Sesi
President, Sesi Lincoln Mercury Volvo Mazda "The University Musical Society is an important cultural asset for our community. The Sesi Lincoln Mercury Volvo Mazda team is delighted to sponsor such a fine organization."
Thomas B. McMullen
President, Thomas B. McMullen Co., Inc. " I used to feel that a U-M-Ohio State football ticket was the best ticket in Ann Arbor. Not anymore. UMS provides the best in educational and artistic entertainment."
Tom Thompson
Owner, Tom Thompson Flowers
"Judy and I are enthusiastic participants in the UMS family. We appreciate how our lives have been elevated by this relationship."
Shigeki Terashi
President, Toyota Technical Center "Toyota Technical Center is proud to support UMS, an organization with a long and rich history of serving diverse audiences through a wide variety of arts programming."
Jeff Trapp
President, University of Michigan Credit Union "Thank you to the University Musical Society for enriching our lives. The University of Michigan Credit Union is proud to be a part of another great season of performing arts."
FOUNDATION AND GOVERNMENT SUPPORT
UMS gratefully acknowledges the support of the following foundations and government agencies:
S100,000or more
Association of Performing Arts Presenters Community Foundation for Southeast Michigan Doris Duke Charitable Foundation The Andrew W. Mellon Foundation National Endowment for the Arts
$50,000-599,999
Anonymous DTE Energy Foundation Esperance Family Foundation W.K. Kellogg Foundation
$20,000-549,999
Cairn Foundation
EmcArts
Maxine and Stuart Frankel Foundation
Charles H. Gershenson Trust
Masco Corporation Foundation
S10,000-$19,999
Arts Midwest's Performing Arts Fund Eugene and Emily Grant Family Foundation Japan Foundation
John S. and James L. Knight Foundation Michigan Council for Arts and Cultural Affairs THE MOSAIC FOUNDATION (of R. & P. Heydon)
$1,000-59,999
Martin Family Foundation
National Dance Project of the New England Foundation for the Arts
Sams Ann Arbor Fund
Target
TCF Bank Foundation
UNIVERSITY MUSICAL SOCIETY of the University of Michigan UMS BOARD OF DIRECTORS
James C. Stanley,
Chair David J. Herzig,
Wee Chair Martha Darling,
Secretary Robert C. Macek,
Treasurer
Wadad Abed Carol L. Amster Lynda W. Berg
DJ Boehm Robert Buckler Janet Callaway David Canter Mary Sue Coleman Julia Donovan Darlow Junia Doan Stephen R. Forrest Chris Genteel Anne Glendon Shelia M. Harden Joel D. Howell
Christopher Kendall S. Rani Kotha Melvin A. Lester Joetta Mial Lester P. Monts Donald Morelock Roger Newton Stephen G. Palms David N. Parsigian Todd Roberts Sharon Rothwell Edward R. Schulak
Ellie Serras Joseph A. Sesi Anthony L. Smith Cheryl L. Soper
Clayton E. Wilhite,
Chair, National Council A. Douglas Rothwell,
Chair, Corporate Council Elizabeth A. Palms,
Chair, Advisory
Committee
UMS NATIONAL COUNCIL
Clayton E. Wilhite,
Chair
Kathleen Charia Marylene
Delbourg-Delphis
John Edman Janet Eilber Maxine Frankel Eugene Grant Charles Hamlen
Katherine Hein David Heleniak Toni Hoover Judy Istock Patti Kenner
Wallis Klein Jerry Kolins Zarin Mehta Herbert Ruben Russell Willis Taylor
James C. Stanley, Ex-officio
UMS SENATE (former members of the UMS Board of Directors)
Robert G. Aldrich Michael C. Allemang Herbert S. Amster Gail Davis Barnes Kathleen Benton Richard S. Berger Maurice S. Binkow Lee C. Bollinger Charles W. Borgsdorf 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 Al Dodds
James J. Duderstadt Aaron P. Dworkin David Featherman David J. Flowers George V. Fornero Maxine J. Frankel Patricia M. Garcia Beverley B. Geltner William S. Hann Randy J. Harris Walter L. Harrison Deborah S. Herbert Norman G. Herbert Carl W. Herstein
Peter N. Heydon Toni Hoover Kay Hunt Alice Davis Irani Stuart A. Isaac Thomas E. Kauper David B. Kennedy Gloria James Kerry Thomas C. Kinnear Marvin Krislov F. Bruce Kulp Leo A. Legatski Earl Lewis Patrick B. Long Helen B. Love Cynthia Morril MacDonald Judythe H. Maugh Paul W. McCracken Rebecca McGowan
Barbara Meadows Alberto Nacif Shirley C. Neuman Jan Barney Newman Len Niehoff Gilbert S. 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 John J.H. Schwarz
Erik H. Serr Harold T. Shapiro George I. Shirley John 0. Simpson Herbert Sloan Timothy P. Slottow Carol Shalita Smokier Jorge A Solis Peter Sparling Lois U. Stegeman Edward D. Surovell James L. Telfer Susan B. Ullrich Michael D. VanHemert Eileen Lappin Weiser B. Joseph White Marina v.N. Whitman Clayton E. Wilhite Iva M. Wilson Karen Wolff
UMS ADVISORY COMMITTEE
Elizabeth A. Palms.
Chair Susan R Fisher,
Wee Chair Sara Fink. Secretary Natalie Mobley.
Treasurer Janet Callaway,
Past Chair
Ricky Agranoff Zakiyyah All Sandy Aquino Lorie Arbour Barbara Bach Pat Bantle
Francine Bomar Dennis J. Carter Stefani Carter Cheryl Cassidy Patricia Chapman Cheryl Clarkson Judy Cohen Wendy Comstock Linda Creps Sheila Crowley Doug Czinder Mary Dempsey Leslie Desmond Mary Ann Faeth Michaelene Farrell Laurel Fisher
Susan A Fisher Rosamund Forrest Hedy Fnsancho Kalhy Goldberg Ken Gray Linda Grekin Nan Griffith Nicki Griffith Joe Grim ley Susan Gross Susan Gutow Charlene Hancock Shelia Harden Alice Hart Jane Holland Sue Johnson
Barbara Kaye Mara Raver Lash Mary LeDuc Joan Levitsky Jean Long Jane Maehr Jennifer J. Maisch Melanie Mandell Ann Martin Fran Martin Deborah Meadows Liz Messiter Robin Miesel Natalie Mobley Chaity Nath Bonita Davis Neighbors
Kay Ness Sarah Nicoli Thomas Ogar Liz Othman Ruth Petit Allison Poggi Susan Pollans Agnes Moy-Sarns Audrey Schwimmer Bev Seiford Aliza Shevrin Barb Shoffner Debbie Shtulman Loretta Skewes Andrea Smith Ren Snyder
Becki Spangler Linda Spector Nancy Stanley Carlin C. Stockson Gail Ferguson Stout Karen Stutz Eileen Thacker Janet Torno Louise Townley Amanda Uhle Ebru Uras Barbara Wagner Kirsten Williams Sarajane Winkelman
UMS STAFF
AdministrationFinance
Kenneth C. Fischer, President Kathy M. Brown, Executive
Assistant John B. Kennard, Jr.,
Director of Administration Beth Gilliland,
Gift Processor I IT Assistant Patricia Hayes, Senior Accountant John Peckham,
Information Systems Manager
Choral Union
Jerry Blackstone,
Conductor and Music Director Jason Harris, Assistant Conductor Kathleen Operhall, Chorus
Manager
Nancy K. Paul, Librarian Jean Schneider, Accompanist Scott VanOrnum, Accompanist Donald Bryant, Conductor
Emeritus
Development
Susan McClanahan, Director Susan Bozell Craig, Manager of
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
EducationCommunity Engagement
Claire C. Rice, Interim Director Mary Roeder,
Residency Coordinator Omari Rush, Education Manager
MarketingPublic Relations
Sara Billmann, Director
James P. Leija, Manager of New
Media and Online Initiatives Stephanie Normann, Marketing
Manager
ProgrammingProduction
Michael J. Kondziolka, Director Jeffrey Beyersdorf,
Technical Director Anne Grove, Artist Services
Manager Mark Jacobson,
Programming Manager Michael Michelon, Program
Administrator Liz Stover, Programming
Coordinator
Ticket Services
Jennifer Graf, Ticket Services
Manager 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
Students
Emily Barkakati Adam Bichir Greg Briley Tyler Brunsman Ella Campbell Jake Cinti Shannon Deasy Kelsy Durkin Carrie Fisk Tim Hausler Jasmine Hentschel Jennifer Howard Andy Jones Jacob Joyce
Neal Kelley Olivia Lloyd Brooke Undin Mary Martin Michael Matlock Michael Mauskapf Bryan McGivern Scott Padden Steven Rish Bennett Stein Maureen Stych Sarah Suhadolnik Catherine Tippman
UMS CORPORATE COUNCIL
A. Douglas Rothwell,
Chair
Albert Berriz Bruce Brownlee
Robert Buckler Nolan Finley Stephen R. Forrest James Garavaglia
Timothy Gretkierewicz Steven K. Hamp Michele Hodges Mary Kramer
Maud Lyon David Parsigian Ora Pescovitz Sharon Rothwell
Michael B. Staebler James G. Vella James C. Stanley, Ex-officio
UMS TEACHER ADVISORY COMMITTEE
Abby Alwin Fran Ampey Robin Bailey Greta Barfield Joey Barker Alana Barter Judy Barthwell Rob Bauman Suzanne Bayer Eli Bleiler
Ann Marie Borders David Borgsdorf Sigrid Bower Marie Brooks Susan Buchan Carl Clark Ben Cohen Julie Cohen Leslie Criscenti Orelia Dann
Saundra Dunn Johanna Epstein Susan Fihpiak Katy Fillion Delores Flagg Joey Panns Jeff Gaynor Joyce Gerber Barb Grabbe Joan Grissing
Linda Jones Jeff Kass Rosalie Koenig Sue Kohfeldt Laura Machida Jose Mejia Kim Mobley Michelle Peet Rebeca Pietrzak Cathy Reischl
Vicki Shields Gretchen Suhre Julie Taylor Cayla Tchalo Dan Tolly Alex Wagner Barbara Wallgren Kimberley Wright Kathryn Young
UMSInfo
GENERAL INFORMATION
Barrier-Free Entrances
For persons with disabilities, all venues have barrier-free entrances. Wheelchair locations vary by venue; visit www.ums.orgtickets or call 734.764.2538 for details. Ushers are available for assistance.
Listening Systems
For hearing-impaired persons, Hill Auditorium, Power Center, and Rackham Auditorium are equipped with assistive listening devices. Earphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Hill Auditorium, Lydia Mendelssohn Theatre, Power Center, or Rackham Auditorium, please call University Productions at 734.763.5213. For the Michigan Theater, call 734.668.8397. For St. Francis of Assisi, call 734.821.2111.
Parking
Please allow plenty of time for parking as the campus area may be congested.
Parking is available in the Church Street, Maynard Street, Thayer Street, Fletcher Street, and Fourth Avenue structures for a minimal fee. Please allow enough time to park before the performance begins. UMS donors at the Patron level and above ($1,000) receive 10 complimentary parking passes for use at the Thayer Street or Fletcher Street structures in Ann Arbor.
UMS offers valet parking service for Hill Auditorium performances in the 1011 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 Concert-master level ($7,500) and above are invited to use this service at no charge.
Other recommended parking that may not be as crowded as on-campus structures: Liberty Square structure (formerly Tally Hall), entrance off of Washington Street between Division and State; about a two-block walk from most performance venues, $2 after 3 pm weekdays and all day SaturdaySunday. Maynard Street structure, entrances off Maynard and Thompson between Willliam and Liberty, $.45half-hour, free on Sunday.
For up-to-date parking information, please visit www.ums.orgparking.
Refreshments
Refreshments are available in the lobby during intermissions at events in the Power Center, in the lower lobby of Hill Auditorium (beginning 75 minutes prior to concerts--enter through the west lobby doors), and in the Michigan Theater. Refreshments are not allowed in the seating areas.
Non-Smoking Venues
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
Start Time
UMS makes every effort to begin concerts at the published time. Most of our events take place in the heart of central campus, which does have limited parking and may have several events occurring simultaneously in different theaters. Please allow plenty of extra time to park and find your seats.
Latecomers
Latecomers will be asked to wait in the lobby until seated by ushers. Most lobbies have been outfitted with monitors andor speakers so that latecomers will not miss the performance.
The late-seating break is determined by the artist and will generally occur during a suitable repertory break in the program (e.g., after the first entire piece, not after individual movements of classical works). There may be occasions where latecomers are not seated until 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.
UMS TICKETS
Group Tickets
Treat 10 or more friends, co-workers, or family members to an unforgettable performance of live music, dance, or theater. Whether you have a group of students, a business gathering, a col?lege 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 ad?vantages to booking as a group include:
Reserving tickets before tickets go on sale to the general public
Discounts of 15-25 for most performances
Accessibility accommodations
No-risk reservations that are fully refundable up to 14 days before the performance, unless the group order is completed
1-3 complimentary tickets for the group organizer (depending on size of group). Complimentary tickets are not offered for performances without a group discount.
For more information, please contact 734.763.3100 or umsgroupsales@umich.edu.
UMS Kids Club
Parents can introduce their children to world-renowned artists through the UMS Kids Club. The UMS Kids Club allows students in grades 3-12 to purchase tickets to any UMS event at significantly discounted rates. Parents can pur?chase up to two children's tickets for $10 each with the purchase of a $20 adult ticket begin?ning two weeks before the concert. Seating is subject to availability. For more information, call 734.764.2538 or sign up for UMS E-News and check the box for UMS Kids Club.
Returns
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.
Ticket Exchanges
Subscribers may exchange tickets free of charge up until 48 hours prior to the perfor?mance. 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 performance. 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 23, 2011.
UMS now accepts ticket exchanges within 48 hours of the performance for a $10 per ticket exchange fee (applies to both subscrib?ers 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 performance will be returned as a tax-deductible contribution.
STUDENT TICKETS
A variety of discounted ticket programs are available for University students and teenagers.
Half-Price Student Ticket Sales
At the beginning of each semester, UMS offers half-price tickets to college students. A limited number of tickets are available for each event in select seating areas. Simply visit www.ums. orgstudents, log-in using your U-M uniqname and Kerberos password, and fill out your form. Orders will be processed in the order they are received. You will pay for and pick up your tickets at a later date at the Michigan League Ticket Office.
Winter Semester Sale: Begins Sunday, January 9, 2011 at 8pm and ends Tuesday, January 11, 2011 at 12 noon.
Rush Tickets
Sometimes it pays to procrastinate! UMS Rush Tickets are sold to college students for $10 the day of the performance (or on the Friday before weekend events) and $15 beginning 90 minutes before the event. Rush Ticket availability and seating are subject to Ticket Office discretion. Tickets must be purchased in person at the Michigan League Ticket Office or at the perfor?mance venue ticket office. Just bring your valid college ID. Limit two tickets per student.
Teen Tickets
Teens can attend UMS performances at signifi?cant discounts. Tickets are available to teens for $15 beginning 90 minutes before the perfor?mance 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 www.ums.org.
UMSAnnals
UMS HISTORY
Through a commitment to presenta?tion, education, and the creation of new work, the University Musical So?ciety (UMS) serves Michigan audienc?es by bringing to our community an ongoing series of world-class artists, who rep?resent the diverse spectrum of today's vigorous and exciting live performing arts world. Over the past 132 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 commitment to dynamic and creative visions of where the performing arts will take us in this new millen?nium. Every day UMS seeks to cultivate, nurture, and stimulate public interest and participation in every facet of the live arts.
UMS grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Simmons Frieze and conducted by Profes?sor 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 performed by the UMS Choral Union annually.
Many Choral Union members also be?longed to the University, and the University Mu?sical 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 sea?son. 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 ex?panded its charge over its 132-year history. Re?cent 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 Mariinsky Orchestra (2006), Orff's Carmina Burana for Maestro Leonarc Slatkin's inaugural weekend as Music Director of the Detroit Symphony Orchestra (2008), and Mahler's Symphony No. 2 ("Resurrection") with the San Francisco Symphony and Michael Tilson Thomas (2010).
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, cor?porate and individual contributions, foundation and government grants, special project support from U-M, and endowment income.
UMS VENUES AND
BURTON MEMORIAL TOWER
Hill Auditorium
Originally built in 1913, Hill Auditorium re-opened to the public in January 2004 follow?ing a $38.6-million dollar renovation overseen by Albert Kahn Associates, Inc. and historic preservation architects Quinn EvansArchitects. The renovation updated Hill's infrastructure and restored much of the interior to its origi?nal splendor. Exterior renovations include the reworking of brick paving and stone retaining wall areas, restoration of the south entrance plaza, the reworking of the west barrier-free ramp and loading dock, and improvements to landscaping.
Interior renovations included the demoli?tion of lower-level spaces to ready the area for future improvements, the creation of additional restrooms, the improvement of barrier-free cir?culation by providing elevators and an addition with ramps, the replacement of seating to in?crease patron comfort, introduction of barrier-free seating and stage access, the replacement of theatrical performance and audio-visual systems, and the complete replacement of me?chanical 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. Since then, UMS has pre?sented theater work, jazz ensembles, song recit?als, and more in the Lydia Mendelssohn Theatre, housed inside the Michigan League.
