UMS Concert Program, October 15-25, 2014: Gregory Porter; Chris Thile & Edgar Meyer; Belcea Quartet; Pirandello
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UMS PROGRAM BOOK
UMS unleashes the power of the performing arts in order to engage, educate, transform, and connect individuals with uncommon experiences. The 2014 2015 season is full of exceptional, world-class, and truly inspiring performances.
WEL C OME T O THE UMS EXPERIENCE.
WEÃRE GLAD Y OUÃRE PRE SENT .
ENJOY THE PERFORMANCE.
Your body is your instrument.
Keep it in tune.
Center for Plastic & Reconstructive Surgery
ART AND MEDICINE PERFORMING IN CONCERT
Paul Izenberg, MD . David Hing, MD . Richard Beil, MD . Daniel Sherick, MD . Ian Lytle, MD . Rachel Streu, MD
WEL C OME.
BE PRESENT FALL 2014
ÃOne of the many treasures of the University of Michigan that Monica and I look forward to experiencing is UMS. With its rich legacy of bringing to our community the very best in the performing arts from around the world, UMS has brought great distinction to the University. Equally distinctive are UMSÃs outstanding educational programs that animate the performances and provide added value to our students, faculty, alumni, and regional community. Thank you for being part of this remarkable 136-year-old tradition.Ã
President, University of Michigan
ÃThank you so much for joining us at this performance. As we welcome President Mark Schlissel and Monica Schwebs to the University and to UMS performances, we celebrate UMSÃs deepened engagement with U-M academic units through our new course, Engaging Performance; the Mellon Faculty Institute; Medical Arts Program; and other initiatives serving U-M students and faculty. You can learn about these initiatives at ums.org/learn. On our site you can also learn about our Emmy Award-winning documentary on Hill Auditorium, link to our online archive UMS Rewind, and share your views about this performance. We are proud to bring audiences and artists together in uncommon and engaging experiences.Ã
KENNETH C. FISCHER
ÃUMS is beginning its 136th season as an arts presenter, the oldest university-based arts presenting organization in the US. I am extremely honored to be starting my second year as Chair of the UMS Board of Directors. In partnership with an outstanding staff, the UMS Board seeks to assure that UMS will be as strong and vital in the future as it is today. We invite you to join us in our Victors for UMS campaign, focusing on the goals of Access and Inclusiveness, Engaged Learning Through the Arts, and Bold Artistic Leadership. With your help, we can be the Leaders and Best in presenting arts and culture to our community.Ã
STEPHEN G. PALMS
Chair, UMS Board of Directors
As a long-time patron of the arts, Honigman is a proud partner of UMS. We wish to thank our colleagues for their leadership and support, including David N. Parsigian, member of the UMS Board of Directors and Treasurer, and Maurice S. Binkow, Carl W. Herstein and Leonard M. Niehoff, members of the UMS Senate.
Honigman and its Ann Arbor lawyers are proud to support UMS.
Fernando Alberdi Carl Herstein Cyril Moscow
Jennifer Anderson Richard Hoeg Leonard Niehoff
Christopher Ballard Ann Hollenbeck David Parsigian
Maurice Binkow J. Michael Huget James Stewart
Cindy Bott Barbara Kaye Bea Swedlow
Anna Budde Tara Mahoney Bill Winsten
Thomas Forster Joseph Morrison
For more information, please contact David Parsigian at 734.418.4250 or DParsigian@honigman.com.
BE PRESENT. 9
GENERAL INFO. 46
2014-2015 SEASON CALEND AR.
2014 2015 SEASON CALEND AR. F ALL 2014 UMS
14 Itzhak Perlman, violin
21 Royal Shakespeare Company Live in HD:
ShakespeareÃs The Two Gentlemen of Verona 27 Emerson String Quartet 28 National Theatre Live: EuripidesÃ Medea
10-12 Kiss & Cry
Charleroi Danses, Belgium 15 Gregory Porter 16 Chris Thile & Edgar Meyer 18 Belcea Quartet 24-25 ThÂÂtre de la Ville
Pirandello's Six Characters in Search of an Author 31-1 superposition | Ryoji Ikeda
1 The Big Squeeze: An Accordion Summit 6 ApolloÃs Fire & ApolloÃs Singers
MonteverdiÃs Vespers of 1610 9 Quatuor ÂbÂne 13-14 San Francisco Symphony
Michael Tilson Thomas, music director Gil Shaham, violin (11/14) 15 Bob James 19 Jake Shimabukuro, ukulele 23 Yuja Wang, piano Leonidas Kavakos, violin
6-7 HandelÃs Messiah UMS Choral Union & Ann Arbor Symphony Orchestra Jerry Blackstone, conductor
RossiniÃs William Tell Teatro Regio Torino Orchestra & Chorus Gianandrea Noseda, conductor
Artists, programs, and dates are subject to change.