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 com?munity 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 Michi?gan had no adequate proscenium-stage theater for the performing arts. Hill Auditorium was too massive and technically limited for most produc?tions, 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, togeth?er with their son Philip, wished to make a major gift to the University. The Powers were imme?diately interested in supporting the University's desire to build a new theater, realizing that state and federal governments were unlikely to pro?vide financial support for the construction of a theater.
Opening in 1971 with the world premiere of The Grass Harp (based on the novel by Tru?man 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 orches?tra 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 Audito?rium, and Newberry Hall, the current home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strongly in the importance of the study of human history 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 ap?preciate 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 Catho?lic Church has grown from 248 families when it first started to more than 2,800 today. The
present church seats 1,000 people and has ample free parking. In 1994, St. Francis pur?chased a splendid three-manual "mechani?cal action" organ with 34 stops and 45 ranks, built and installed by Orgues Letouneau 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 reverberant sanctuary has made the church a gathering place for the enjoyment and contem?plation of sacred a cappella choral music and early music ensembles.
Matthaei Botanical Gardens
In 1907, the University created a Botanical Gar?den and Arboretum on the land between Ged-des Road and the Huron River, just a few blocks from Central Campus on the site now known as Nichols Arboretum. At the time, the prop?erty consisted of approximately 80 acres. To?day, more than 100 years later, the University of Michigan Matthaei Botanical Gardens and Nichols Arboretum manages over 700 acres of gardens, research areas, and natural preserves around the Ann Arbor area with a complex of conservatory, greenhouses, laboratory, teach?ing and meeting spaces at Matthaei Botanical Gardens and the James D. Reader, Jr. Center for Urban Environmental Education at Nichols Arboretum.
Burton Memorial Tower
Seen from miles away, Burton Memorial Tow?er 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 fourth heaviest con?taining 55 bells and weighing a total of 43 tons. UMS has occupied administrative offices in this building since its opening.
Fall 2010 Season 132nd Annual Season
General Information
On-site ticket offices at performance venues open 90 minutes before each performance.
Children of all ages are welcome at UMS Family and Youth Performances. Children under the age of 3 will not be admitted to regular, full length UMS performances. All children must be able to sit quietly in their own seats without disturbing other patrons. Children unable to do so, along with the adult accompanying them, will be asked by an usher to leave the audito?rium. Please use discretion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.
Cameras and recording equipment
are prohibited in the auditorium.
If you have a question, ask your usher. They are here to help.
Please turn off your cellular phones and other digital devices so that everyone may enjoy this UMS event disturbance-free
In the interests of saving both dollars and the environment, please either retain this program book and return with it when you attend other UMS performances included in this edition or return it to your usher when leaving the venue.
Event Program Book
Saturday, September 25 through Saturday, October 9, 2010
Rosanne Cash 5
The List
Saturday, September 25, 8:00 pm Hill Auditorium
La Capella Reial de Catalunya 11
Hesperion XXI
Tembembe Ensamble Continuo
Thursday, September 30, 8:00 pm St. Francis of Assisi Catholic Church
Paul Taylor Dance Company
Thursday, October 7, 8:00 pm 19
Friday, October 8, 8:00 pm 23
Saturday, October 9, 1:00 pm (Family Performance) 29
Saturday, October 9, 8:00 pm 33 Power Center
ums University Musical Society
Fall 2010
September
9-
Oct3 Susurrus
25 Rosanne Cash
30 La Capella Reial de Catalunya with
Hesperion XXI and
Tembembe Ensamble Continuo
October
7-9 Paul Taylor Dance Company
9 Paul Taylor Dance Company
Family Performance
10 Mariinsky Orchestra with
Denis Matsuev, piano
14 Takacs Quartet: Schubert Concert 1
21 Jerusalem Quartet
23-24 Sankai Juku: Hibiki: Resonance from
Far Away
27 Venice Baroque Orchestra with
Robert McDuffie, violin
29 Django Reinhardt's 100th Birthday
Celebration: The Hot Club of San
Francisco and The Hot Club of Detroit
31 NT Live: A Disappearing Number
November
2 ONCE. MORE.: ONCE THEN
4 ONCE. MORE.: ONCE NOW
4 The Tallis Scholars
5 Mariachi Vargas de Tecalitlan
6 Assi El Helani
10 Murray Perahia, piano
18-20 Stew & The Negro Problem
December
3 Carolina Chocolate Drops
4-5 Handel's Messiah
Winter 2011
January
2 NT Live: Hamlet
14-15 Laurie Anderson's Delusion
16 Renee Fleming, soprano
21-22 Grupo Corpo
23 Joanne Shenandoah
27 Sequentia

30 Baby Loves Salsa Family Performance 30 I NT Live: FELA!
February
1 The Cleveland Orchestra with Pierre-Laurent Aimard, piano
2 i Jazz at Lincoln Center Orchestra with
Wynton Marsalis
4 New Century Chamber Orchestra with i Nadja Salerno-Sonnenberg, violin
10 : Blues at the Crossroads: The Robert
Johnson Centennial Concert
11 Rafal Blechacz, piano
12 Vijay Iyer Trio and Rudresh Mahanthappa's
Apex
13 ; Concertante with Rafal Blechacz, piano 1-19 Merce Cunningham Dance Company:
: The Legacy Tour
20 ! Takacs Quartet: Schubert Concert 2 20 ; NT Live: King Lear
23 Kodo
March
9 i Scharoun Ensemble Berlin 1-13 Druid and Atlantic Theater Company: I Martin McDonagh's The Cripple of Inishmaan
19 ; Detroit Symphony Orchestra with the ! UMS Choral Union: Mahler's Symphony No. 8
24 Bach Collegium Japan: Bach's Mass in b minor
Propeller: Shakespeare's Richard III and : The Comedy of Errors
April
2 St. Petersburg Philharmonic with Nikolai Lugansky, piano
6 I NT Live: Frankenstein
7 I Septeto Nacional de Ignacio Pineiro
de Cuba
8 Takacs Quartet: Schubert Concert 3
9 Tetzlaff Quartet
16 Tony Allen's Afrobeat Tour
23 I Liebeslieder Waltzes (Songs and Waltzes of Love)
May
14 Breakin'Curfew
July
17 NT Live: The Cherry Orchard
UMS Educational and Community Events
All UMS educational activities are free, open to the public, and take place in Ann Arbor unless otherwise noted. For complete details and updates, please visit www.ums.org or contact the UMS Education Department at 734.615.4077 or umsed@umich.edu. "
Rosanne Cash
American RootsAmerican Routes 101, Part 1: Country Music
Monday, September 20, 7:00 pm Cobblestone Farm Barn, 2781 Packard Road
What is country music Where does it come from And what makes it particularly American Come discuss these and other questions with speaker Jim "DJ Tex" Manheim, host of WCBN's Down Home Show and Bill Monroe for Breakfast and explore the connections between this "American" genre and the AmericasAmericans theme that is highlighted in this season's programs.
The Local "Lists" Show ($)
Thursday, September 23, 9:00 pm
The Yellow Barn, 416 West Huron Street
Ann Arbor's homegrown musical luminary Chris Bathgate hosts an evening of local musicians performing songs from their lists of essential and influential music, inspired by Rosanne Cash's The List concert.
$7 cover charge at the door.
Paul Taylor Dance Company
Panel Discussion:
American Dance Legacies: Paul Taylor Across
the Decades
Wednesday, October 6, 7:00 pm
Helmut Stem Auditorium, University of Michigan
Museum of Art, 525 S. State Street
Angela Kane, Chair of the U-M Dance Department, will lead a panel discussion with members of the Paul Taylor Dance Company on
Paul Taylor's body of work, his impact on modern dance, and constructions of American identity in his repertoire.
A collaboration with UMMA and the U-M School of Music, Theatre & Dance.
Pre-Concert Talk:
Then and Now: RestagingReviving Paul Taylor
Friday, October 8, 6:45 pm Power Center Green Room
Always one to look ahead to his next new creative idea, Paul Taylor has seldom looked back. But for this Ann Arbor retrospective of his work, the Friday night program will include the world premiere reconstruction of one of his earlier dances from the 1960s, Orbs. Taylor's source of inspiration is planetary cycles and the seasons; it is set to late string quartets of Beethoven. This panel discussion features PTDC alumni, Angela Kane (Chair of the U-M Dance Department) and noted dance writer and critic Clement Crisp (The Financial Times) on the restaging and revival of this work.
Open to all ticket holders for the Friday night performance.
A collaboration with the U-M School of Music, Theatre & Dance.
Family Event:
"So, we think YOU can dance!"
Saturday, October 9, 11:30 am Power Center Rehearsal Room
In this special pre-performance event led by a member of the Paul Taylor Dance Company, kids and their parents learn about dance, how to move, and what to expect to see at the UMS Family Performance immediately following the session. Everyone is an artist at this drop-in event...and everyone has fun, too!
visit www.ums.org for more information 0
ums University Musical Society
and the
University of Michigan
Health System
present
Rosanne Cash
Vocals and Guitar
John Leventhal, Guitars and Vocals
Jon Cowherd, Hammond B-3 Organ and Wurlitzer Electric Piano
Richard Hinman, Guitars
Tim Luntzel, Bass
Daniel Rieser, Drums
D.J. Mendel, Stage Direction and Video and Lighting Design John Leventhal, Musical Direction Lauren Mclntosh, Original Paintings
Program
William Heagney
Traditional
Hal David and Paul Hampton
Hy Heath and Fred Rose
Hank Snow
Harlan Howard
Hedy West
Danny Dill and Marijohn Wilkin
Hank Cochran
Bob Dylan
Merle Haggard
A. P. Carter
J. H. "Red" Hayes and Jack Rhodes
Mickey Newbury
Saturday Evening, September 25, 2010 at 8:00 Hill Auditorium Ann Arbor
The List
Ms. Cash would like to acknowledge the songwriters who wrote these essential American songs:
Miss the Mississippi and You
Motherless Children
Sea of Heartbreak
Take These Chains From My Heart
I'm Movin' On
Heartaches by the Numbers
500 Miles
Long Black Veil
She's Got You
Girl from the North Country
Silver Wings
Bury Me Under the Weeping Willow
Satisfied Mind
Sweet Memories
Please note that the sequence of songs performed during tonight's concert may differ from the above order. Tonight's concert will be performed without intermission.
Second Performance of the 132nd Annual Season
UMS Global Focus: Americas & Americans
The photographing or sound and video recording of this concert or possession of any device for such recording is prohibited.
This evening's performance is sponsored by the University of Michigan Health System.
Tonight's performance is hosted by Mainstreet Ventures, Thomas B. McMullen Company, Jane and Edward Schulak, and Rick and Susan Snyder.
Media partnership is provided by WEMU 89.1 FM, Metro Times, and Ann Arbor's 107one.
Special thanks to Bruce Michael Conforth, Jim Manheim, Chris Bathgate, and the U-M Program in American Culture for their support of and participation in events surrounding tonight's performance.
Photograph of Johnny Cash and Rosanne Cash used in tonight's performance by Annie Leibovitz.
Ms. Cash appears by arrangement with Concerted Efforts.
For more information about Rosanne Cash, Composed, and The List, please visit www.rosannecash.com.
Large print programs are available upon request.
About The List
There was always music in my house--my dad's music, the music my parents loved, the music of the fellow musicians and songwriters my dad brought home at the end of tours, and then the music I found on my own, when I became old enough to search out different radio stations and buy my own records.
The day after I graduated from high school in Ventura, California, I went on the road with my dad. We were riding on the tour bus one day in that summer of 1973, and we started talking about songs. My dad mentioned a song, and I said "I don't know that one." He mentioned another, and then another. I didn't know any of them. He became alarmed that I was so steeped in the rock and pop music of my time that I did not understand the vital importance of the songs that were my musical genealogy, the songs that had informed him, and would eventually inform me. He spent the afternoon making a list of songs for me. I can still see him, pensive, with his pencil raised above his legal pad, considering which sorgs would make the List. It was a list to educate me, to tell me about my Southern roots and my American history, about my legacy. He called the List "100 Essential Country Songs" but he could have called it "100 Essential American Songs," because he included history songs, protest songs, early folk songs, Delta Blues, gospel, Texas swing, and standards that simply defy genre.
I have held onto this List for 35 years.
This is the perfect collaborative project for my husband John and me. He loves these songs as I do, and he was aware of the need to choose and reinterpret them carefully, to reflect my Southern birth, my upbringing in southern California, a decade of living in Tennessee, and my life as a longtime New Yorker, as well as my own instincts as a songwriter and singer.
This record and concert are truly about history, respect, family, love, and legacy. To paraphrase T.S. Eliot, I have arrived where I started, and I have known it for the first time.
--Rosanne Cash
'...he could have called [the List] '100
Essential American Songs...'
Rosanne Cash is one of America's pre-emi?nent singers and songwriters. Over the past 30 years she has recorded 12 albums, and has had 11 1 singles. In that time she has navigat?ed her own path between country and rock, roots and pop, writing songs that are finely-wrought vignettes, both highly personal and universally appealing.
Ms. Cash is the keeper of an extraordinary fam?ily legacy. She was born in Memphis, Tennessee, on May 24, 1955, the eldest child of Johnny Cash and his first wife, Vivian Liberto.
After her parents separated she was raised by her mother in Los Angeles. Her father went on to marry singer June Carter, who also had an influ?ence on young Rosanne's musical path.
Following high school, Ms. Cash joined her father and stepmother's road show, working her way up from laundry duty to backup singer to so?loist. Prior to starting a full-time career in music, she studied drama at Nashville's Vanderbilt Uni?versity and at the Lee Strasberg Institute in Los Angeles.
Rosanne Cash's recordings included Right or Wrong, Seven Year Ache, Rhythm and Romance, King's Record Shop, Interiors, The Wheel, 10 Song Demo, Rules of Travel, and Black Cadillac. Her most recent album, The List, was released in the fall of 2009. The songs on it were selected from a list of 100 great American songs that her father gave her when she was 18 years old. The album features a duet with Bruce Springsteen and vocal contributions by Elvis Costello, Jeff Tweedy (Wilco), and Rufus Wainwright, and has been nominated for a Grammy Award and recently took top honors as "Album of the Year" at the 2010 Americana Music Honors and Awards.
Ms. Cash has also made her mark as a writer. She published a collection of short stories called Bodies of Water in 1995 and a children's book, Penelope Jane: A Fairy's Tale, in 2000. Her essays and fiction have appeared in various collections and publications, including The New York Times, Rolling Stone, Time Magazine, The Oxford Ameri?can, and New York Magazine.
Composed: A Memoir was published by Viking this past August. The book appeared on the New
York Times, Los Angeles Times, and Washington Post bestseller lists.
Over the course of her career, whether in music or on the printed page, Ms. Cash has articulated the most heartbreaking emotional realities: be?trayal, loss, misunderstanding, and isolation. But, in the family tradition, she always emerges with a firm belief in the limitless possibilities of personal redemption.
Rosanne Cash lives in New York City with her husband, producer and guitarist John Leventhal. She is the mother of five children.
Please visit RosanneCash.com for further information on her music and writing.
UMS welcomes Rosanne Cash as she makes her UMS debut this evening.
Rosanne Cash
ums University Musical Society
ums University Musical Society
presents
The Route of the New World
Spain-Mexico
The musical dialogue of Old Spain, the Mexican baroque, and the living Huasteca and Jarocho traditions
Direction
Montserrat Figueras soprano
with
Guest musicians from Mexico
Tembembe Ensamble Continuo
Donaji Esparza, Dance andZapateado
Ada Coronel, Voice and Vihuela
Zenen Zeferino, Voice and larana Jarocha 3a
Enrique Barona, Huapanguera, Leona, Jarana Jarocha 3ra, Mosquito,
Maracas, Pandero, Dance, and Voice Ulises Martinez, Violin and Voice Eloy Cruz, Guitarra Barroca, Jarana Barroca, and Theorbo Leopoldo Novoa, Marimbol, Guitarra de Son 3ra, Jarana Huasteca,
Quijada de Caballo, and Arpa Llanera
and
La Capella Reial de Catalunya
Adriana Fernandez, Soprano David Sagastume, Countertenor Uuis Vilamajo, Tenor Ivan Garcia, Bass Daniele Carnovich, Bass
Hesperion XXI
Jordi Savall, Viola da Gamba Fahmi Alqhai, Viola da Gamba Xavier Puertas, Violone Xavier Diaz-Latorre, Guitar David Mayoral, Percussion
Program
Thursday Evening, September 30, 2010 at 8:00 St. Francis of Assisi Catholic Church Ann Arbor
Pedro Guerrero
Mateo Flecha I Traditional jarocho
Santiago de Murcia I Traditional huasteco
Anonymous, Cancionero de Sablonara
Anonymous, Andalusian Jose Marin
Santiago de Murcia I Traditional jarocho
Juan Perez de Bocanegra Anonymous I Improvisation Juan Arahes
Francisco Correa de Arauxo Anonymous jarocho Gaspar Fernandes
Santiago de Murcia I Traditional jarocho
La Moresca
San Sabeya, gugurumbe El son de los negritos
Cumbes El cielito Undo
Seguidillas en eco: De tu vista celoso
Nana: Duerme mi nino
Danza: Nina, como en tus mudancas
La Jotta Maria Chuchena
Ritual: Hanacpachap cussicuinin
Canarios
Chacona: A la vida bona
INTERMISSION
Canto y glosas sobre Todo el mundo en general Los chiles verdes
Mestizo e Indio: Tleycantimo choquiliya Fandango El fandanguito
Jose Marin Juan Hidalgo
Gaspar Sanz I Traditional llanero
Antonio Valente and Improvisation
Juan Garcia de Zespedes I Traditional tixla
Ojos, pues me desdenais Trompicavalas amor
Jacaras El Pajarillo
Galiardas and Son jarocho
Guaracha: Ay, que me abraso El Arrancazacate
Third Performance of the 132nd Annual Season
Divine Voices
The photographing or sound and video recording of this concert or possession of any device for such recording is prohibited.
This evening's performance is sponsored by Carl and Charlene Herstein. Media partnership is provided by WRCJ 90.0 FM.
Jordi Savall and his associated ensembles are represented in North America by Jon Aaron, Aaron Concert Artists, Inc., New York, NY.
Large print programs are available upon request.
Several kinds of music implanted in Latin America are known today because they were written down and have survived in manuscript anthologies. At first glance, they appear to be copies of European Renaissance and baroque scores, but some of them bear the unmistakable stamp of the Americas and distinctive marks of how the criollos and mestizos of the dominions conquered by the Spanish crown interpreted what they received. In music by several of the composers who worked in the Americas, this individual, distinctive sound derives from the overt or camouflaged incorporation of musics they heard in town and village streets and squares, or in genres such as the villancico and the accompanied romance, or ballad. European musical forms were adapted by the racially and culturally heterogeneous native population--the so-called castas and Latin American criollos. Theirs was a music created by an explosion of new accents and cadences colliding and reforming, couched in the poetry of the local languages. The culture of conquest fixed and honed musical forms into essential examples of beautiful simplicity and regularity that facilitated the successful evangelization of the indigenous peoples with musical and dramatic performances. In New Spain, for example, the cultural strategies of the distinct social groups immersed in processes of fusion, hybridization, and synthesis depended on the adopted identities as they competed to become vehicles of Hispanic culture. The heritages of America and Africa were combined with elements received from medieval, Renaissance, and baroque Europe. Imitation and adaptation created a special brand of music, grounded in a collective, anonymous inheritance from the Iberian Peninsula and which still bore echoes and reminiscences of the ancient Arab and Jewish traditions that predated the standardization and Westernization of the modes and tunings. As had happened earlier in the Kingdoms of Castile, local patterns in America evolved to represent the essence of what it was to be Spanish, Amerindian, and African. At the same time that percussion, wind, and string instruments, and their local adaptations (harps, vihuelas, violins, guitars, flutes, etc.) became established, new rhythms and styles of playing evolved with various ways of strumming and plucking guitars, vihuelas, and bandolas in bands with guitars of different sizes that provided a wider range of stylistic possibilities than the solo instrument. Innumerable features of European
music lived on in the development of performance practices, tunings, singing styles, and rhythms of the popular music of Latin America.
Zarabandas, tocotines, zambapalos, and chaconas were all familiar musical types in New Spain in the 16th century (one need only recall the zarabandas a to divino which led Pedro de Trejo to be brought before a court of the Inquisition in Michoacan in 1569). At the beginning of the 17th century, the Portuguese composer Gaspar Fernandes (1570-1629), then maestro de capilla of Puebla Cathedral, composed a "zarabanda tengue que tengue, zumba casu cucumbe." In 1626, Thomas Gage recounted how Fernandes' Amarilis song cycle, setting poems by the Spanish court poet Lope de Vega, was sung by the prior of the convent of Santo Domingo in the port of Veracruz. Entire fragments from a variety of guineos, zarambeques, muecas, and cumbes became embedded in and crystallized in the verses and refrains of the sones and the repertory of popular Mexican songs.
The Atlantic world, whose waters carried merchandise to the shores and ports of Latin America, lives on in the sound of canarios, guabinas, pajarillos, and corridos, as well as the fandangos, morenas, peteneras, and villancicos of the New World. Learned and improvised poetry also find expression in the poetic forms of the Spanish Golden Age: espinelasi 10-line units of octosyllabic verse), octosyllabic quatrains, romances, octavas reales, seguidillas, and hexasyllabic villancicos. In America, as on the Iberian Peninsula, a constant process of recreation (freely creative in its variety) preserved the forms of the past. Some of them can be traced even in responsorial chants from musicas de capilla and villancicos indianos, to the Afro-Cuban guaguancos (in which rhythmic sequences of clearly African origin are combined with poetic forms and rhyme patterns derived from Spanish). Moreover, as in the poetry of Sor Juana Ines de la Cruz, we find lullabies containing Arabo-Andalusian echoes translated into Nahuatl, next to vestiges, traces, and fragments from Spanish romances newly reworked. A similar process is at work in the diferencias for harps and guitars, and accompaniments shaped around the melody of a ballad or the cadences of a son, glossing, revitalizing it, or improvising "in the local manner," thus contributing to the creation of new genres and original variations. The local sones of New Spain, which were the forerunners of the Mexican son,
therefore may preserve many features of colonial orchestrations. The traditional music (in particular, sones from Veracruz, Huasteca, and Guerrero) on this program is juxtaposed with the characteristic folias, jacaras, jotas, and fandangos of the early modern Iberian musical repertory.
This program, the fruit of new musical encounters, reflects in its continuum of sones, folias, and ancient tablatures, a constant process of globalization, that has swept like a tireless wind through the territories of the Iberian Peninsula and the Americas, and which invites a fresh interpretation and an original exploration of new possibilities, linking us to tradition and to the past. Contrasting elements are given expression in emblematic performances and dramatizations with tunes from both sides of the Atlantic-songs of voyages there and back--which even today continue to convey the background sound of a common world in permanent flux and transformation.
--Program note by Antonio Garcia de Leon, edited by Louise K. Stein.
Jordi Savall is an exceptional figure in today's music world. For more than 30 years he has been devoted to the rediscovery of abandoned musical treasures: 30 years of research, reading, and playing them with his viola da gamba or directing them in performance. He has restored an essential repertoire, revived for the enrichment of all music lovers around the world.
With his three ensembles--Hesperion XXI, La Capella Reial de Catalunya, and Le Concert des Nations, all founded together with Montserrat Figueras--Jordi Savall has explored and fashioned a universe full of emotions and beauty, and has projected it to the world and to millions of music lovers. He has reintroduced the viola da gamba and musics once thought to be lost to the ages. He is among the most eminent protectors of early music and cultivators of its reinterpretation.
Jordi Savall is among the most multivalent musicians of his generation. His career as a concert performer, teacher, and creator of new musical and cultural projects makes him one of the principal architects of the current revaluation of historical music. With his vital contribution to Alain Corneau's film Tous les Matins du Monde (winner of a Cesar for "Best Soundtrack"), his busy concert life (over
140 concerts a year), and recording schedule (six recordings per year), and with the creation of his own record label Alia Vox, he demonstrates that early music need not be elitist; it is ever more interesting to a growing public that is ever younger and more adventurous.
Jordi Savall studied music from a very young age. He began as a singer in the Children's Choir in Igualada (Catalonia), his hometown, and then he went on to learn the cello, completing his studies in the Barcelona Conservatory (1964). In 1965, as an autodidact, he began to study the viola da gamba and early music (Ars Musicae); he moved on to commence advanced studies in 1968 at the Schola Cantorum Basiliensis (Switzerland). There he succeeded his teacher, August Wenzinger, in 1973 and has been teaching in countless courses and offering master classes ever since.
He has recorded over 170 CDs, and has won many awards, among them: Officier de I'Ordre des Arts et Lettres (1988), the Creu de Sant Jordi (1990), "Musician of the Year" from Le Monde de la Musique (1992) and "Soloist of the Year" in the Victoires de la Musique (1993), La Medalla de Oro de las Bellas Artes (1998), Honorary Member of the Konzerthaus in Vienna (1999), Doctor Honoris Causa by the Universite Catholique de Louvain (2000), the Universitat de Barcelona (2006),
Jordi Savall
ums University Musical Society
and the Universidad d'Evora (2007), Victoire de la Musique for his professional career (2002), the Medalla d'Or of the Parliament of Catalonia (2003), and the Honorary Prize of the Deustchen Schallplattenkritik (2003). He has also won various MIDEM Classical Awards (1999, 2000, 2003, 2004, 2005, 2006, and 2008). In the 2006 Awards, his double-CD Don Quijote de la Mancha, Romances y Musicas won him a prize in the "Early Music" category, and it was also selected as "2006 Record of the Year." That double-CD was among the five nominees for the 2006 Grammy Awards. In 2008, the CD Cristophorus Columbus--Paraisosperdidos received the Early Music Prize from the MIDEM Classical Awards.
One of his most recent recordings, the book CD Jerusalem, La Ville des deux Paix: La Paix celeste et la Paix terrestre, has been received by the national and international press with great acclaim; it has been awarded the 2009 Orhphee d'Or de I'academie du disque lyrique and the 2008 Caecilia as "Best CD of the Year" as chosen by press and media critics. This book CD was recently awarded the 2010 MIDEM Classical Award.
Last year, Jordi Savall was awarded the 2009 Handelpreis der Stadt Halle (Germany), and received the 2009 National Music Prize from the National Council of Culture and Arts of Catalonia.
In 2008 Jordi Savall was appointed Artist for Peace in the Goodwill Ambassadors program of UNESCO. In 2009 he was named Ambassador for the European Year of Creativity and Innovation by the European Union.
Montserrat Figueras is an outstanding performer in a vast vocal repertoire which spans the medieval, Renaissance, and baroque periods. She was born in Barcelona into a family of music lovers. From a very early age she worked with Enric Gispert and Ars Musicae, and studied singing with Jordi Albareda as well as taking acting courses. In 1966, she began studying early singing techniques, from the troubadours to the baroque, developing a highly individual approach that draws directly on original sources, historical and traditional, unfettered by the influences of the post-Romantic school. In 1967 she joined Jordi Savall as an artistic and life partner in a relationship that has proved particularly fruitful in a range of teaching, research, and creative activities. Working together has left its mark on
UMS Archives
Tonight's concert marks Jordi Savall's third UMS appearance. Mr. Savall most recently appeared under UMS auspices in April 2005 with La Capella Reial and Les Concert des Nations in a program entitled Music and Songs of Love and War presented at St. Francis of Assisi Catholic Church.
Tonight's concert also marks La Capella Reial's third UMS appearance.
Hesperion XXI make their second UMS appearance this evening. The ensemble made their UMS debut (as Hesperion XX) in October 1998 with Mr. Savall and La Capella Reial at St. Francis of Assisi Catholic Church.
UMS welcomes Tembembe Ensamble Continuo as they make their UMS debut this evening.
both of them, as is particularly evident in the way they have shaped a particular performing style, featuring both great fidelity to historical sources and a remarkable creative and expressive potential that has influenced the development of the entire early music movement.
In 1968, Ms. Figueras pursued her musical training in Basel (Switzerland) under Kurt Widmer, Andrea von Rahm, and Thomas Binkley at the Schola Cantorum Basiliensis and the Musikakedemie. During the 1970s, Montserrat Figueras rose to prominence as a leader in a generation of musicians who realised that vocal music before 1800 required a new technical and stylistic approach capable of restoring the beauty and emotion of the voice, the necessary balance between singing and declamation, with an emphasis on the poetic and spiritual dimension of the text.
From 1974-1989, Ms. Figueras was a founding member of the ensembles Hesperion XX, La Capella Reial de Catalunya, and Le Concert des Nations. With them, and also as a soloist, she has set about reclaiming an outstanding and wide-ranging musical heritage. As a result, a wealth o; unjustly forgotten music has been brought bad
to life, notably in her magical performances of the ancient Cant de la Sibilla and the Tonos Humanos by Jose Marin, as well as her more recent Ninna Nanna, the Misteri d'Elx, and Isabel I de Castella and her crucial roles in the CDs Diaspora Sefardi (1999), the Battaglie & Lament' by Monteverdi, Peri, Fontei, and Strozzi (2000), Don Quijote de la Mancha: Romances y Musicas (2005), and Christophorus Columbus. Lost Paradises (2006).
Montserrat Figueras regularly performs in the major festivals of Europe, the US, and the East. The 70-plus CDs that she has recorded have won significant awards including the Grand Prix de I'Academie du Disque Francais, Edison Klasik, Grand Prix de la Nouvelle Academie du Disque, and Grand Prix de I'Academie Charles Cross, as well as Grammy Award nominations in 2001 and 2002, while the French government conferred on her the honorary title Officier de I'ordre des Arts et des Lettres in 2003. Her latest recording, Lux Feminae (Alia Vox 2006), devoted to the musical universe of Hispanic women over a continuum ranging from the middle ages to the Renaissance, has been met with unqualified praise from critics at home and abroad.
In 2008 Montserrat Figueras was appointed Artist for the Peace in the Goodwill Ambassadors program of UNESCO.
In Antiquity, Hesperia was the name given to the two most westerly peninsulas in Europe: the Italian and the Iberian Peninsulas. In Classical Greek, Hesperio was used to refer to a person originating from either of the two Peninsulas, and it was also the name given to the planet Venus when it appeared in the western sky at night.
United by a common goal--the study and interpretation of ancient music according to new, modern criteria--and fascinated by the immense richness of the Hispanic and European musical repertoire before 1800, Jordi Savall, Montserrat Figueras, Lorenzo Alpert, and Hopkinson Smith founded the ensemble Hesperion XX in 1974. In its more than 30 years of existence, the group has, in collaboration with other outstanding performers, rescued numerous works and programs from oblivion, thus contributing to a major reappraisal of the fundamental aspects of the medieval, Renaissance, and baroque repertoires. From the moment it was created, Hesperion XX has carried out an intense schedule of concert performances
and regularly appears at the principal international music festivals.
At the beginning of the new millennium, Hesperion XX continues to be a front-line tool for musical research, reflecting the advent of the new century in 2000 by changing its name to Hesperion XXI. The ensemble has been characterized by its eclectic approach to the process of artistic decision-making: as 21 st-century musicians, its members' objectives are grounded in the search for a dynamic synthesis of musical expression, stylistic and historical research, and creative imagination. The fascinating task of reconstructing the rich exuberance of music from other ages, specifically music composed from the 10th to the 18th centuries, has breathed new life into current musical thinking. Thanks to the energy and passionate vocation of its members, Hesperion XXI has conquered the new Europe of nations and extracted the precious ore of its musical traditions. It has toured and harvested the music of Europe, the Middle and the Far East, anc the New World. The ensemble's recordings and live performances have enabled us to rediscover Sepharad through its interpretation of Judaeo-Christian songs, Golden Age Spain, the Madrigals of Monteverdi, and the Creole villancicos of Latin America. Its many CDs, which include Cansos de Trobairitz, El Llibre Vermeil de Montserrat, Diaspora Sefardi, Musica napolitana, Musica en el tiempo de Cervantes, El Barroco Espanol, and Ostinato, as well as the monographic albums devoted to G. Gabrielli, G. Frescobaldi, S. Scheidt, W. Lawes, J. Cabanilles, F. Couperin, and J. S. Bach, and the recent recordings of the music of A. Ferrabosco and music in the age of Queen Isabella I of Castile, are the most eloquent testimony to the wealth of possibilities offered by Hesperion XXI.
Convinced that a country's cultural roots and traditions always have a decisive influence on the expression of its musical language, Jordi Savall and Montserrat Figueras founded La Capella Reial, one of the first vocal ensembles devoted to the interpretation of Hispanic Golden Age music according to historical principles and consisting exclusively of Hispanic and Latin voices, in 1987.
Following the model of the famous "royal chapels" for which the great masterpieces of both religious and secular music were composed
in the Iberian Peninsula, this new "Capella Reial," which in 1990 took the name of Capella Reial de Catalunya, was born as the result of more than 13 years of research and interpretation in the field of early music. Together with Hesperion XX (founded in 1974), its main objective is to extend and deepen the fields of research into the specific characteristics of the Hispanic and European polyphonic vocal legacy before 1800. The hallmark of this ensemble is its approach to performance, which balances meticulous vocal sound quality and appropriateness to the style of the period with expressive diction and projection of the poetic text, always striving above all to convey the spiritual and artistic dimension peculiar to each individual work. Under the direction of Jordi Savall, it has a busy schedule of concert performances and recordings, and regularly takes part in the principal music festivals around the world.
Tembembe is the name of a river, taking form from several tributaries, weaving its way through our rugged Cuernavaca landscapes, and running by our rehearsal venue.
Thus flows our culture, thus flows our work...
The Tembembe Ensamble Continuo vision is to seek out, recreate and share what intimately connects baroque music with traditional music, both Mexican and Latin American. The ensemble achieves this by breaking down historical and imaginary boundaries that have come to separate these worlds over time, thus bringing out fresh new possibilities of appreciation, comprehension, and truly novel interpretations of this flourishing music.