Please visit www.ums.org for an up-to-date season calendar.
To learn more, see video previews, get in-depth performance descriptions,
and buy tickets, visit www.ums.org.
7-10 Helen & Edgar 17 eighth blackbird 23 Compagnie Marie Chouinard 24-25 Mariinsky Orchestra
Valery Gergiev, music director
Behzod Abduraimov, piano (1/24)
Denis Matsuev, piano (1/25)
Ford Honors Program (1/25)
31 Dawn of Midi: Dysnomia
5 Tomasz Sta.ko, trumpet 6 Jennifer Koh, violin 14 MendelssohnÃs Elijah
UMS Choral Union & Ann Arbor Symphony Orchestra Jerry Blackstone, conductor 14-21 Compagnie Non Nova
Prelude to the Afternoon of a Foehn
15 Jazz at Lincoln Center Orchestra with Wynton Marsalis 19 Rotterdam Philharmonic Orchestra Yannick NÂzet-SÂguin, conductor
HÂlÂne Grimaud, piano 20 The Campbell Brothers: A Sacred Steel Love Supreme 21-22 Trisha Brown Dance Company
1 2-13 A Bill Frisell Americana Celebration 1 3-14 Kyle Abraham
Abraham.In.Motion 22 Chicago Symphony Winds 25 Academy of St. Martin in the Fields
Jeremy Denk, piano
4 Gilberto Gil 9 Max Raabe and the Palast Orchester 16 Herbie Hancock and Chick Corea 17 Oliver Mtukudzi and the Black Spirits 19 Artemis Quartet 23 Seoul Philharmonic Orchestra
Myung-Whun Chung, conductor Sunwook Kim, piano 24-26 Lyon Opera Ballet
26 Richard Goode, piano
BE PRE SENT F ALL 2014
Photo: Oliver Mtukudzi
Ann Arbor Symphony Orchestra
Music in the Key of A2Â¨
Beethoven Festival with AndrÂ Watts
Made in the USA
Tchaikovsky & Friends
First-time subscribers: buy one series, get one free!
UMS EDUCA TION EXPERIENCE S.
At UMS, our mission goes beyond performance. We want you to create, to explore, and to experience extraordinary new things. That is why we offer a fascinating lineup of artist Q&As, conversations, workshops, and interactive experiences, each designed to bring you closer to performance and creation, and expand your comfort zone. If you want to experience something new, different, highly engaging, and eye-opening, we welcome you to be present.
Photo: Compagnie KafÂg You Can Dance at the Ann Arbor Y; photographer: Mark Gjukich.
At UMS, we believe it can. In our 136th season, we continue to showcase traditional performances alongside contemporary artists for an offering that is unlike anything available in the Midwest. UMS grew from a group of local members of the University and townspeople in the 1870s who gathered together for the study of HandelÃs Messiah. Led by Professor Henry Simmons Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Many Choral Union members were also affiliated with the University, and the University Musical Society was established soon after in December 1880.
Since that first season, UMS has expanded greatly and we now present the very best from a wide spectrum of the performing arts: internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and global music performers, and contemporary stagework and classical theater. Through educational programming, the commissioning of new works, youth programs, artist residencies, and collaborative projects, we continue to strengthen our reputation for artistic distinction and innovation.
Photo: Hill Auditorium in 1928.
UMS believes in exceptional stewardship of the performing arts, a responsibility shared by many in our community. In the following pages, youÃll meet some of the individuals and organizations that help bring our season to the stage.
UMS LEADERSHIP DONORS.
The following individuals have made gift commitments of $50,000 or more for the 2013Ã14 and/or 2014Ã15 seasons, or have established a permanent endowment of $100,000 or more as a part of the Victors for Michigan Campaign.