Tembembe Ensamble Continuo
Tembembe has tasked itself with bringing together the music of the Hispanic baroque guitar and the music of Mexican and Latin American contemporary culture. The group explores the similarities between the instruments and the practices of these traditions, presenting all aspects of performance including music, song, and dance, to bring alive the festive spirits of both the Hispanic fandangooi the 17th century and the contemporary traditional fandango. Members of Tembembe, Enrique Barona, Eloy Cruz, and Leopoldo Novoa, are graduates of the National University (UNAM) in Mexico City, and also completed studies at music institutions in Mexico, Colombia, France, and the US. They currently teach at the UNAM, and the Centra Ollin Yoliztli. They organize workshops aimed at reconstructing and interpreting traditional instruments, as well as fandango jam sessions in the Morelos state communities. The Ensemble has been featured at numerous venues in Mexico, the Americas, Europe, and Asia. They have recorded for UDC (Mexico), Sony BMG, Deutsche Harmonia Mundi (Germany), and AliaVox (Spain). They are currently recording their third CD.
urns
presents
Paul Taylor Dance Company
Tonight's performance presented in association with the Paul Taylor Dance Foundation, Inc.
Dancers
Michael Trusnovec Robert Kleinendorst Parisa Khobdeh Eran Bugge Jamie Rae Walker Michael Novak
Annmaria Mazzini James Samson Sean Mahoney Francisco Graciano Michael Apuzzo Elizabeth Bragg
Amy Young Michelle F eet Jeffrey Smith Laura Halzack Aileen Roehl
Artistic Director Paul Taylor
Rehearsal Director Bettie de Jong
Principal Lighting Designer Jennifer Tipton
Principal Set & Costume Designer Santo Loquasto
Managing Director John Tomlinson
Program
Thursday Evening, October 7, 2010 at 8:00 Power Center Ann Arbor
Speaking in Tongues (1988) INTERMISSION Esplanade (1975)
Fourth Performance of the 132nd Annual Season
20th Annual Dance Series
The photographing or sound and video recording of this performance or possession of any device for such recording is prohibited.
Funded in part by the Wallace Endowment Fund, Arts Midwest's Performing Arts Fund, and the National Endowment for the Arts as part of American Masterpieces: Three Centuries of Artistic Genius.
Media partnership is provided by Between the Lines, Metro Times, and Ann Arbor's 107one.
Special thanks to Angela Kane, Judy Rice, the U-M School of Mjsic, Theatre & Dance, the Dance Department, and the University of Michigan Museum of Art for their support of and participation in the Paul Taylor Dance Comoany residency.
Official Tour Sponsor for the Paul Taylor Dance Company: MetLife Foundation.
Major funding for the Paul Taylor Dance Company provided by The SHS Foundation, and the Open Society Foundations, and the Fund for the City of New York.
Large print programs are available upon request.
Speaking in Tongues
The title refers to a certain impulsive projection of private religious emotion into the public setting of a communal prayer service. Communicants possessed in this way dramatically and spontaneously erupt into soliloquies of streaming, frequently unintelligible, language-like utterance. The practice is associated with Pentecostal churches dominated by charismatic ministers, particularly in the southern United States.
Music by Choreography by Set and Costumes by Lighting by
Matthew Patton Paul Taylor Santo Loquasto Jennifer Tipton
(First performed in 1988)
A Man of the Cloth
Himself, as he recollects
His Better Half
A Mother
Her Unwanted Daughter
The Daughter Grown Up
Her Husband
A Party Girl
The Odd Man Out
Townsfolk
Michael Trusnovec
James Samson
Laura Halzack
Amy Young
Jamie Rae Walker
Annmaria Mazzini
Jeffrey Smith
Michelle Fleet
Robert Kleinendorst
Eran Bugge, Michael Apuzzo, Aileen Roehl, Michael Novak
The creation of this dance was made possible with support from the Andrew W. Mellon Foundation.
Revival supported in part by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
Esplanade
Music by
Choreography by Costumes by Lighting by
Johann Sebastian Bach
Violin Concerto in E Major
Double Concerto for Two Violins in d Minor ("Largo" and "Allegro")
Paul Taylor John Rawlings Jennifer Tipton
(First performed in 1975)
Michael Trusnovec Annmaria Mazzini Amy Young Michelle Fleet Sean Mahoney Eran Bugge
Francisco Graciano Laura Halzack Jamie Rae Walker
Original production made possible by the National Endowment for the Arts. Revival made possible by a contribution from Elise Jaffe and Jeffrey Brown.
Preservation made possible by contributions to the Paul Taylor Repertory Preservation Project with support from the National Endowment for the Arts, The Prospect Hill Foundation, and Charles F. and Theresa M. Stone.
Please refer to page 37 in your program book for complete company biographies.
urns
presents
Paul Taylor Dance Company
Tonight's performance presented in association with the Paul Taylor Dance Foundation, Inc.
Dancers
Michael Trusnovec Robert Kleinendorst Parisa Khobdeh Eran Bugge Jamie Rae Walker Michael Novak
Annmaria Mazzini James Samson Sean Mahoney Francisco Graciano Michael Apuzzo Elizabeth Bragg
Amy Yojng Michelle Fleet Jeffrey Smith Laura Halzack Aileen Roehl
Artistic Director Paul Taylor
Rehearsal Director Bettie de Jong
Principal Lighting Designer Jennifer Tipton
Principal Set & Costume Designer Santo Loquasto
Managing Director John Tomlinson
Program
Friday Evening, October 8, 2010 at 8:00 Power Center Ann Arbor
Orbs (1966)
A work in two acts with intermission.
INTERMISSION Also Playing (2009)
Fifth Performance of the 132nd Annual Season
20th Annual Dance Series
The photographing or sound and video recording of this performance or possession of any device for such recording is prohibited.
Funded in part by the Wallace Endowment Fund, Arts Midwest's Performing Arts Fund, and the National Endowment for the Arts as part of American Masterpieces: Three Centuries of Artistic Genius.
Media partnership is provided by Between the Lines, Metro Times, and Ann Arbor's 107one.
Special thanks to Angela Kane, Judy Rice, the U-M School of Music, Theatre & Dance, the Dance Department, Clement Crisp, and the University of Michigan Museum of Art for their support of and participation in the Paul Taylor Dance Company residency.
Official Tour Sponsor for the Paul Taylor Dance Company: MetLife Foundation.
Major funding for the Paul Taylor Dance Company provided by The SHS Foundation, and the Open Society Foundations, and the Fund for the City of New York.
Large print programs are available upon request.
Orbs
Music by Choreography by Set and Costumes by Lighting by
For the Sun For the Planets
For the Moons
Ludwig van Beethoven, Last Quartets, Op. 127, 130, 133
Paul Taylor
Alex Katz
Jennifer Tipton
{First performed in 1966)
James Samson
Amy Young, Robert Kleinendorst Michelle Fleet, Sean Mahoney
Eran Bugge, Laura Halzack Jamie Rae Walker, Aileen Roehl
I. Introduction
II. Venusian Spring
1. The Love School
2. Duets
3. Micro-orgy
III. Martian Summer
1. Equatorial Heat
2. A Desert Crossing
3. Ashes
INTERMISSION
IV. Terrestrial Autumn
1. Marriage RehearsalCeremony
2. Harvest Farce
3. Goodbyes
V. Plutonian Winter
1. Distress Signal
2. Flakes
3. Sleep
VI. Conclusion
This revival has been made possible by the National Endowment for the Arts as part of American Masterpieces: Three Centuries of Artistic Genius. It is also supported in part by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
Also Playing
Dedicated to all vaudevillians, especially those who went on no matter what.
Music by Gaetano Donizetti
Dom Sebastien (excerpts) and L'assedio di Calais (excerpts)
Paul Taylor Santo Loquasto Jennifer Tipton
(First performed in 2009)
Michael Trusnovec Annmaria Mazzini Robert Kleinendorst Michelle Fleet Jeffrey Smith Eran Bugge Francisco Graciano Laura Halzack Jamie Rae Walker Michael Apuzzo Elizabeth Bragg
. Poses
Mss. Fleet, Halzack, Bugge, Bragg Messrs. Trusnovec, Graciano
2. Jumble
Messrs. Trusnovec, Graciano
3. Tap
Mr. Smith with Mss. Mazzini, Fleet, Halzack, Bragg
4. Waltz
Ms. Walker, Mr. Apuzzo
5. Waltz
Mss. Walker, Mazzini, Halzack, Bragg Messrs. Apuzzo, Trusnovec, Smith, Graciano
6. Strip
Ms. Bugge
7. Ballet
Ms. Halzack with Mss. Mazzini, Bugge, Walker
8. Apache
Ms. Fleet, Mr. Trusnovec
9. WaltzApache
Ms. Walker, Mr. Apuzzo, Ms. Fleet, Mr. Trusnovec
10. Gypsy
Ms. Bragg with Messrs. Smith, Graciano
11. Garland Dance
Mss. Mazzini, Fleet, Halzack, Bugge, Walker
12. Egyptian
Messrs. Graciano, Apuzzo
13. Spanish
Ms. Mazzini with Messrs. Trusnovec, Smith, Apuzzo
14. March Full Cast
15. Stagehand's Turn Mr. Kleinendorst
Commissioned in part by the Hopkins Center, Dartmouth College.
Creation and preservation made possible with contributions from the National Endowment for the Arts; The Andrew W. Mellon Foundation; the Horace W. Goldsmith Foundation; the Gladys Krieble Delmas Foundation; and the Commissioning Friends of Paul Taylor.
Please refer to page 37 in your program book for complete company biographies.
ums University Musical Society
and Toyota
present
Paul Taylor Dance Company
This afternoon's performance presented in association with the Paul Taylor Dance Foundation, Inc.
Dancers
Michael Trusnovec Robert Kleinendorst Parisa Khobdeh Eran Bugge Jamie Rae Walker Michael Novak
Annmaria Mazzini James Samson Sean Mahoney Francisco Graciano Michael Apuzzo Elizabeth Bragg
Amy Young Michel e Fleet Jeffrey Smith Laura Halzack Aileen Roehl
Artistic Director Paul Taylor
Rehearsal Director Bettie de Jong
Principal Lighting Designer Jennifer Tipton
Principal Set & Costume Designer Santo Loquasto
Managing Director John Tomlinson
U-M School of Music, Theatre & Dance, Department of Dance
Dancers
Sadie Yarrington Thayer Jonutz
Andrea Davis Derek Crescenti Catherine Coury Kalila Kingsford Smith
Julie Meehan Colleen Shaughnessy Jennifer LaFreniere
Richard Fernandez Logan McClendon Travis Ward-Osborne
Understudies
Daniela Blechner, Richard Fernandez, Katy Muth, Allegra Romita,
Colleen Shaughnessy, Aaron Zinderman, Cara Zonka
Program
Saturday Afternoon, October 9, 2010 at 1:00 (Family Performance) Power Center Ann Arbor
Le Sacre du Printemps (The Rehearsal) (1980) U-M School of Music, Theatre & Dance, Department of Dance
INTERMISSION
Also Playing (2009) Paul Taylor Dance Company
Sixth Performance of the 132nd Annual Season
20th Annual Dance Series
The photographing or sound and video recording of this performance or possession of any device for such recording is prohibited.
The 1011 Family Series is sponsored by Toyota.
Funded in part by the Wallace Endowment Fund, Arts Midwest's Performing Arts Fund, and the National Endowment for the Arts as part of American Masterpieces: Three Centuries of Artistic Genius.
Media partnership is provided by Between the Lines, Metro Times, and Ann Arbor's 107one
Special thanks to Angela Kane, Judy Rice, the U-M School of Music, Theatre & Dance, the Dance Department, and the University of Michigan Museum of Art for their support of and participation in the Paul Taylor Dance Company residency.
Official Tour Sponsor for the Paul Taylor Dance Company: MetLife Foundation.
Major funding for the Paul Taylor Dance Company provided by The SHS Foundation, and the Open Society Foundations, and the Fund for the City of New York.
Large print programs are available upon request.
Le Sacre du Printemps
Music by Choreography by Set and Costumes by Lighting by
Restaged for this production by
A Dance Company
Rehearsal Mistress
The Girl
The Private Eye
The Crook
His Mistress
His Stooge
Henchmen and Policemen
Bar Dancers
(The Rehearsal)
Igor Stravinsky, arrangement for two pianos
Paul Taylor
John Rawlings
Jennifer Tipton, Recreated by Mary Cole
Ruth Andrien
(First performed by the Paul Taylor Dance Company in 1980)
Thayer Jonutz Sadie Yarrington
Andrea Davis Catherine Coury Derek Crescenti Kalila Kingsford Smith
Julie Meehan Colleen Shaughnessy Jennifer LaFreniere
Richard Fernandez Logan McClendon Travis Ward-Osborne
Full Cast
Ms. Davis
Ms. Yarrington
Mr. Jonutz
Mr. Crescenti
Ms. Coury
Ms. Smith
Mr. Fernandez, Mr. McClendon, Mr. Ward-Osborne
Ms. Meehan, Ms. Shaughnessy, Ms. LaFreniere
Assistant Restaging Direction by Judy Rice
Eileen Cropley
Additional Restaging Assistance by
The restaging of Paul Taylor's Le Sacre du Printemps (The Rehearsal) is made possible by the National Endowment for the Arts.
The Department of Dance gives special thanks to the Paul Taylor Dance Company, the School of Music, Theatre & Dance Musical Theatre Chair Brent Wagner, Linda Goodrich and Mark Madama, and Daniela Blechner, Research Assistant. Additional thanks to University Productions and to the Undergraduate Research Opportunity Program.
Please refer to page 26 in your program book for complete program information for Also Playing, and page 37 for complete company biographies.
ums University Musical Society
presents
Paul Taylor Dance Company
Tonight's performance presented in association with the Paul Taylor Dance Foundation, Inc.
Dancers
Michael Trusnovec Robert Kleinendorst Parisa Khobdeh Eran Bugge Jamie Rae Walker Michael Novak
Annmaria Mazzini James Samson Sean Mahoney Francisco Graciano Michael Apuzzo Elizabeth Bragg
Amy Young Michelle Fleet Jeffrey Smith Laura Halzack Aileen Roehl
Artistic Director Paul Taylor
Rehearsal Director Bettie de Jong
Principal Lighting Designer Jennifer Tipton
Principal Set & Costume Designer Santo Loquasto
Managing Director John Tomlinson
Program
Saturday Evening, October 9, 2010 at 8:00 Power Center Ann Arbor
Black Tuesday (2001)
INTERMISSION
The Word (1998)
INTERMISSION Piazzolla Caldera (1997)
Seventh Performance of the 132nd Annual Season
20th Annual Dance Series
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 Linda and Richard Greene.
Funded in part by the Wallace Endowment Fund, Arts Midwest's Performing Arts Fund, and the National Endowment for the Arts as part of American Masterpieces: Three Centuries of Artistic Genius.
Media partnership is provided by Between the Lines, Metro Times, and Ann Arbor's 107one.
Special thanks to Angela Kane, Judy Rice, the U-M School of Music, Theatre & Dance, the Dance Department, and the University of Michigan Museum of Art for their support of and participation in the Paul Taylor Dance Company residency.
Official Tour Sponsor for the Paul Taylor Dance Company: MetLife Foundation.
Major funding for the Paul Taylor Dance Company provided by The SHS Foundation, and the Open Society Foundations, and the Fund for the City of New York.
Large print programs are available upon request.
Black Tuesday
Songs from the Great Depression Choreography by Paul Taylor
5ef and Costumes by Santo Loquasto
Lighting by Jennifer Tipton
Underneath the Arches
There's No Depression in Love
Slummin' on Park Avenue Sittin' on a Rubbish Can
Are You Making Any Money
The Boulevard of Broken Dreams
I Went Hunting and the Big Bad Wolf Was Dead
Brother Can You Spare a Dime
(First performed in 2001)
Michael Trusnovec Annmaria Mazzini Amy Young Robert Kleinendorst James Samson Michelle Fleet Jeffrey Smith Eran Bugge Laura Halzack Jamie Rae Walker Michael Apuzzo Aileen Roehl Michael Novak
Mr. Apuzzo and Mr. Novak Ms. Young and Mr. Smith
Ms. Fleet and Mr. Samson
Ms. Roehl
Mr. Kleinendorst with Ms. Mazzini, Ms. Young, Ms. Bugge
Ms. Mazzini Ms. Walker Mr. Trusnovec
Commissioned by the John F. Kennedy Center for the Performing Arts, with additional commissioning support from Dance St. Louis and the Carlsen Center at Johnson County Community College.
Creation and preservation made possible by generous contributions to the Paul Taylor New Works Fund.
Revival supported in part by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
The Word
For our God is a consuming fire. --Hebrews 12:29
Music specially composed by David Israel
Choreography by Paul Taylor
Costumes by Santo Loquasto
Lighting by Jennifer Tipton
(First performed in 1998)
Michael Trusnovec Annmaria Mazzini Amy Young Robert Kleinendorst James Samson Michelle Fleet Sean Mahoney Eran Bugge Francisco Graciano Laura Halzack Michael Apuzzo Aileen Roehl
The creation of this dance was made possible with support from the Eleanor Naylor Dana Charitable Trust, the Andrew W. Mellon Foundation, and with public funds from the New York City Department of Cultural Affairs Cultural Challenge Program.