BERTRAM ASKWITH PATTI ASKWITH KENNER
ÃThe arts have made a significant difference in my life and my daughterÃs life. I want every U-M student to have the opportunity to experience the impact of the performing arts at UMS. This is why I am offering
every first and second year student one free ticket
Ã BertÃs Ticket Ã to introduce them to a cultural experience at Michigan.Ã
ÃI want to help chamber music flourish in Ann Arbor. My support for the series began with its inception in 1963 and I continue to believe that these concerts help nurture our intellectual life as they stimulate and refresh us.Ã
EUGENE AND EMILY GRANT
ÃWe are proud to support UMS and the many programs they offer University students. It is great to know that students will have access to the greatest performing artists from around the world. The arts are an important part of a Michigan education.Ã
MAXINE AND STUART FRANKEL FOUNDATION
Maxine and Stuart Frankel
ÃWe are delighted to partner with UMS for the fourth year on the Renegade Series. Supporting Renegade programming allows UMS to provide experiences for the curious, adventurous, and experimental audience member Ã allowing us to challenge our existing beliefs and push our own boundaries.Ã
WALLIS CHERNIACK KLEIN
ÃThe arts are a vital part of oneÃs education, encouraging one to appreciate complexity, to be creative, and to be inspired by excellence. Therefore, I established an endowment fund at UMS to guarantee that current and future generations of students are able to experience the arts.Ã
CANDIS AND HELMUT STERN
ÃUMS has enriched our lives for many years. In addition to benefiting us, it has enabled the University to recruit and retain talented faculty and students, making a valuable contribution to the quality of life in our community. We are delighted to have established an endowment fund to support a Chamber Arts performance at UMS each year to help preserve this treasure for future generations.Ã
ANN AND CLAYTON WILHITE
ÃDon't you agree that it is virtually impossible to find someone whose day hasn't been made better by a UMS music, theater, or dance performance? It could also be true that devoting more of your time, treasure, and talent to UMS will help you to live longer. From personal experience, you can count on us as believers. Come join us. See a performance, volunteer to help, write a check, bring a friend. We look forward to seeing you!Ã
BE PRESENT FALL 2014
UMS C ORPORA TE CHAMPIONS.
The following businesses have made commitments of $5,000 or more for the 2014Ã15 season.
FALL 2014 UMS
TIMOTHY G. MARSHALL
President and CEO, Bank of Ann Arbor
ÃWe take seriously our role as a community bank to invest in our community and Bank of Ann Arbor is pleased to once again support the University Musical Society as a sponsor during the 2014Ã15 season. We are firm believers that the arts are vital to the vibrancy of our cities, both culturally and economically. While there have been sizable cuts in arts funding over the years by both the private and public sectors, Bank of Ann Arbor is delighted to continue to sponsor UMS year after year.Ã
Ann Arbor and South Central Michigan Regional Bank President, Comerica Bank
ÃComerica is proud to support UMS. UMS continues to enrich the local community by bringing the finest performing arts to Ann Arbor, and weÃre pleased to continue to support this longstanding tradition.Ã
Ann Arbor Office Managing Partner, Honigman Miller Schwartz and Cohn LLP
ÃIn our firmÃs tradition of supporting major cultural institutions, Honigman has been a long-time supporter of UMS. 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.Ã
Director, Issa Foundation
ÃThe Issa Foundation is sponsored by the Issa family, which has been established in Ann Arbor for the last 30 years, and is involved in local property management as well as area public schools. The Issa Foundation is devoted to the sharing and acceptance of culture in an effort to change stereotypes and promote peace. UMS has done an outstanding job bringing diverse and talented performers to Ann Arbor.Ã
SHARON J. ROTHWELL
Vice President, Corporate Affairs and Chair, Masco Corporation Foundation
ÃMasco recognizes and appreciates the value the performing arts bring to the region and to our young people. We applaud the efforts of UMS for its diverse learning opportunities and the impact its programs have on our communities and the cultural leaders of tomorrow.Ã
BE PRESENT FALL 2014
Principal, Miller, Canfield, Paddock and Stone, P.L.C.
ÃMiller Canfield proudly supports UMS for enhancing our quality of life by bringing the unfiltered immediacy of live performing
RICHARD L. DEVORE
Detroit and Southeast Michigan Regional President, PNC Bank
ÃPNC Bank is proud to support the efforts of UMS and the Ann Arbor community.Ã
Managing Partner, Retirement Income Solutions, Inc.
ÃWith strong roots in the community for more than 30 years, our team of investment advisors is proud to support UMS. We recognize and appreciate UMSÃs successful history and applaud the organizationÃs ongoing commitment to presenting authentic, world-renowned artists to the Ann Arbor community.Ã
LEADERSHIP. FALL 2014 UMS
President, Sesi Lincoln Volvo Mazda
ÃUMS is an important cultural asset for our community. The Sesi Lincoln Volvo Mazda team is delighted to sponsor such a fine organization.Ã
JOHN W. STOUT
President, Stout Systems
ÃSupporting UMS is really a labor of love Ã love of music and the performing arts and love of arts advocacy and education. Everyone at Stout Systems knows we cannot truly be successful without helping to make our community a better place. It is an honor to be part of the UMS family.Ã
OSAMU ÃSIMONÃ NAGATA
President, Toyota Motor Engineering & Manufacturing North
ÃToyota 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.Ã
President, University of Michigan Credit Union
ÃThank you to UMS for enriching our lives. The University of
Michigan Credit Union is proud to be a part of another great
season of performing arts.Ã
President, University of Michigan
ÃThe arts are a critical part of a complete education. The
University of Michigan is proud to support UMS, which brings
outstanding artists to our campus and provides unique
educational opportunities for our students.Ã
F OUND A TION, GO VERNMENT , AND UNIVERSITY SUPPORT
UMS gratefully acknowledges the support of the following private foundations, government agencies, and University of Michigan units:
$500,000 AND ABOVE
The Andrew W. Mellon Foundation
Anonymous Charles H. Gershenson Trust University of Michigan Office of the Vice President for Research University of Michigan Office of the Senior Vice Provost for Academic Affairs
The Seattle Foundation University of Michigan Third Century Initiative
BE PRESENT FALL 2014
Expanded Professional Counseling Services
H elping You B alanc e Lif eÃs Challenges
Professional Â¥ Trusted Â¥ Safe Â¥ Accessible Â¥ Personalized Â¥ Convenient
Most insurance plans accepted
Jewish Family Services
of Washtenaw County 2245 S. State Street Â¥ Ann Arbor, MI 48104
UMS FALL PRELUDE DINNERS.