Revival supported in part by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
Piazzolla Caldera
"...The flawed confusion of human beings...worn away as by the labor of hands, impregnated with sweat and smoke, smelling of lilies and of urine, splashed by the labor of what we do, legally or illegally... as impure as old clothes, as a body, with its foodstains and its shame, with wrinkles, observations, dreams, wakefulness, prophecies, declarations of love and hate, stupidities, shocks, idylls, political beliefs, negations, doubts, affirmations...." --Pablo Neruda
Musk by Choreography by Set and Costumes by Lighting by
Astor Piazzolla and Jerzy Peterburshsky Paul Taylor Santo Loquasto Jennifer Tipton
(First performed in 1997)
Michael Trusnovec Annmaria Mazzini Robert Kleinendorst James Samson Michelle Fleet Sean Mahoney Jeffrey Smith Eran Bugge Jamie Rae Walker Michael Apuzzo Michael Novak Elizabeth Bragg
El Sol Sueno Concierto Para Quinteto Celos Escualo
Full Cast
Ms. Mazzini, Ms. Bugge, Mr. Kleinendorst
Mr. Smith and Mr. Apuzzo, Ms. Fleet and Mr. Trusnovec
Full Cast
Commissioned by the American Dance Festival with support from the National Endowment for the Arts, Altria Group, Inc., and Brenda and Keith Brodie.
Original production also made possible by the New York State Council on the Arts, a State Agency; The Eleanor Naylor Dana Charitable Trust; and Carole K. Newman.
Revival supported in part by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
Preservation made possible by generous contributions to the Paul Taylor Repertory Preservation Project with major support from the National Endowment for the Arts.
Music performed by Gidon Kremer from the recording Hommage a Piazzolla on Nonesuch Records. Special thanks to Robert Hurwitz.
Paul Taylor is the last living member of the pantheon that created America's indigenous art form, modern dance. Now in his 80th year--an age when most artists' best work is be?hind them--Mr. Taylor continues to be acclaimed for the vibrancy, relevance, and power of his cur?rent dances as well as his classics. As prolific as ever, he offers cogent observations on life's com?plexities and society's thorniest issues. He may propel his dancers through space for the sheer beauty of it, or use them to wordlessly illuminate war, spirituality, sexuality, morality, and mortality. If, as Balanchine said, there are no mothers-in-law in ballet, there certainly are dysfunctional families, ex-lovers, fallen preachers, rapists, angels, and in?sects in Taylor dance.
In the 1950s, when his work was so cutting-edge that it could send confused audience mem?bers flocking to the exits, Martha Graham dubbed Mr. Taylor the "naughty boy" of dance. In the 1960s he shocked the cognoscenti by setting his trailblazing movement to music composed 200 years earlier, and inflamed the establishment by lampooning America's most treasured icons. In the 1970s he put incest center stage and revealed the beast lurking just below humans' sophisticated ve?neer. In the 1980s he looked unflinchingly at mari?tal rape and intimacy among men at war. In the 1990s he warned against religious zealotry and blind conformity to authority. In the first decade of the new millennium he has condemned American imperialism, poked fun at feminism, and looked death square in the face. And yet, while his work has largely been iconoclastic, since the very start of his career Mr. Taylor has also made some of the most purely romantic, most astonishingly athletic, and downright funniest dances ever put on stage. People in cities throughout the world have en?joyed live modern dance performances due largely to the far-reaching tours Mr. Taylor pioneered as a virtuoso dancer in the 1950s. Having made his first dance in 1954, he has amassed a growing col?lection of 133 dances performed by his celebrated Company of 16 dancers and the six-member Taylor 2. He has set movement to music so memorably that for many people it is impossible to hear certain orchestral works and popular songs and not think of his dances. He has influenced dozens of men and women who have gone on to create dances or es?tablish their own troupes. He has collaborated with such artists as Robert Rauschenberg, Jasper Johns, Ellsworth Kelly, Alex Katz, Tharon Musser, Thomas
Skelton, Gene Moore, John Rawlings, William Ivey Long, Jennifer Tipton, and Santo Loquasto. As the subject of the documentary Dancemaker and author of the autobiography. Private Domain, and Why I Make Dances, he has shed light on the mysteries of the creative process as few art sts ever have.
Hailed for uncommon musicality and catholic taste, Mr. Taylor has set dances to ragtime, reg?gae, and rock, tango, tin pan alley, and barbershop quartets; works by baroque masters Bach, Boyce, and Handel; and iconoclasts Feldman, Ligeti and Varese; monotonous time announcements, plain?tive loon calls, and hysterical laughter. While he has covered a breathtaking range of topics, recur?ring themes have included the natural world and man's place within it; love and sexuality in every gender combination; life, death, and what may follow; and iconic moments in the history of the nation. His poignant looks at soldiers in battle and those they leave behind caused The New York Times to write in 2009 that he "ranks among the great war poets."
Mr. Taylor was born in 1930 and grew up in and around Washington, DC. He was a swimmer and student of painting at Syracuse University in the late 1940s until he discovered dance, which he began studying at Juillia'd. By 1954 he had assembled a small company of dancers and was making his own works. A commanding performer despite his late start, he joined the Martha Gra?ham Dance Company in 1955 for the first of seven seasons as soloist while continuing to choreograph on his own troupe. In 1959 he danced with New York City Ballet as a guest artist. Having created the slyly funny 3 Epitaphs in 1956, he captivated dancegoers in 1962 with hs virile grace in the landmark Aureole, set cheekily not to contempo?rary music but to a baroque score, as Junction had been the year before. He struck chords again with the apocalyptic Scudorama, intended to be as dark as Aureole was sunny, and the controversial Big Bertha. After retiring as a performer in 1974, Mr Taylor devoted himself fully :o choreography and masterpieces continued to pour forth, including Esplanade, Cloven Kingdom, Dust, Airs, Mercuric Tidings, Le Sacre du Printemps (The Rehearsal), Arden Court, Last Look, Musical Offering, Syzygy, Speaking in Tongues, Company B, Eventide, Piaz-zolla Caldera, Promethean Fire, Banquet of Vul?tures, and Beloved Renegade. He remains among the most sought-after choreographers working today, commissioned by ballet companies and pre-
Paul Taylor
senting organizations the world over.
From its earliest years, the Paul Taylor Dance Company brought modern dance to America's col?lege campuses and small towns as well as its large cultural centers, and in 1960 the Company made its first international tour. It has since performed in more than 520 cities in 62 countries. In 1966 the Paul Taylor Dance Foundation was established to help bring Mr. Taylor's works to the largest possible audience, facilitate the making of new dances, and preserve his repertoire. Since 1968, when Aureole first entered the repertoire of the Royal Danish Bal?let, his works have been licensed for performance by more than 75 companies worldwide. In 1993 Mr. Taylor formed Taylor 2, which brings many of his masterworks to smaller venues around the world. Taylor 2 also teaches modern technique and Taylor style in schools and workplaces, at commu?nity gatherings, and during annual workshops for pre-professional dancers.
In celebration of the Paul Taylor Dance Compa?ny's 50th Anniversary in 2004-05, his works were performed in all 50 US states.
Mr. Taylor has received every important honor given to artists in the US. In 1992 he was a recipi?ent of the Kennedy Center Honors and received an Emmy Award for Speaking in Tongues, produced by WNETNew York the previous year. He was awarded the National Medal of Arts by President Clinton in 1993. In 1995 he received the Algur H. Meadows Award for Excellence in the Arts and was named one of 50 prominent Americans honored in recognition of their outstanding achievement by the Library of Congress's Office of Scholarly Programs. He is the recipient of three Guggen?heim Fellowships and honorary Doctor of Fine Arts degrees from California Institute of the Arts, Connecticut College, Duke University, The Juilliard School, Skidmore College, the State University of New York at Purchase, Syracuse University, and Adelphi University. Awards for lifetime achieve?ment include a MacArthur Foundation Fellowship and the Samuel H. Scripps American Dance Festival Award. Other awards include the New York State Governor's Arts Award and the New York City Mayor's Award of Honor for Art and Culture. In 1989 he was elected one of 10 honorary American members of the American Academy and Institute of Arts and Letters.
Having been elected to knighthood by the French government as Chevalier de I'Ordre des Arts et des Lettres in 1969 and elevated to Offi-cier in 1984 and Commandeur in 1990, Mr. Taylor was awarded France's highest honor, the Legion d'Honneur, for exceptional contributions to French culture, in 2000.
Mr. Taylor's autobiography, originally published by Alfred A. Knopf and re-released by North Point Press and later by the University of Pittsburgh Press, was nominated by the National Book Crit?ics Circle as the most distinguished biography of 1987. Dancemaker, Matthew Diamond's award-winning and Oscar-nominated feature-length film about Mr. Taylor, was hailed by Time as "perhaps the best dance documentary ever."
ums University Musical Society
The Paul Taylor Dance Company, now in its 56th year, is one of the world's most highly respected and sought-after ensembles.
Dance maker Paul Taylor first presented his choreography with five other dancers in Manhattan on May 30, 1954. That modest performance marked the beginning of a half-century of unrivaled creativity, and in the decades that followed, Mr. Taylor became a cultural icon and one of history's most celebrated artists, hailed as part of the pantheon that created American modern dance.
The Paul Taylor Dance Company and Taylor 2, created in 1993, has traveled the globe many times over, bringing Mr. Taylor's ever-burgeoning repertoire to theaters and venues of every size and description in cultural capitals, on college campuses, and in rural communities--often to places modern dance had never been before. The Taylor Company has performed in more than 520 cities in 62 countries, representing the US at arts festivals in more than 40 countries and touring extensively under the aegis of the US Department of State. In 1997 the Company toured throughout India in celebration of that nation's 50th Anniversary. Its 1999 engagement in Chile was named the "Best International Dance Event" of 1999 by the country's Art Critics' Circle. In the summer of 2001 the Company toured in the People's Republic of China and performed in six cities, four of which had never seen American modern dance before. In the spring of 2003 the Company mounted an award-winning four-week, seven-city tour of the United Kingdom. The Company's performances in China in 2007 marked its fourth tour there.
While continuing to garner international acclaim, the Paul Taylor Dance Company performs more than half of each touring season in cities throughout the US. The Company's New York City Center season in 2005, marking its anniversary, was attended by more than 25,000 people. In celebration of the Anniversary and 50 years of creativity by Paul Taylor, the Taylor Foundation presented Mr. Taylor's works in all 50 US states in 2004-05. That tour underscored the Taylor Company's historic role as one of the early touring companies of American modern dance. The 50th anniversary celebration also featured a quartet of new dances.
UMS Archives
TThis week's residency and performances by the Paul Taylor Dance Company mark the Company's 16th, 17th, 18th, and 19th appearances under UMS auspices. The PTDC made its UMS debut on October 23, 1964 as the opening evening-length component of a weekend-long, three-company UMS Chamber Dance Festival held at Rackham Auditorium. Mr. Taylor and the Company (which included Twyla Tharp, Dan Wagoner, and Bettie de Jong) presented Taylor pieces Aureole, Duet, Three Epitaphs, Junction, and Party Mix alongside of performances by Jean Leon Destine and his Haitian Dance Company and The First Chamber Dance Quartet.
The Paul Taylor Dance Company was most recently presented by UMS in October 2004 at the Power Center in performances of Taylor's Cloven Kingdom, Eventide, Promethean Fire, Arden Court, Dante Variations, and Le Sacre du Printemps (The Rehearsal).
This October marks the 46th anniversary of UMS's debut presentation of Paul Taylor and the Paul Taylor Dance Company.
Beginning with its first television appearance for the Dance in America series in 1978, the Paul Taylor Dance Company has appeared on PBS in nine different programs, including the 1991 Emmy Award-winning Speaking in Tongues and The Wrecker's Ball--including Company B, Funny Papers, and A Field of Grass--which was nominated for an Emmy Award in 1997. In 1999 the PBS American Masters series aired Dancemaker, the Academy Award-nominated documentary about Mr. Taylor and his Company. In 2004, PBS aired Acts of Ardor, featuring Black Tuesday and Promethean Fire. Dancemaker is available on DVD.
To learn more about the Paul Taylor Dance Company, please visit www.ptdc.org.
The Company
Bettie de Jong (Rehearsal Director) was born in Sumatra, Indonesia, and in 1946 moved to Holland, where she continued her early training in dance and mime. Her first professional engagement was with the Netherlands Pantomime Company. After coming to New York City to study at the Martha Graham School, she performed with the Graham Company, the Pearl Lang Company, John Butler, and Lucas Hoving, and was seen on CBS-TV with Rudolf Nureyev in a duet choreographed by Paul Taylor. Ms. de Jong joined the Taylor Company in 1962. Noted for her strong stage presence and long line, she was Mr. Taylor's favorite dancing partner and, as Rehearsal Director, has been his right arm for the past 35 years.
Michael Trusnovec hails from Yaphank, NY He began dancing at age six, and attended the Long Island High School for the Arts. In 1992, he was honored by the National Foundation for Advancement in the Arts and was named a Presidential Scholar in the Arts. In 1996, he received a BFA in Dance Performance from Southern Methodist University in Dallas. Professionally, he danced with Taylor 2 from 1996-1998, and has appeared with Cortez & Co. Contemporary Ballet, and CorbinDances. Fall 1998 marked his debut with the Paul Taylor Dance Company. Mr. Trusnovec received a 2006 New York Dance and Performance Award (the Bessie) for his Body of Work during the 0506 Taylor season.
Annmaria Mazzini began dancing in Allentown, PA, under the direction of Frances Evers, and later earned her BFA at the Meadows School of the Arts at Southern Methodist University. While working as an art model for painters and sculptors, she studied at The Taylor School and in 1995 joined Taylor 2. She has been a guest artist with CorbinDances, the Amy Marshall Dance Company, Kim Gibilisco Dances, Karla Wolfangle, and Juliette Soucie. Ms. Mazzini teaches modern dance on the road and at The Taylor School, choreographs and performs her own work, and is an accomplished jewelry designer and creator of AMulets, seen at www.annmaria.com. She made her debut with the Paul Taylor Dance Company at the 1999 American Dance Festival in Durham, NC.
Amy Young grew up in Washington state. She spent her senior year of high school studying at the Interlochen Arts Academy in Michigan prior to entering The Juilliard School in New York, where she earned a BFA in 1996. She joined Taylor 2 in August of that year. Ms. Young enjoys teaching and has been on the faculty of Alaska Dance Theatre in Anchorage, Perry-Mansfield Performing Arts Camp, Metropolitan Ballet of Tacoma, and The Taylor School. She also dances with the TAKE Dance Company. Ms. Young made her debut with the Paul Taylor Dance Company at the Paris Opera House in January 2000.
Robert Kleinendorst is originally from Roseville, MN. He graduated from Luther College in 1995 with a BA in voice and dance. After moving to New York, he danced with the Gail Gilbert Dance Ensemble and Cortez & Co. Mr. Kleinendorst also performed with Anna Sokolow's Players Projects at The Kennedy Center in Washington, DC. Having studied at The Taylor School since 1996, he joined Taylor 2 in August 1998. Mr. Kleinendorst joined the Paul Taylor Dance Company in Fall 2000.
James Samson is a native of Jefferson City, MO, where he began his dance training at age eight. He received a BFA in dance and a minor in business from Southwest Missouri State University, then went on to study as a scholarship student with the David Parsons New Arts Festival, Pilobolus Intensive Workshop, and the Alvin Ailey Summer Intensive where he was selected to perform in Paul Taylor's Airs set by Linda Kent. Mr. Samson has danced for Charleston Ballet Theatre, Omaha Theatre Company Ballet, Omega Dance Company, New England Ballet, Connecticut Ballet, and the Amy Marshall Dance Company. He joined the Paul Taylor Dance Company in February 2001.
Michelle Fleet grew up in the Bronx and began her dance training at age four. She attended Ballet Hispanico of New York during her training at Talent Unlimited High School. There she was a member of The Ballet Hispanico Jr. Company. Ms. Fleet earned her BFA in dance from Purchase College in 1999 and received her MBA in business management in 2006. She has performed in works by Bill T. Jones, Merce Cunningham, Kevin Wynn, and Carlo Menotti. Ms. Fleet joined Taylor 2 in Summer 1999. She made her debut with the Paul Taylor Dance Company in September 2002.
Parisa Khobdeh, born and raised in Piano, TX, trained under Kathy Chamberlain and Gilles Tanguay. Ms. Khobdeh earned her BFA from Southern Methodist University and, while a student at SMU and the American Dance Festival as a Tom Adams Scholar, worked with choreographers Robert Battle, Judith Jamison, and Donald McKayle. She attended Taylor and Graham Intensives in New York City. Ms. Khobdeh has choreographed dances to benefit human rights organizations as well as for independent films. In July 2006 she made her New York theatrical debut at the Stella Adler Studios in the lead role of Lanford Wilson's Burn This. She premiered with the Paul Taylor Dance Company at the American Dance Festival in Summer 2003.
Sean Patrick Mahoney was born and raised in Bensalem, PA. At age 12 he began training with Fred Knecht and attended Princeton Ballet School on scholarship. He became an apprentice at American Repertory Ballet (ARB) and then became a featured dancer with the company. After graduating high school in 1993, he was chosen as one of the first members of Taylor 2. Mr. Mahoney later danced for David Parsons, Alex Tressor, and Geoffrey Doig-Marx, and was in Radio City's Christmas Spectacular. He returned to ARB under the direction of Graham Lustig and married his dance partner, Peggy Petteway. Mr. Mahoney rejoined Taylor 2 in Summer 2002. His debut with the Paul Taylor Dance Company was in January 2004.
Jeffrey Smith was born in Rhode Island and began his performing career singing and tap dancing. Upon entering The Boston Conservatory as a musical theater major, he had the opportunity to perform works by Paul Taylor, Jose Limon, Sean Curran, and Anna Sokolow, and later switched majors to graduate with a BFA in dance performance. After graduating in 2001, he became a member of The Martha Graham Ensemble performing featured roles in Diversion of Angels, El Penitente, the duet from A Dancer's World, and Bertram Ross's Nocturne. During this time he participated in The Taylor School Winter and Summer Intensives and became a member of Taylor 2 in March 2005. Mr. Smith made his debut with the Paul Taylor Dance Company in Cleveland in May 2005.
Eran Bugge is from Oviedo, FL, where she began her dance training at the Orlando Ballet School. She went on to study at the Hartt School of the University of Hartford under the direction of Peggy Lyman, graduating summa cum laude with a BFA in ballet pedagogy in 2005. She attended The Taylor School and the 2004 and 2005 Taylor Summer Intensives. Ms. Bugge has performed in works by Amy Marshall, Katie Stevinson-Nollet, and Jean Grand-Maitre. She was also a member of Full Force Dance Theatre and the Adam Miller Dance Project. She joined the Paul Taylor Dance Company in Fall 2005.
Francisco Graciano, a native of San Antonio, TX, began dancing and acting at an early age. He received a BFA in dance from Stephens College for Women (male scholarship), and scholarships from the Alvin Ailey School and The Taylor School. He has been a member of TAKE Dance Company, Connecticut Ballet, Ben Munisteri Dance Company, Cortez & Co. ContemporaryBallet, Pascal Rioult Dance Theater, and Dusan Tynek Dance Theater. He appeared in the operas Aida and White Raven directed by Robert Wilson. Mr. Graciano joined Taylor 2 in February 2004 and made his debut with the Paul Taylor Dance Company in Granada, Spain in Summer 2006.
Laura Halzack grew up in Suffield, CT, and began her dance training at the age of four with Brenda Barna. She furthered her training at The School of the Hartford Ballet and studied at the Conservatory of Dance at Purchase College. Ms. Halzack graduated summa cum laude with a degree in History from the University of New Hampshire in 2003. She then studied at the Hartt School and at The Taylor School's 2004 Summer Intensive. She has performed with the Amy Marshall Dance Company and Syren Modern Dance and has enjoyed teaching in her home state. Ms. Halzack studied at The Taylor School for two years before joining the Paul Taylor Dance Company in Summer 2006.
Jamie Rae Walker began her ballet and modern dance training at age eight in Levittown, PA, and later performed with the Princeton Ballet, now American Repertory Ballet. In 1991 she began training at the Central Pennsylvania Youth Ballet where she performed principal and soloist roles in many Balanchine ballets. In 1992 she was awarded a scholarship by Violette Verdy at the Northeast
Regional Dance Festival in Illinois. Ms. Walker joined Miami City Ballet in 1994 and performed principal and soloist roles in Balanchine and Taylor dances until 2000. In 2001 she received a scholarship to attend The Taylor School and was a part of the original cast of Twyla Tharp's Broadway show, Movin' Out. Ms. Walker joined Taylor 2 in Fall 2003 and became a member of the Paul Taylor Dance Company in Summer 2008.
Michael Apuzzo grew up in North Haven, CT. He studied economics and theater at Yale University, graduating magna cum laude in 2005. He began his dance training while in college, performing and choreographing in undergraduate organizations. After being dance captain for an original production of Miss Julie choreographed by Peter Pucci, Mr. Apuzzo debuted professionally at the Yale Repertory Theater. He has performed in numerous musicals and at equity theaters across the country, and recently finished performing in the National Tour of Twyla Tharp's Broadway show, Movin' Out. He holds a second-degree black belt in Tae Kwon Do and made his debut with the Paul Taylor Dance Company at New York City Center in Spring 2009.
Aileen Roehl is an American who grew up in Heidelberg, Germany, where she began her dance training at the Heidelberg School of the Arts with Isabel Christie and Carolyn Carattini. Under Mrs. Christie's direction she danced many roles including Puck, The Firebird, Aurora in The Sleeping Beauty and Nikia in La Bayadere. She received her BFA from the University of Hartford's Hartt School where she performed works by Martha Graham, Peggy Lyman, Katie Stevenson-Nollet, Jean Grand-Maitre, Kirk Peterson, Alia Nikitina, Ralph Perkins, and Adam Miller. She was a member of the Amy Marshall Dance Company from 2005-2010, and was the Company's resident costume designer. She joined the Paul Taylor Dance Company in June 2010.
Michael Novak was raised in Rolling Meadows, IL, where he started his dance training at age 10 at the Bonnie Lindholm School of the Dance. He continued his training on scholarship at The University of the Arts, the Pennsylvania Academy of Ballet, and Springboard Danse Montreal, and, in 2009, graduated magna cum laude and Phi Beta Kappa from Columbia University with a BA
in Dance. He has performed featured roles in repertory by Bill T. Jones, James Kudelka, Vaslav Nijinsky, and Stephen Petronio, and has worked for numerous choreographers, including Gina Gibney, Daniel Gwirtzman, and Bonnie Scheibman. He started studying at the Taylor School in 2008 and participated in the Taylor Summer Intensive before joining the Company in Summer 2010.
Elizabeth Bragg grew up in Denver, CO, where she began dancing at the age of three. She trained with Colorado Ballet and Cleo Parker Robinson Dance. She graduated summa cum laude from Southern Methodist University in Dallas, receiving her BFA in Dance and an award for outstanding achievement in dance. She then moved to New York and has studied at the Taylor School since 2005, attending several Taylor Intensives as well. Ms. Bragg has performed with RedWall Dance Theatre and Bardos Ballet. She will make her debut with the Paul Taylor Dance Company in Fall 2010.
The University of Michigan Department of Dance is situated within the School of Music, Theatre & Dance. The Department offers two nationally accredited programs: a Bachelor of Fine Arts and a Master of Fine Arts, and entry to both is extremely competitive. Attracting students from across all 50 states and overseas, the Department's internationally renowned faculty bring a range of expertise and complementary perspectives to both teaching and research. The Department also accommodates over 400 non-dance majors per term who register for dance classes taught by Graduate Student Instructors. Many extra-curricular activities are supported by a dedicated Friends of Dance group, without whom the current performances of Paul Taylor's Le Sacre du Printemps (The Rehearsal) could not have been possible.
MetLife Foundation is Official Tour Sponsor of the Paul Taylor Dance Company and Taylor 2. Major funding provided by The SHS Foundation; the Open Society Foundations and the Fund for the City of New York; and the Board of Trustees and Friends of the Paul Taylor Dance Foundation. Support also provided by the National Endowment for the Arts; the New York State Council on the Arts, a State Agency; and public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
Paul Taylor Dance Foundation, Inc.
www.ptdc.org Board of Directors
Paul Taylor, Chairman
Robert E. Aberlin, President
Dr. Frank L. Ellsworth, Vice President
Elise Jaffe, Wee President
C.F. Stone III, Wee President
Joseph A. Smith, Treasurer
Joan C. Bowman, Secretary
John Tomlinson, Managing Director
Carolyn Adams
Lisa Brothers Arbisser, MD
Norton Belknap
Sally Brayley Bliss
Christine Ramsay Covey
Deirdre K. Dunn
Cecile Engel
Richard E. Feldman
Roger A. Goldman
Marjorie S. Isaac
Scott King
Mary Ann Kinkead
Wilfred Koplowitz
Lee Manning-Vogelstein
Carole K. Newman
Ariane Reinhart
Yvonne Rieber
LeRoy Rubin
Max R. Shulman
William A. Shutzer
Stephen D. Weinroth
Staff
Artistic Director Paul Taylor
Rehearsal Director Bettie de Jong
Principal Lighting Designer Jennifer Tipton
Principal Set and Costume Designer Santo Loquasto
Managing Director John Tomlinson
Director of Finance and
Administration Edson Womble
Director of Marketing Alan Olshan
Director of Development Kim Chan
Director of Public Relations Lisa Labrado
Director of Operations Holden Kellerhals
Company and Rehearsal Manager Andy LeBeau
Administrator and Archival
Supervisor Tom Patrick
Touring Supervisor Ann Wagar
Associate Director of Development Toni Hsu
Production and Assistant Company
Manager Steven Carlino
Lighting Supervisor Brian Jones
Wardrobe Supervisor Caroline McCall
Rehearsal Director, Taylor 2 Ruth Andrien
Company Manager, Taylor 2 Mike Paquette
Tour Representative, Taylor 2 Jeannette Gardner, Gardner Arts Network
Company Historian Angela Kane, PhD
Archival Consultant The Winthrop Group, Inc.
Auditors Lutz & Carr
Orthopedic Consultant David S. Weiss, MD
Travel Agent
Michael Retsina, Altour
Merchandise
Dancemaker. the Academy Award-nominated documentary about Paul Taylor, is available on VHS and DVD. Copies of Mr. Taylor's acclaimed autobiography, Private Domain, and Paul Taylor Dance Company souvenir items are also available.
The Taylor School Taylor style and repertoire classes are held throughout the year, taught by former and current Taylor Company members. In addition, the School offers Summer and Winter Intensives for students from around the world interested in a more in-depth study of Paul Taylor style and choreography.
Taylor 2
Justin Kahan
Christina Lynch Markham
Madelyn Ho
Alana Allende
Hank Bamberger
Manuel Sanchez
Mr. Taylor established Taylor 2 in 1993 to ensure that his works could be seen by audiences all over the world without regard to economic or logistical limitations. He worked with longtime colleague Linda Hodes to create a company that could accommodate performance requests, teach classes, and provide community outreach. With six dancers, Taylor 2 is the same size as Mr. Taylor's original Company. In selecting repertoire for Taylor 2, Mr. Taylor chooses dances that reveal the broad spectrum of his work, sometimes reworking the original version to fit the smaller ensemble. Taylor 2's engagements are flexible and are customized to meet the needs of each community. They often consist of master classes and lecturedemonstrations in addition to performances that often take place in non-traditional venues as well as in theaters. Former Taylor dancer Ruth Andrien was named Rehearsal Director of Taylor 2 in 2010.
UMSExperience
UMS EDUCATION AND COMMUNITY ENGAGEMENT PROGRAMS
www.ums.orgeducation
UMS's Education Program deepens the relation?ship between audiences and art, while efforts in Community Engagement raise awareness of the positive impact the performing arts and educa?tion can have on the quality of life in our region. The program creates and presents the highest quality arts education and community engage?ment experiences to a broad spectrum of con?stituencies, proceeding in the spirit of partner?ship and collaboration.
In this time of economic challenge, the UMS 1011 education programs "go deeper" with projects that encourage sustained engage?ment 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.
Details about all educational and residency events are posted online approximately one month before the performance date. Join the UMS E-mail Club to have updated event infor?mation sent directly to you. For immediate event info, please e-mail umsed@umich.edu, or call the numbers listed on the following pages.
1011 Season Themes for Educational Programming
PLAY and Creativity... Where is the space for play in our daily lives What role does play have in the artistic and creative process How does play affect child development What can medical practice, the business world, and other professional sectors learn from play
Stories and Storytellers... Each season at UMS tells a unique story, and the 1011 season in particular provides some unique narratives in connection to performances. Join us as we explore the stories of the UMS season through a variety of programs.
Americas and Americans... The 1011 season features artists and art forms from the broadest possible definition of "America." This begs the question, "Who is America" and why are some of these artists or art forms considered uniquely American A series of pro?grams will explore these questions and pose others about American identity in the performing arts.
ADULT, UNIVERSITY, AND COMMUNITY PROGRAMS
Please call 734.615.4077 or e-mail umsed@umich.edu for more information.
Public Events: Extending the Experience
UMS hosts a wide variety of educational and community events to inform the public about arts and culture and to provide forums for dis?cussion and celebration of the performing arts. These events include:
Artist Interactions: Public interviews, inter?active workshops with artists, master classes, and meet-and-greet opportunities for visiting and local artists to share their craft and process while getting to know the Ann Arbor community.
LecturesRound-Table DiscussionsBook Clubs: In-depth adult education related to specific artists, art forms, cultures, films, books, or ideas connected to the UMS season.
Audience as Artist: Opportunities for the public to participate in the performing arts: dance parties, jam sessions, staged readings.
Community Receptions: Relaxed events for audiences to network and socialize with each other and with artists.
University Connections
UMS works with 57 academic units and 175 faculty members at U-M, along with many partners at other regional colleges, bringing together visiting artists, faculty, students, and the broader southeastern Michigan community. UMS appreciates the generosity of the many faculty members who share time and talent to enrich the performance-going experience for UMS audiences.
With the aim of educating and inspiring students to participate more fully in the per?forming arts, UMS student programs range from pre-concert pizza to post-concert dance parties; in-class visits with artists to internships and jobs at UMS. UMS also provides various opportunities for students to attend UMS per-
formances at significantly discounted rates (see ticket discount information on page 20). 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 students can't live without--great music and free pizza--all in one night. For just $15, students can 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.
1011 Arts& Eats Events:
Rosanne Cash, Sat 925
Paul Taylor Dance Company, Thu 107
Mariachi Vargas de Tecalitlan, Fri 115
Handel's Messiah, Sat 124
Grupo Corpo, Fri 121
Cleveland Orchestra, Tue 21
Druid Theater Company: The Cripple of Inishmaan, Thu 310
Septeto Nacional Ignacio Pineiro de Cuba, Thu 47
With support from the U-M Alumni Association.
Internships and College Work-Study Jobs
Internships and College Work-Study jobs with UMS provide experience in performing arts administration, marketing, ticket sales, pro?gramming, 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 kmabrown@umich.edu or visit www.ums.org.
Student Committee
As an independent council drawing on the diverse membership of the U-M community, the UMS Student Committee works to increase student interest and involvement in various
UMS programs by fostering increased commu?nication between UMS and the student com?munity, promoting awareness and accessibil?ity of student programs, and promoting the value of live performance. For more information or to join, please call 734.615.6590 or email szangril@umich.edu.
UMS is grateful to the University of Michigan for its support of many educational activities scheduled in the 1011 season.
YOUTH, TEEN, AND FAMILY
Please call 734.615.0122 or e-mail umsyouth@umich.edu for more information.
UMS Youth: Arts for the Next Generation
UMS has one of the largest K-12 education initiatives 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.
1011 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 1011 season features the following performances for school audiences: Paul Taylor Dance Company, Mariachi Vargas de Tecalitlan, and Carolina Chocolate Drops in Fall 2010 and Grupo Corpo, Joanne Shenandoah, Baby Loves Salsa, the Sphinx Junior Divison Honors Concert, and Kodo in Winter 2011.
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 devel?opment. If you would like to participate, please contact umsyouth@umich.edu.
Teacher Appreciation Month! February 2011 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 art?ists and audiences with a yearlong collaborative performance, ticket discounts (see page 20), and occasional internship opportunities for out?standing 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 14, 2011 at the Power Center, highlighting the area's best teen performers. This show is curated, de?signed, 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 en?vironment, and special interactive opportunities for kids with the artist or art form. The 1011 UMS Family Series includes special one-hour performances by the Paul Taylor Dance Com?pany, Baby Loves Salsa, and Kodo (an optional daytime performance during Ann Arbor Public Schools' winter break).
The 1011 Family Series is sponsored by TOYOTA
Education Program Supporters
Reflects gifts received between July I. 2009 and November I 2010.
Ford Motor Company Fund and Community Services
The Andrew W. Mellon Foundation University of Michigan
Anonymous
Arts at Michigan
Arts Midwest's Performing Arts
Fund Association of Performing Arts
Presenters The Dan Cameron Family
FoundationAlan and Swanna
Saltiel CFI Group Community Foundation for
Southeast Michigan Doris Duke Charitable Foundation Doris Duke Charitable Foundation
Endowment Fund DTE Energy Foundation The Esperance Family Foundation Jo-Anna and David Featherman Forest Health Services David and Phyllis Herzig
Endowment Fund Howard & Howard Attorneys PLLC JazzNet Endowment W.K. Kellogg Foundation John S. and James L. Knight
Foundation
Masco Corporation Foundation Michigan Council for Arts and
Cultural Affairs THE MOSAIC FOUNDATION
[of R. & P. Heydon] National Dance Project of the
New England Foundation for
the Arts
National Endowment for the Arts PNC Bank Prudence and Amnon Rosenthal
K-12 Education Endowment
Fund Target
TCF Bank Foundation 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
Children dancing on stage with Cyro Baptista at Cyro Baptista's Beat the Donkey family performance.
Support
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 volunteer?ing. Your financial investment andor gift of time to UMS allows us to continue connecting artists and audiences, now and into the future.
CORPORATE SPONSORSHIP AND ADVERTISING
Sponsorship
As a UMS corporate sponsor, your organization comes to the attention of an educated, diverse, and growing segment not only of Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural trea?sures 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.
Advertising
When you advertise in the UMS program book you gain season-long visibility among ticket buyers while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descrip?tions that are so important to the performance experience. Call 734.647.1176 to learn how your business can benefit from advertising in the UMS program book.
INDIVIDUAL DONATIONS
We could not present our season without the invaluable financial support of individual donors. Ticket revenue only covers half of the cost of our performances and educational events. UMS donors help make up the differ?ence. If you would like to make a gift, please fill out and mail the form on page 36 or call 734.647.1175.