Park early, dine with fellow patrons, and enjoy a delicious meal while learning more about the evening's concert from our guest speakers at UMS Prelude Dinners. $75 per person. For further information and reservations, please call Rachelle Lesko at 734.764.9489
San Francisco Symphony
Thursday, November 13, 5:30 pm U-M Alumni Center
CHENERY AUDITORIUM, KALAMAZOO
S P ONSOR E D BY A N ON YM O US LO C A L D ON OR S
ÃGrimaud doesnÃt sound like most pianists: she isÃa re-inventor of phrasings, a taker of chances.Ã
ÃThe New Yorker
SEPTEMBER 19, 2014, 8 PM
MURR AY PER AHIA
TH E W I LL I A M A N D N A N C Y R IC H A R DSO N CO N C E RT
ÃBrilliantly colored and conveyed with dazzling speed and control, Ã an irresistible invitation to the dance.Ã
ÃLos Angeles Times
MARCH 18, 2015, 8 PM
PLEASE C ONSIDER THE F OLL O WING:
Turn off cell phones and electronic devices. We all know how terrible it is when a phone rings during a performance. It breaks that special bond between a performer and the audience. Illuminated screens on phones are also a visual distraction in a darkened theater.
Our volunteer ushers are invaluable. They will show you to your seat, give you a program, help solve any problems, answer questions, and welcome you to the experience. Please do not hesitate to ask them for help.
Wear what you want to the performance Ã this is Ann Arbor, after all! If you feel inspired to dress in some way related to the show, go for it. Express your own creativity.
Unwrapping candies and cough drops before the performance begins cuts down on disruptive noise while the performance is in progress.
Think about whether it is necessary to wear your favorite perfume to the performance. Chances are that the folks sitting around you may appreciate an unscented experience.
The Good News: most of our performance spaces have world-class acoustics. The Bad News: that means that when you cough or sneeze you make an especially clear statement to fellow audience members and performers alike. Feel free to ask an usher for cough drops when you arrive at a UMS Choral Union Series event and please consider bringing cough drops with you to our other events. ItÃs noisy even if you cover your mouth!
Thankfully, we manage to keep last-minute changes to a minimum, but please remember that all artists and programs are subject to change at a momentÃs notice.
Programs with larger print are available. Ask an usher.
We make every effort to begin performances on time. The actual start time of a performance always reflects a combination of considerations. Late seating is not guaranteed. If you arrive after a performance has begun, we will seat you if there is an appropriate late seating break in the program. We work together with the artists to determine late seating breaks that will not disrupt their performance or the experience of the audience.
BE PRESENT FALL 2014
Listen online at
Listen on the radio at
WGTE FM 91.3 Toledo
WGLE 90.7 Lima
WGBE 90.9 Bryan
WGDE 91.9 Defiance
WEDNESDAY, OCTOBER 15 THROUGH
SATURDAY, OCTOBER 25, 2014
3 GREGORY PORTER
Wednesday, October 15, 7:30 pm
7 CHRIS THILE & EDGAR MEYER
Thursday, October 16, 8:00 pm
13 BELCEA QUARTET
Saturday, October 18, 8:00 pm
21 PIRANDELLOÃS SIX CHARACTERS IN SEARCH OF AN AUTHOR THÂÃ¥TRE DE LA VILLE Friday, October 24, 8:00 pm Saturday, October 25, 8:00 pm Power Center
We want this program book to engage you in a conversation that deepens your experience and connection to the performance both inside the theater and after you leave it. We are always conserving resources at UMS. If you are coming to multiple performances within a program book edition, please keep your book and return with it.