UMS ADVISORY COMMITTEE
The UMS Advisory Committee is an organiza?tion of almost 90 volunteers who contribute over 7,000 hours of service to UMS each year. The Advisory Committee champions the mis?sion and advances the goals of UMS through community engagement, financial support, and other volunteer service.
Advisory Committee members work to in?crease awareness of and participation in UMS programs through the Education Ambassador Committee, the Community Ambassador Com?mittee, ushering at UMS youth performances, and a partnership with the U-M Museum of Art (UMMA) Friends Board.
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. Each year, UMS honors an artist andor company with the Distinguished Artist Award prior to their performance. Included in the evening is a Gala Dinner, reception, andor afterglow with the artist(s) in attendance.
On the Road with UMS. Held in September, more than 300 guests enjoy an evening of food, entertainment, and silent and live auctions.
Delicious Experiences These special events are hosted by individuals and local businesses. The hosts determine the theme for the evening, the menu, and the number of guests they would like to entertain.
For more information on events being planned for this season, or if you are interested in joining the Advisory Committee, please call 734.647.8009.
MEMBER ORGANIZATIONS
UMS is proud to be a member of the following organizations:
A2YChamber Americans for the Arts
Ann Arbor Area Convention & Visitors Bureau
Arts Alliance of the Ann Arbor Area
ArtServe Michigan
Association of Performing Arts Presenters
BoardSource
Chamber Music America
Cultural Alliance of Southeastern Michigan
DanceUSA
Detroit Regional Chamber
International Society for the Performing Arts
Main Street Area Association
State Street Association
Think Local First
THANK YOU !
UMS has been able to present world-class performances and programs for 132 years because of the loyalty of our donors, many of whom have made multiple gifts to the organization over a number of years. In particular, there are several individuals, corporations, foundations, and government agencies that have provided significant leadership support to the organization over time, enabling UMS to engage more audience members, provide education programs, and expand our offerings. We recognize here those donors whose cumulative giving to UMS totals $500,000 or more.
Anonymous
Linda and Maurice Binkow
Community Foundation for Southeast Michigan
Doris Duke Charitable Foundation
Ford Motor Company Fund and Community Services
Forest Health Services
The Andrew W. Mellon Foundation
Michigan Council for Arts and Cultural Affairs
National Endowment for the Arts
Pfizer, Inc.
Randall and Mary Pittman
Estate of Mary Romig-deYoung
Herbert E. Sloan, Jr., MD
The Wallace Foundation
ANNUAL FUND SUPPORT
JULY 1, 2009 AUGUST 1, 2010
The cost of presenting world-class performances and educational programs exceeds the revenue UMS receives from ticket sales. The difference is made up through the generous support of individuals, corporations, foundations, and government agen?cies. The following list includes donors who made gifts to UMS between July 1, 2009 and August 1, 2010. Due to space constraints, we can only list in the UMS program book those who donated $250 or more. Please call 734.647.1175 with any errors or omissions. Indicates the donor made a contribution to a UMS Endowment Fund
DIRECTOR
$100,000 or more
Association of Performing
Arts Presenters
Doris Duke Charitable Foundation Ford Motor Company Fund and
Community Services Forest Health Services The Andrew W. Mellon Foundation National Endowment for the Arts Randall and Mary Pittman University of Michigan Health System
SOLOIST
$50,000-$99,999
Anonymous
Emily W. Bandera MD
Community Foundation for Southeast
Michigan
DTE Energy Foundation Esperance Family Foundation W.K. Kellogg Foundation
MAESTRO
$20,000-49,999
Anonymous
EmcArts
Maxine and Stuart Frankel Foundation
David and Phyllis Herzig
KeyBank
Robert and Pearson Macek
Masco Corporation Foundation
Michigan Council for Arts and Cultural
Affairs
Laurence and Beverly Price Jane and Edward Schulak Dennis and Ellie Serras Mames and Nancy Stanley
VIRTUOSO
$1O,OOO-$19,999
Anonymous
Arts at Michigan
Arts Midwest's Performing Arts Fund
Bank of Ann Arbor
Linda and Maurice Binkow
Dr. DJ and Dieter Boehm
Carl and Isabelle Brauer Fund
Robert and Victoria Buckler
Marilou and Tom Capo
Dennis Dahlmann and Patricia Garcia
Alice B. Dobson
Richard and Linda Greene
Susan and Richard Gutow
Carl and Charlene Herstein
Japan Foundation
John S. and James L. Knight Foundation
Natalie Matovinovic
Mrs. Robert E. Meredith
Michigan Critical Care Consultants, Inc.
Donald L. Morelock
Gilbert Omenn and Martha Darling
Doug and Sharon Rothwell
Linda Samuelson and Joel Howell
Lois A. Theis
Toyota
University of Michigan Credit Union
Dody Viola
Marina and Robert Whitman
Max Wicha and Sheila Crowley
Ann and Clayton Wilhite
CONCERTMASTER
$7,500-$9,999
Mi hael Allemang and lanis Bobrin
Rachel Bendit and Mark Bernstein
GlaxoSmithKline Foundation
Anne and Paul Glendon
Leo and Kathy Legatski
Miller, Canfield, Paddock and Stone, P.L.C.
THE MOSAIC FOUNDATION (of R. & P.
Heydon)
Prue and Ami Rosenthal Herbert and Ernestine Ruben Sesi Lincoln Mercury Volvo Mazda Rick and Susan Snyder
PRODUCER
$5,000-$7,499 Jerry and Gloria Abrams Bernard and Raquel Agranoff Herb and Carol Amster Ann Arbor Automotive Anonymous
Essel and Menakka Bailey Kathy Benton and Robert Brown
Gary Boren
Charles H. Gershenson Trust
Mary Sue and Kenneth Coleman
Comerica Bank
The Herbert and Junia Doan Foundation
Jim and Patsy Donahey
John R. Edman and Betty B. Edman
Edward Surovell Realtors
David and Jo-Anna Featherman
Fidelity Investments
Ken and Penny Fischer
llene H. Forsyth
Eugene and Emily Grant Family Foundation
Debbie and Norman Herbert
Honigman Miller Schwartz and Cohn LLP
Howard & Howard Attorneys, PLLC
Judy and Verne Istock
David and Sally Kennedy
Wally and Robert Klein
Ms. Rani Kotha and Dr. Howard Hu
Jill Latta and David Bach
Donald Lewis and Carolyn Dana Lewis
Richard and Carolyn Lineback
Jeffrey Mason and Janet Netz
M. Haskell and Jan Barney Newman
Pfizer Foundation
PNC Bank
Rosalie EdwardsVibrant Ann Arbor Fund
Loretta Skewes
Ed and Natalie Surovell
Thomas B. McMullen Co.
Susan B. Ullrich
Robert 0. and Darragh H. Weisman
Marion T. Wirick and James N. Morgan
Keith and Karlene Yohn
Jay and Mary Kate Zelenock
LEADER
$3,500-$4,999
Jim and Barbara Adams
Barbara A. Anderson and John H. Romani
Anonymous
Elizabeth Brien and Bruce Conybeare
Edward and Mary Cady
Julia Donovan Darlow and John Corbett O'Meara
Stephen and Rosamund Forrest
Thomas and Barbara Gelehrter
Sid Gilman and Carol Barbour
Keki and Alice Irani Samuel and Marilyn Krimm Melvin Lester
Ernest and Adele McCarus Virginia and Gordon Nordby Susan and Mark Orringer Eleanor and Peter Pollack Dr. and Mrs. Muaiad Shihadeh Craig and Sue Sincock,
Avfuel Corporation Susan M. Smith and Robert H. Gray Lewis and Judy Tann Karl and Karen Weick
PRINCIPAL
$2,500-$3,499 Anonymous
Janet and Arnold Aronoff Suzanne A. and Frederick J. Beutler Charles and Linda Borgsdorf Dale E. and Nancy M. Briggs Jeannine and Robert Buchanan Valerie and David Canter Carolyn M. Carty and
Thomas H. Haug Jean and Ken Casey Dave and Pat Clyde Anne and Howard Cooper John Dryden and Diana Raimi Emil and Joan Engel Sara and Michael Frank Tom and Katherine Goldberg John and Helen Griffith Robert and Beatrice Kahn Jim and Pat Kennedy Philip and Kathryn Klintworth National Dance Project of New
England Foundation for the Arts William Nolting and Donna Parmelee David N. Parsigian Peter and Carol Polverini Jim and Bonnie Reece John and Dot Reed Duane and Katie Renken Corliss and Jerry Rosenberg Dr. and Mrs. Nathaniel H. Rowe Target
TCF Bank Foundation Jim Toy
Don and Toni Walker Elise Weisbach Ronald and Eileen Weiser
PATRON
$1,000-$2,499
Wadad Abed
Robert and Katherine Aldrich
Michael and Suzan Alexander
Christine W. Alvey
Dr. and Mrs. David G. Anderson
Anonymous
Dr. and Mrs. Rudi Ansbacher
Harlene and Henry Appelman
Bob and Martha Ause
Jonathan Ayers and Teresa Gallagher
Reg and Pat Baker
Lesli and Christopher Ballard
Patricia Bard
John and Ginny Bareham
Norman E. Barnett
Bradford and Lydia Bates
Astrid B. Beck
Cecilia Benner
Linda and Ronald Benson
James K. and Lynda W. Berg
Stuart and Ruth Ann Bergstein
Raymond and Janet Bernreuter
Phil Berry
Joan A. Binkow
Blue Nile Restaurant
Margaret and Howard Bond
Rebecca S. Bonnell
Laurence and Grace Boxer
Dr. and Mrs. Ralph R. Bozell
Edalene and Ed Brown
Family Foundation June and Donald R. Brown Barbara Everitt Bryant Lawrence and Valerie Bullen Joan and Charley Burleigh Letitia J. Byrd Amy and Jim Byrne Lou and Janet Callaway H.D. Cameron Janet and Bill Cassebaum Tsun and Siu Ying Chang Anne Chase Pat and George Chatas Dr. Kyung and Young Cho Janice A. Clark Cheryl and Brian Clarkson Hubert and Ellen Cohen Phelps and Jean Connell Connie D'Amato Susan Tuttle Darrow Charles and Kathleen Davenport Hal and Ann Davis Andrzej and Cynthia Dlugosz Molly Dobson Stuart and Heather Dombey
Dallas C. Dort
Ivo Drury and Sun Hwa Kim
Bill and Julie Dunifon
Kim and Darlene Eagle
Julia and Charles Eisendrath
Ernst & Young Foundation
Eric Fearon and Kathy Cho
Dede and Oscar Feldman
Yi-tsi and Albert Feuerwerker
Drs. David Fink and Marina Mata
Robben Fleming
Food Art
Dan and Jill Francis
Leon and Marcia Friedman
Bill and Boc Fulton
Otto and Lourdes E. Gago
Enid H. Galler
Lois Kennedy Gamble
Tom Gasloli
Prof. David M. Gates
William and Ruth Gilkey
Zita and Wayne Gillis
Karl and Karen Gotting
Cozette Grabb
Elizabeth Needham Graham
Martha and Larry Gray
Robert A. Green MD
Leslie and Mary Ellen Guinn
Don Haefner and Cynthia Stewart
Helen C. Hall
Steven and Sheila Hamp
Martin and Connie Harris
Alice and Clifford Hart
Sivana Heller
Dr. and Mrs. Michael Hertz
Diane S. Hoff
Carolyn B. Houston
Robert M. and Joan F. Howe
Dr. John B. Huntington
Eileen and Saul Hymans
Jean Jacobson
Wallie and Janet Jeffries
Timothy and Jo Wiese Johnson
David and Gretchen Kennard
Tom and Connie Kinnear
Diane Kirkpatrick
Rhea K. Kish
Carolyn and Jim Knake
Dr. and Mrs. Jerry Kolins
Barbara and Ronald Kramer
Donald J. and Jeanne L. Kunz
lane F Laird
David Lampe and Susan Rosegrant
John Lawrence and Jeanine DeLay
Ted and Wendy Lawrence
Carolyn and Paul Lichter
Lawrence and Rebecca Lohr
jean E. Long
John and Cheryl MacKrell Edwin and Cathy Marcus Ann W. Martin and
Russ Larson Sally and Bill Martin Marilyn Mason Mary and
Chandler Matthews Jerry A. and
Deborah Orr May Susan McClanahan and
Bill Zimmerman Griff and Pat McDonald Barbara Meadows Bernice and Herman Merte Paul Morel and Linda
Woodworth Alan and Sheila Morgan Cyril Moscow Or. and Mrs. Sang Y. Nam Randolph and
Margaret Nesse Paula Novelli and Paul Lee Marylen S. Oberman "Marysia Ostafin and
George Smilie Mohammad and
J. Elizabeth Othman Steve and Betty Palms Judith Ann Pavitt Bertram and Elaine Pitt Stephen and
Bettina Pollock Thomas Porter and
Kathleen Crispell Phil and Kathy Power Richard and Mary Price Mrs. Gardner Quarton Anthony Reffells Donald Regan and
Elizabeth Axelson Ginny and Ray Reilly Malverne Reinhart Jeff and
Huda Karaman Rosen Lynne Rosenthal Karem and Lena Sakallah Dick and Norma Sams Maya Savarino Dr. Lynn T. Schachinger and
Dr. Sheryl S. Ulin David Schmidt Erik and Carol Serr Edward and Kathy Silver Carl Simon and Bobbi Low Dr. Rodney Smith Michael B. Staebler
Gary and Diane Stahle Heidi Stani-Wolski and
Thomas Dwyer Lloyd and Ted St. Antoine John and Lois Stegeman Virginia and Eric Stein Dr. and Mrs.
Stanley Strasius
Karen and David Stutz Charlotte Sundelson Louise Taylor
Doris H. Terwilliger
Peter, Carrie and Emma Throm
Louise Townley
Jeff and Lisa Tulin-Silver
Marianne Udow-Phillips
and Bill Phillips Jack and
Marilyn van der Velde Florence S. Wagner Liina and Bob Wallin Shaomeng Wang and
Ju-Yun Li
Harvey and Robin Wax Dr. Steven Werns W. Scott Westerman, Jr. Roy and JoAn Wetzel Dianne Widzinski and
James Skupski, MD Max and Mary Wisgerhof Charles Witke and
Aileen Gatten
BENEFACTOR
$5004999
Judith Abrams Bonnie Ackley Doug Anderson and Peggy
McCracken Roy Albert Roger Albin and Nili
Tannenbaum
Richard and Mona Alonzo Anonymous Penny and Arthur Ashe Robert Axelrod and
Amy Saldinger Robert L. Baird Laurence R. and
Barbara K. Baker Lisa and Jim Baker Paulett Banks Nan Barbas and
Jonathan Sugar David and Monika Barera David and Lois Baru Frank and
Lindsay Tyas Bateman
Prof, and Mrs.