Gregory Porter, Vocals Chip Crawford, Piano Yosuke Sato, Saxophones Aaron James, Bass Emanuel Harrold, Drums
Wednesday Evening, October 15, 2014 at 7:30 pm Michigan Theater Â¥ Ann Arbor
Sixth Performance of the 136th Annual Season 21st Annual Jazz Series
Photo: Gregory Porter; photographer: Shawn Peters.
This eveningÃs program will be announced by the artists from the stage and will be performed without intermission.
This eveningÃs performance is sponsored by the University of Michigan Health System.
Endowment support provided by the JazzNet Endowment Fund.
Media partnership is provided by WEMU 89.1 FM.
Mr. Porter appears by arrangement with Maria Matias Music, Inc.
REGORY PORTERÃs Blue Note Records debut, the 2014 Grammy Award-winning Liquid Spirit, arrived on the heels of two critically acclaimed Grammy Award-nominated indie label albums that quickly propelled Mr. Porter to the upper echelon of contemporary male jazz singers. Don Was, president of Blue Note, encouraged Mr. Porter to stay true to his artistic vision. ÃI firmly consider myself a jazz singer but I enjoy blues, southern soul, and gospel,Ã Mr. Porter says. ÃThose elements make their way inside my music. And IÃve always heard them in jazz.Ã
Mr. Porter wields one of the most captivating baritone voices in music today. It emits enormous soul that conveys both the emotions and intellect of any given song without relying on vocal histrionics. Jazz singer Dee Dee Bridgewater praised Mr. Porter in JazzTimes, saying, ÃWe havenÃt had a male singer like him in a long time. HeÃs such a wonderful writer. HeÃs a storyteller.Ã
UMS welcomes Mr. Porter as he makes his UMS debut this evening.
This eveningÃs program will be announced by the artists from the stage and will be performed with one intermission.
TonightÃs performance is sponsored by Mainstreet Ventures.
TonightÃs performance is supported by Gil Omenn and Martha Darling.
Endowment support provided by the Herbert and Doris Sloan Endowment Fund.
Media partnership is provided by Ann ArborÃs 107one FM and WEMU 89.1 FM.
Mr. Thile and Mr. Meyer appear by arrangement with Paradigm Talent Agency, New York, NY.
BASS & MANDOLIN
Bass & Mandolin is the second duo recording from double bassist Edgar Meyer and mandolinist Chris Thile.
Five years have passed since the pair released its self-titled Nonesuch debut, but in the intervening years the personal and musical relationship between these two virtuosic musicians has continued to mature and deepen, and they have often found themselves on stage or in the studio together in various configurations. In 2011, Meyer and Thile, along with violinist Stuart Duncan, joined cellist Yo-Yo Ma to create The Goat Rodeo Sessions, an album of original material that garnered the ad hoc group a ÃBest Folk AlbumÃ Grammy Award.
Though 20 years apart in age, Meyer and Thile share a seemingly effortless rapport, along with similar resumes: They are both players of extraordinary accomplishment and wide-ranging talent, as comfortable in the symphony hall as at an outdoor bluegrass festival. They are each multiple Grammy Award winners and individual recipients of the prestigious MacArthur ÃgeniusÃ grant. Meyer produced ThileÃs mandolin album of BachÃs Sonatas and Partitas for solo violin Ã a challenging set, recorded over a wintry week at the same barn-turned.studio in the Berkshires where The Goat Rodeo Sessions was made Ã that was met with much critical acclaim. LondonÃs Independent praised this radical reimagining of Bach, with Thile in front of the mic and Meyer behind the board, as one that Ãliberates the pieces from their conservatoire corsets.Ã Most recently, Meyer guest-starred on A Dotted Line, the long-awaited reunion album from Nickel Creek, the trio that first brought Thile into the spotlight when he was a child.
The process of creating the largely instrumental pieces that comprise The Goat Rodeo Sessions and its subsequent embrace by both critics and a large record-buying public influenced MeyerÃs and ThileÃs own approach to their latest duo work when they re-entered the studio together, this time at Skywalker Sound in Marin County. There is intensity and eloquence to their playing throughout these new sessions, but they didnÃt shy away from the lyricism that marked the popular Yo-Yo Ma-helmed project. On their first duo album, Meyer recalls, they would push their melodies to the point
CHRIS THILE & EDGAR MEYER
of abstraction. This time, he says, Ãwe are letting some of the melodies show.Ã
As Thile reflects, ÃWe have grown a lot as a collaborative entity between our duo first recording and now, at least partially due to our work together on The Goat Rodeo Sessions. As collaborators, weÃve found a warmer voice to share. Having had the experience of writing that music and getting it to a fair amount of people, I think we went into this project wanting to write material that was balanced Ã that would take care of our minds and our fingers certainly, but also take care of our bodies and souls Ã within, of course, the rather extreme limitation of the mandolin and the bass.Ã ÃBut,Ã he adds, ÃEdgar plays piano, I play a little guitar, so we threw those instruments in as sort of palate cleansers.Ã
ÃIÃm happy to be part of the mix,Ã Meyer declares. ÃIt affords me a lot of options. Chris is comfortable with all kinds of improvising, with lots of different musical feelings and rhythmic feelings. He has a great groove, but he can free up and play classical things with a little less rigidity. Working with Chris, I can do anything I want. I can be the string section or the rhythm section, and Chris can hold it together. I can just be a bass player or I can play the melody. Chris figured out at a very young age how to make the other person feel comfortable, musically and otherwise, and how to create a situation where they can do their best. There are not many people with whom I have so much common ground. We can get to the bottom of things very quickly.Ã
Before the teenage Thile had even met Meyer, he was strategizing on how to work with him: ÃOne of the most important records of my entire life is and will always be EdgarÃs Uncommon Ritual with [banjoist] BÂla Fleck and [mandolinist] Mike Marshall,Ã Thile says, referring to an acclaimed 1997 string-trio disc that was the follow-up to MeyerÃs classical-crossover hit, Appalachia Waltz. ÃI can remember learning all the songs from Uncommon Ritual in my bedroom when I was maybe 16 years old, just in case Mike couldnÃt do a tour or something. I finally met Edgar backstage at the Rockygrass festival,Ã he continues, speaking of the annual multigenerational gathering of bluegrass musicians in Lyons, Colorado, established 42 years ago by Bill Monroe. ÃI immediately started blathering about Mozart string quartets. I wanted someone to talk to about that kind of music. I was just dying to talk to someone who had acres of experience with non.through-composed music about through-composed music.Ã
Talking classical music backstage at a bluegrass confab was one way to bond these ambitious player-composers, but, as Meyer notes, their connection goes even further: ÃChris and I share one particular thing, which is that both of our fathers were bass players. They were pretty monumental influences on us. And we are both realizing our fathersÃ dreams.Ã Meyer and Thile began performing together in concert more than a decade ago and now, Thile says, ÃThereÃs the dichotomy of having a mentor-apprentice kind of relationship but also collaborating as ostensible equals. Some of the electricity comes from that; there is a little more weight to the moment for the two of us as a result. IÃm never not conscious of EdgarÃs status in my musical education, but at the same time I am very passionate about music and how I think it should go, and Edgar is every bit as passionate. IÃm never more engaged and present than when IÃm working with Edgar.Ã
Program note by Michael Hill.
n a review of his quintet Punch BrothersÃ latest Nonesuch recording, WhoÃs Feeling Young Now?, LondonÃs Independent called CHRIS THILE Ãthe most remarkable mandolinist in the world.Ã The MacArthur Foundation echoed that assessment when it named Mr. Thile one of its 23 MacArthur Fellows for 2012 Ã a recipient of its prestigious ÃGeniusÃ grant. In honoring Mr. Thile, the MacArthur Foundation noted that his Ãlyrical fusion of traditional bluegrass with elements from a range of other musical traditions is giving rise to a new genre of contemporary music.Ã
Prior to recording Punch Brothers' acclaimed new disc, Mr. Thile completed an alb um of tr adition upending interpretations of bluegrass classics with guitarist Michael Daves, Sleep With One Eye Open, which garnered a 2011 Grammy Award nomination for ÃBest Bluegrass Album.Ã He also recorded The Goat Rodeo Sessions with cellist Yo-Yo Ma, violinist Stuart Duncan, and Mr. ThileÃs mentor and frequent collaborator Edgar Meyer, which won the 2012 Grammy Award for ÃBest Folk Album.Ã After a lengthy 2012 Punch Brothers tour, Mr. Thile, always up for another challenge, immediately embarked on a series of duo dates with fellow virtuoso and jazz pianist Brad Mehldau. Said the Washington Post, ÃTheir complex work translated to plain-faced beauty: simple, direct, and exquisite.Ã In between his Punch Brothers shows, Mr. Thile also found time to present his Mandolin Concerto: Ad astra per alas porci with several chamber orchestras around the US, including a date at Carnegie HallÃs Stern Auditorium.
A child prodigy, Mr. Thile first rose to fame as a member of Grammy Award-winning trio Nickel Creek, with whom he released three albums and sold two million records. As a soloist he has released five albums, as well as performing and recording extensively as a duo with Edgar Meyer and with fellow eminent mandolinist Mike Marshall. Other stellar musicians with whom he has collaborated include BÂla Fleck and Hilary Hahn. Nonesuch Records released his most recent solo recording, Bach: Partitas and Sonatas, Vol.1, produced by Edgar Meyer, in August 2013.
n demand as both a performer and a composer, ED GAR MEYER has formed a role in the music world unlike any other. Hailed by The New Yorker as ÃÃthe most remarkable virtuoso in the relatively unchronicled history of his instrument,Ã Mr. MeyerÃs unparalleled technique and m usicianship in combination with his gift for composition have brought him to the fore, where he is appreciated by a vast, varied audience. His uniqueness in the field was recognized by a MacArthur Award in 2002.