Erling Blondal Bengtsson Richard S. Berger L.S. Berlin
Naren and Nishta Bhatia Sara Billmann and
Jeffrey Kuras John Blankley and
Maureen Foley Beverly J. Bole William R. Brashear David and Sharon Brooks Eric and Florence Buatois Trudy and Jonathan Bulkley Frances Bull
Susan and Oliver Cameron Margot Campos Brent and Valerie Carey Barbara Carr John Carver
Samuel and Roberta Chappell John and Camilla Chiapuris Beverly and Reginald Ciokajlo Mark Clague and
Laura Jackson Jonathan Cohn MD Wayne and Melinda Colquitt Anne and Edward Comeau Jud Coon
Arnold and Susan Coran Malcolm and Nita Cox C. Merle and
Mary Ann Crawford John and Carolyn Culotta Roderick and
Mary Ann Daane Michele Derr Linda Dintenfass and
Ken Wisinski Eva and Wolf Duvernoy Gavin Eadie and
Barbara Murphy James Ellis and Jean Lawton James R. Eng and
Patricia Randle Stefan and Ruth Fajans Harvey and Elly Falit Irene Fast
Margaret and John Faulkner Phil and Phyllis Fellin Carol Finerman Clare M. Fingerle Thomas Finholt and
Stephanie Teasley Susan A. Fisher Susan Fisher and John
Waidley Esther M. Floyd Mr. and Mrs. George W. Ford Neal R. Foster and
Meredith Lois
Spencer Foster
David Fox and
Paula Bockenstedt Howard P. Fox Betsy Foxman and
Michael Boehnke Jerrold A. and Nancy M. Frost Sandra Galea and
Margaret Kruk Beverley and Gerson Geltner Ronald Gibala and
Janice Grichor Dr and Mrs. Paul W. Gikas Amy and Glenn Gottfried James and Maria Gousseff Christine and Philip Green Raymond and Daphne Grew Nicki Griffith Milton and Susan Gross Bob and Jane Grover Carl Guldberg Robert and Elizabeth Hamel Walt and Charlene Hancock Jeff Hannah and Nur Akcasu Alan Harnik and
Prof. Gillian Feeley-Hamik Susan R. Harris Daniel and Jane Hayes David W. Heleniak Herb and Dee Hildebrandt James C. Hitchcock Betty Hsiao Ralph M. Hulett Am D. Hungerman Stuart and Maureen Isaac Mr. and Mrs. Richard Isackson ISCIENCES, LLC Joan L. and John H. Jackson Jerome Jelinek Sharon and Jack Kalbfleisch Mark and Madolyn Kaminski Helen and Irving Kao Alfred and Susan Kellam Christopher Kendall and
Susan Schilperoort Dr David E. and Heidi
Castleman Klein Shira and Steve Klein Hermine Roby Klingler Regan Knapp and
John Scudder Michael Koen Michael J. Kondziolka and
Mathias-Philippe Florent
Badin
Charles and Linda Koopmann Dr and Mrs. Melvyn Korobkin Rebecca and Adam Kozma Barbara and
Michael Kratchman Bert and Geraldme Kruse Bud and Justine Kulka Lucy and Ken Langa
Dale and Marilyn Larson
David Lebenbom
John and Therese Lee
Richard LeSueur
Joan and Melvyn Levitsky
Marilyn and Marty Lindenauer
Mark Lindley and
Sandy Talbott Rod and Robin Little E. Daniel and Kay Long Fran Lyman Brigitte Maassen Pam MacKintosh Scott and Kris Maly Melvin and Jean Manis Nancy and Phil Margolis W. Harry Marsden Fran and Irwin Martin Susan E. Martin Judythe and Roger Maugh Carole J. Mayer Margaret E. McCarthy Margaret and
Harris McClamroch W. Joseph McCune and
Georgiana Sanders Bud McKenzie Warren and Hilda Merchant Merrill Lynch Robert C. Metcalf Fei Fei and John Metzler Don and Lee Meyer Joetta Mial Gene and Lois Miller Mrs. J. Jefferson Miller Myrna and Newell Miller Andrew and Candice Mitchell Bert and Kathy Moberg Olga Moir
Lewis and Kara Morgenstern Melinda Morris Tom and Hedi Mulford Gerry and Joanne Navarre Kay and Gayl Ness Dan and Sarah Nicoli Laura Nitzberg Kathleen I. Operhall David and Constance Osier David and Andrea Page William and Hedda Panzer Zoe and M. Joseph Pearson Margaret and Jack Petersen Evelyn Pickard Juliet S. Pierson Ann Preuss
Wallace and Barbara Prince "Peter Railton and
Rebecca Scott Stephen J. Rogers Doug and Nancy Roosa Stephanie Rosenbaum
Richard and Edie Rosenfeld Margaret and
Haskell Rothstein Doris E. Rowan Craig and Jan Ruff Ina and Terry Sandalow L. Sandelands and J. Dutton Miriam Sandweiss David Sarns and
Agnes Moy-Sarns Rosalyn Sarver and
Stephen Rosenblum Ann and Tom Schriber John J.H. Schwarz MD Matthew Shapiro and
Susan Garetz
Janet and Michael Shatusky Julie and Mike Shea Howard and Aliza Shevrin Bruce M. Siegan Sandy and Dick Simon Elaine and Robert Sims Don and Sue Sinta Nancy and Brooks Sitterley Irma Sklenar
George and Nancy Sloan Barbara Furin Sloat David and Renate Smith Robert W. Smith Gretchen Y. Sopcak Becki Spangler and
Peyton Bland Eric and Ines Storhok Don and Kate Sullivan Elizabeth C. Teeter Steve and Diane Telian Fr. Lewis W. Towler Jonathan Trobe and
Joan Lowenstein Claire and Jeremiah Turcotte Douglas and Andrea Van
Houweling
Harue and Tsuguyasa Wada David C. and
Elizabeth A. Walker Charles R. and
Barbara H. Wallgren Jo Ann Ward Arthur and Renata
Wasserman Enid Wasserman Deborah Webster and
George Miller Angela and Lyndon Welch Katherine E. White Iris and Fred Whitehouse Richard C.Wilson I.W. and Beth Winsten Drs. Douglas and Margo Woll Kathryn and Richard Yarmain James Young
ASSOCIATE
$250-$499
Martha Agnew and
Webster Smith Dr. Diane M. Agresta Jennifer Allan and Marc Renouf James and Catherine Allen Helen and David Aminoff Catherine M. Andrea Anonymous Dan and Vicki Arbour Phil and Lorie Arbour Eric and Nancy Aupperle Ronald and Anna Marie Austin Drs. John and Lillian Back Barbara and Daniel Balbach Robert and Linda Barry Robert and Wanda Bartlett Gary Beckman and Karla Taylor Ken and Eileen Behmer Harry and Kathryn Benford Dr. Rosemary R. Berardi Helen Berg Ramon and Peggyann Nowak
Berguer Harvey Berman and
Rochelle Kovacs Berman Inderpal and Martha Bhatia Stan and Sandra Bies Jack Billi and Sheryl Hirsch William and llene Birge Jerry and Dody Blackstone Ron and Mimi Bogdasarian Mr. Mark D. Bomia Bob and Sharon Bordeau Victoria C. Botek and
William M. Edwards Robert M. Bradley and
Charlotte M. Mistretta Joel Bregman and Elaine
Pomeranz
Christie Brown and Jerry Davis Morton B. and Raya Brown Dr. Pamela Brown Tony and Jane Burton Betty Byrne Heather Byrne Thomas and Colleen Carey Jack and Wendy Carman Dennis B. and
Margaret W. Carroll Dennis J. Carter A. Craig Cattell Sue and Bill Chandler J. Wehrley and
Patricia Chapman Joan and Mark Chesler Audrey Chung Donald and Astrid Cleveland Coffee Express Co. Alice S. Cohen Judy and Malcolm Cohen George Collins and
Paula Hencken
Kevin and Judy Compton Mark and Wendy Comstock Joe and Mary Pat Conen James and Constance Cook Dr. Hugh and Elly Cooper Katharine Cosovich Katherine and Clifford Cox Michael and Susan Bozell Craig Jean C. Crump John and Mary Curtis Timothy and
Robin Damschroder Ed and Ellie Davidson F. Kenneth and Alice Davis Linda Davis and Robert Richter Jean and John Debbink Mary Dempsey and
James Corbett
Jocelyn DeWitt and Kurt Riegel Elizabeth Dexter Sally and Larry DiCarlo Michael DiPietro Elizabeth Duell Peter and Grace Duren Swati Dutta James Eder
Morgan and Sally Edwards Dr. Alan S. Eiser Charles and Julie Ellis Johanna Epstein and
Steven Katz Mary Ann Faeth Karen and Mark Falahee Afaf Vicky Farah Dr. and Mrs. S.M. Farhat Jean Fine
C. Peter and Beverly A. Fischer Harold and Billie Fischer Dr. Lydia Fischer Laurel Fisher MD Ray and Patricia Fitzgerald Arnold Fleischmann Tim and Stephanie Freeth Richard and Joann Freethy Susan L. Froelich and
Richard E. Ingram Philip and Renee Frost Kathleen O'Brien Gage Carol Gagliardi and David
Flesher Sandra Gast and Gregory
Kolecki
Michael Gatti and Lisa Murray Dr. Beth Genne and Dr. Allan
Gibbard
Christopher Genteel Deborah and Henry Gerst Elmer G. Gilbert and
Lois M. Verbrugge J. Martin Gillespie and
Tara Gillespie
Maureen and David Ginsburg Edie Goldenberg Irwin J. Goldstein and
Martha Mayo
Mitch and Barb Goodkin Enid Gosling and Wendy
Comstock Mr. and Mrs. Charles and
Janet Goss Michael L Gowing Phyllis Gracie
Christopher and Elaine Graham Linda and Roger Grekin Mark and Susan Griffin Werner H. Grilk Larry and Sandy Grisham Robin and Stephen Gruber Anna Grzymala-Busse and
Joshua Berke
Kenneth and Margaret Guire Arthur W. Gulick Susan C. Guszynski and
Gregory F. Mazure Jan and Talbot Hack George and Mary Haddad Anne L. Hagiwara Tom Hammond Jeffrey L. Hauptman 'vlichael and Jeanne Haynes I Lawrence Henkel and
Jacqueline Stearns Henkel ludith Herndon and
Brian Carney Alfred and Therese Hero iirian Hickam 'Timothy Hofer Ronald and Ann Holz Paul Hossler and
Charlene Bignall James and Wendy Fisher House Mabelle Hsueh Harry and Ruth Huff Eugene and Margaret Ingram Dr. David and Tina Jahn Joachim and Christa Janecke Mark and Linda Johnson Mary and Kent Johnson Paul and Olga Johnson Carol and H. Peter Kappus Donald and Suzanne Kaul John Kennard, Jr. Nancy Keppelman and
Michael Smerza Roland and Jeanette Kibler Donald and Mary Kiel Paul and Leah Kileny Ray and Sandra Kirchner Aric Knuth and Jim Leija Joseph and Marilynn Kokoszka Chene Koppitz Alan and Sandra Kortesoja Brenda Krachenberg Doris and Donald Kraushaar Gary and Barbara Krenz :lary Krieger
en and Maria Laberteaux Donald John Lachowicz Neal and Anne Laurance Marion and Jerry Lawrence
Ruth L. Leder
Frank Legacki and Alicia Torres
Sue Leong
John Lesko
Rachelle Lesko
Myron and Bobbie Levme
Jacqueline Lewis
Ralph and Gloria Lewis
Don and Erica Lindow
Michael and Debra Lisull
Michael Lilt
Daniel Little and
Bernadette Lintz Dr. and Mrs. Lennart Lofstrom Julie M. Loftin William and Lois Lovejoy Ormond and
Annie MacDougald Martin and Jane Maehr William and Jutta Malm Claire and Richard Malvin Beverly Manko Betsy Yvonne Mark H. L. Mason Matthew Mason and
Renate Klass Olivia P. Maynard and
Olof Karlstrom "Laurie McCauley and
Jessy Grizzle Dr. Paul W. McCracken James H. Mclntosh and
Elaine K. Gazda Bill and Ginny McKeachie Ralph R. McKee and
Jean L. Wong Joanna McNamara and
Mel Guyer Frances McSparran Manish and Varsha Mehta Harry and Natalie Mobley Lester and Jeanne Monts Patricia E. Mooradian Mark and Lesley Mozola Terence Roche Murphy Virginia Murphy and
David Uhlmann Drs. Louis and
Julie Jaffee Nagel Nebraska Book Company Dr. Bonita Davis Neighbors Sharon and Chuck Newman Dr. and Mrs. John Nicklas Susan and Richard Nisbett Christer E. and Outi Nordman Rick and Bonnie Ohye Robert and Elizabeth Oneal Norm and Charlotte Otto George Palty Donna D. Park Katherine Pattridge Shirley and Ara Paul Jean and Jack Peirce Mr. and Mrs. William Peterson Bruce and Lori Pickard
Robert and Mary Ann Pierce Julianne Pinsak Anne Pitcher and
Martin Murray Susan Pollans and Alan Levy Garrod S. Post and
Robert A. Hill Bill and Diana Pratt Dr. and Mrs. Wallace Pretzer Karen and Berislav Primorac Quinn Evans Architects Margaret Jane Radin and
Phillip R. Coonce Pamela Raphel Stephen and Agnes Reading Claire Conley Rice Todd Roberts William Robinson and
Nancy Green
Jonathan and Anala Rodgers Jean P. Rowan Rosemarie Haag Rowney Carol D. Rugg and
Richard K. Montmorency Omari Rush
Michael and Kimm Sarosi Joseph Saul and Lisa
Leutheuser Julie Savarino
Mike and Annmarie Savitski Betina Schlossberg David and Monica Schteingart Harriet Selin Richard H. Shackson Fred Shapiro
David and Elvera Shappirio Patrick and Carol Sherry George and Gladys Shirley Mary A. Shulman Drs. Andrew and
Emily Shuman Ken and Marcia Slotkowski Tim and Marie Slottow Andrea and William Smith Carl and Jari Smith Connie and Arthur Smith Ren and Susan Snyder Cheryl Soper Holly and Mike Sorscher Ralph and Anita Sosin Linda Spector and
Peter Jacobson Doris and Larry Sperling Gretta Spier and
Jonathan Rubin David and Ann Staiger Lia and Rick Stevens Abby Stewart and
David Winter James L. Stoddard Bob and Shelly Stoler John W. and
Gail Ferguson Stout Mary and Ken Stover Cynthia Straub
Nancy Bielby Sudia
Ba'bara and Donald Sugerman
Teresa Sullivan and
Douglas Laycock Richard and June Swartz Brian and Lee Talbot Frank and Carolyn Tarzia Eva and Sam Taylor Mark and Patricia Tessler Ted and Eileen Thacker Denise Thai and David Scobey Mary H. Thieme Hitomi Tonomura Alvan and Katharine Uhle Htgo and Karla Vandersypen Chris and Steven Vantrease Jack and Carolyn Wallace C. Glen and Edite B. Walter W Iliam and Susan Weadock Richard and Madelon Weber Jack and Jerry Weidenbach Lisa and Steve Weiss Mary Ann Whipple James B. White and
Mary F. White Nancy Wiernik Gareth and Lauren Williams Margaret W. Wcnkelman and
Robert A. Krause Lawrence and Mary Wise Charlotte A. Wolfe Stan and Pris Woollams Frances A. Wright Mary Jean and John Yablonky Thomas and Karen Zelnik 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.
Endowed Funds
The future success of the University Musical Society is secured in part by income from UMS's endow?ment funds. 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
Medical Community 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 grateful for this important support, which will continue the great traditions 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. Zollar
Tribute Gifts
Contributions have been made in memory of the following people:
John Andrews
Richard W. Cashin
Peter Copeland
Richard M. Croake
Ellwood Derr
John S. Dobson
Frieda Feigel Eder
Sheree Falkauff
Frances Henkin Fingerhut
Margaret W. Fox
E. James Gamble
Dr. Julian T. Hoff
George Kalis
Janet Kasmirski '66 MM
Carl J. Lutkehaus
Dr. Josip Matovinovic
Bettie Metcalf
Valerie D. Meyer
James Pattridge
Gwen and Emerson Powrie
Robert Pratt
Elizabeth G. Rector
Gail W. Rector
Steffi Reiss
Sally Rogers
Edith Rose
Margaret E. Rothstein
Eric H. Rothstein
Nona R. Schneider
Mary Sinkford
Edith Marie Snow
Ann R. Taylor
Dr. and Mrs. E. Thurston Thieme
Charles R. Tieman
Francis V. Viola III
Eleanor Louise Wright
Barbara R. Wykes
Anne Yagle
Contributions have been made in honor of the following people:
Jean W. Campbell
Anne and Howard Cooper
Alex Fischer
Jerry and Beth Fischer
Ken and Penny Fischer
Prof. Charles Fisher
Maxine and Stuart Frankel
The Gago boys
Dr. Carolyn and John Haury
Anne Herrmann
Wally Klein
Aric Knuth and Jim Leija
Sharon Anne McAllister
Gifts In-Kind
Ann Arbor Cooks, Natalie Marble
Ann Arbor District Library
Ann Arbor Fire Department
Phil and Lorie Arbour
Barbara Bach
Kathie Barbour
Barton Hills Country Club
E. Henry Beitz
Berry Goldsmiths
Bistro Renaissance
Black Star Farms Inn
Bivouac
Jerry Blackstone
Horace and Francine Bomar
Barbara Everitt Bryant
Camp Michigania
Lloyd and Laurie Carr
Jack Cederquist and Meg Kennedy Shaw
The Chippewa Club, Craig Capelli
). Wehrley and Patricia Chapman
Cheryl and Brian Clarkson
Judy Cohen
Mary Sue and Kenneth Coleman
Jill Collman
Mark and Wendy Comstock
Paul Cousins
Stuart and Heather Dombey
Downtown Home and Garden
Mary Ann Faeth
Sara Fink
Susan A. Fisher
Susan R. Fisher and John Waidley
Maxine and Stuart Frankel
Anne and Paul Glendon
Kathy and Tom Goldberg
Greenstone's Jewelers of Birmingham
Joe Grimley
Susan and Richard Gutow
Walt and Charlene Hancock
Heavenly Metal
Hotel Iroquois, Mackinac Island
Chantel Jackson
Christopher Kendall and Susan Schilperoort
Steve and Shira Klein
Mary LeDuc
Richard LeSueur
Joan and Melvyn Levitsky
Liberty Athletic Club
Martin and Jane Maehr
Melanie and Michael Mandell
Ann W. Martin and Russ Larscn
Terry Martin
Kathy McKee Casting Studio
Joanna McNamara
Melange
Liz and Art Messiter
Michigan Theater
Middle Earth
Robin and Victor Miesel
Virginia Morgan
Leonard Navarro
Kay and Gayl Ness
Steve and Betty Palms
Performance Network Theatre
Peter's Palate Pleaser
Pictures Plus
Plum Market
Mike and Lisa Psarouthakis
Purple Rose Theatre
Idelle Hammond-Sass
Paul and Penny Schreiber
SeloShevel Gallery
Cliff and Ingrid Sheldon
John Shultz Photography
Gene and Alida Silverman
Bill and Andrea Smith
Becki Spangler and Peyton Bland
Gari Stein and Ira Lax
Karen and David Stutz
Sweet Gem Confections, Nancy Biehn
TeaHaus
Eileen and Ted Thacker
Lisa Townley
Louise Townley
University of Michigan Athletic Department
University of Michigan Exhibit Museum of
Natural History University of Michigan Friars University of Michigan Golf Course University of Michigan Men's Soccer Team University of Michigan Museum of Art University of Michigan School of Music, Theatre & Dance Renee Vettorello Village Corner, Dick Scheer Wawashkamo Golf Club, Mackinac Island Debbie Williams-Hoak Jeremy Wright Zingerman's Bakehouse