As a solo classical bassist, Mr. Meyer has released with Joshua Bell, Yo-Yo Ma, and the St. Paul Chamber Orchestra conducted by Hugh Wolff, in addition to a number of solo recordings. In 2007, recognizing his wide-ranging recording achievements, Sony/BMG released a compilation of The Best of Edgar Meyer. In 2011 Mr. Meyer joined cellist Yo-Yo Ma, mandolinist Chris Thile, and fiddler Stuart Duncan for the Sony Masterworks recording The Goat Rodeo Sessions which was awarded the 2012 Grammy Award for ÃBest Folk Album.Ã
As a composer, Mr. Meyer has carved out a remarkable and unique niche in the musical world. His works have been performed by the Boston Symphony Orchestra at the Tanglewood Music Festival, the Alabama Symphony, the Detroit Sym phony Orchestr a under Leonard Slatkin, the Los Angeles Chamber Orchestra, Edo de Waart and the Minnesota Orchestra, the Emerson String Quartet, and the St. Paul Chamber Orchestra led by Hugh Wolff.
Collaborations are a central part of Mr. MeyerÃs work. His longtime collaboration with fellow MacArthur Award recipient Chris Thile continues in 2014 with the release on Nonesuch Records of a recording of all new original material by the two genre-bending artists, a follow up to their very successful 2008 CD/DVD on Nonesuch. Mr. MeyerÃs previous performing and recording collaborations include a duo with BÂla Fleck; a quartet with Joshua Bell, Sam Bush, and Mike Marshall; a trio with BÂla Fleck and Mike Marshall; and a trio with Yo-Yo Ma and Mark OÃConnor.
Mr. Meyer began studying bass at the age of five under the instruction of his father and continued further to study with Stuart Sankey. In 1994 he received the Avery Fisher Career Grant and in 2000 became the only bassist to receive the Avery Fisher Prize. Currently, he is visiting professor of double bass at the Curtis Institute of Music in Philadelphia.
BE PRESENT FALL 2014
This eveningÃs performance marks Chris ThileÃs third appearance under UMS auspices. Mr. Thile made his UMS debut with the Punch Brothers in October 2009 at the Power Center. He most recently appeared in October 2013 in a solo performance at Rackham Auditorium. Edgar Meyer makes his fourth UMS appearance this evening following his UMS debut in November 1995 with the Chamber Music Society of Lincoln Center at Rackham Auditorium. He most recently appeared in April 1998 at Rackham Auditorium in a program of StravinskyÃs LÃhistoire du soldat and Wynton MarsalisÃs A FiddlerÃs Tale with the Chamber Music Society of Lincoln Center and trumpeter Wynton Marsalis.
BELCEA QUARTET FALL 2014 UMS
Wolfgang Amadeus Mozart
String Quartet in F Major, K. 590
Andante Ã Allegretto
Allegro misterioso Ã trio estatico
Presto delirando Ã tenebroso
String Quartet in c minor, Op. 51, No. 1
Allegro Romanze: Poco adagio Allegretto molto moderato e comodo; un poco piÂ animato Allegro
TonightÃs performance is hosted by Linda Samuelson and Joel Howell.
Media partnership is provided by WGTE 91.3 FM.
The Belcea Quartet records for EMI Classics.
The Belcea Quartet appears by arrangement with Arts Management Group, Inc., New York, NY.
NOW THAT YOU'RE IN YOUR SEAT...
Viennese classical music represents a single evolutionary line from the First School (Haydn, Mozart, Beethoven) to the Second (Schoenberg, Berg, Webern), with Brahms as the connecting link between the two. Brahms continued the work of the classical masters and was in turn continued by the moderns who saw him as their precursor. Like Schoenberg and Webern, Berg never considered himself a revolutionary; he just drew some radical conclusions from the harmonic developments that he had inherited. And those harmonic developments went hand in hand with more and more explosive feelings; the Ãstorm and stressÃ of the earlier eras grew into a veritable earthquake in the 20th century. The musical language may have changed, but the ultimate goal remained the same: the communication of states of mind and the expression of emotions.
String Quartet in F Major,
K. 590 (1790) Wolfgang Amadeus Mozart Born January 27, 1756 in Salzburg, Austria Died December 5, 1791 in Vienna
UMS premiere: Budapest String Quartet, January 1946 in Rackham Auditorium
SNAPSHOTS OF HISTORYÃIN 1790:
President George Washington gives the first State of the Union address in New York City
The United States patent system is established
American scientist and inventor Benjamin Franklin dies
Peking opera is introduced in China in honor of the Qianlong EmperorÃs 80th birthday
Louis XVI of France accepts a constitutional monarchy
The F-Major Quartet is MozartÃs last quartet, written in June 1790, a year and a half before his death. The 10th of his mature quartets, it is actually the 23rd that he wrote.
The opening theme of the quartet can be simply described as an ascending arpeggio followed by a descending scale. Yet Mozart immediately transforms this basic material, changing the dynamics, the individual notes, and the scoring, thereby affecting a metamorphosis of the character it originally presented. To start the second theme, the cello moves up in a broken chord from its very lowest note over two octaves to the new lyrical melody. The first theme returns to end the exposition. A concise development section leads to the recapitulation, which is little changed from the exposition. The coda starts just like the development but quickly winds down to a delightfully attractive, witty ending.
Alfred Einstein, the noted Mozart scholar, says of the ÃAllegrettoÃ: ÃOne of the most sensitive movements in the whole literature of chamber music, it seems to mingle the bliss and sorrow of a farewell to life. How beautiful life has been! How sad! How brief!Ã The basis of this movement is not so much a melody as a rhythm; a plain, rhythmic figure played at the outset by the entire quartet. Mozart then reflects and mediates on this basic cell, plumbing its emotional depths and setting it forth in any number of different guises and postures, allowing it to permeate the entire movement.
The opening of the ÃMenuettoÃ Ã and, even more, the central trio Ã is rich in the use of appoggiaturas, quick ornamental notes that are played just before main notes. While there are those who dispute whether appoggiaturas should be played before the beat (so the main note is on the beat) or on the beat (delaying the main note), most experts now agree that MozartÃs appoggiaturas should
be played squarely on the beat. In the ÃMenuetttoÃ the appoggiaturas precede long notes; in the trio they come before short notes. In addition to the extensive use of appoggiaturas, the irregular phrase lengths, seven measures in the ÃMenuettoÃ and five measures in the trio (instead of the customary four measures) contribute to the movementÃs overall eccentric quality.
The finale, a high-speed, vivacious frolic, unstintingly gives all four players flashy passages that test even the most secure techniques. Cast in a combined rondo and sonata form, this irresistible, appealing movement has intricate fugal and contrapuntal sections, unexpected pauses and silences, harmonic surprises, and even a brief imitation of a bagpipe, making it a brilliant cap to MozartÃs tragically short string quartet-writing career.
Program note by Melvin Berger from Guide to Chamber Music, published by Anchor/Doubleday.
Lyric Suite (1925Ã26)
Alban Berg Born February 9, 1885 in Vienna, Austria Died December 24, 1935 in Vienna
UMS premiere: Juilliard String Quartet, September 1979 in Rackham Auditorium
SNAPSHOTS OF HISTORYÃIN 1926:
The Shakespeare Memorial Theatre in Stratford-upon-Avon is destroyed by fire
Fielding H. Yost coaches his final Michigan football team, tying Northwestern for the Big Ten Conference championship
A. A. MilneÃs Winnie-the-Pooh is published in London
19-year-old Dmitri ShostakovichÃs Symphony No. 1 is premiered in Leningrad
The French Renaissance-style 4,038-seat Michigan Theatre opens on Bagley and Cass Avenues in Detroit
Already at the world premiere of Alban BergÃs six-movement Lyric Suite, given by the Kolisch Quartet in Vienna on January 8, 1927, the audience realized that the harsh dissonances and eerie col legnos (the wood of the bow on the string) served to express an unusually intense emotional world. Movement titles like ÃAndante amoroso,Ã ÃAdagio appassionato,Ã or ÃLargo desolatoÃ suggested as much to anyone who took one look at the program page, and the work, by the celebrated composer of the opera Wozzeck, quickly established itself as one of the masterworks of modern music. The surprising discoveries came many years later, when the eminent American composer and Berg scholar George Perle (1915Ã2009) discovered a copy of the score with extensive handwritten annotations in BergÃs hand. Berg had given that copy to Hanna Fuchs-Robettin of Prague, sister of the famous writer Franz Werfel (who was Alma MahlerÃs third husband). After Fuchs.RobettinÃs death, her daughter inherited the score, and it was she who shared it with Perle in the 1970s. What this extraordinary document revealed was that Berg and Fuchs-Robettin were passionately in love with each other, but since they were both married and divorce was not an option for either, their relationship was doomed from the start. (The 14 surviving letters from Berg to Fuchs-Robettin have now been published, and tell a heart-wrenching story.)
ÃImagine,Ã Perle wrote, Ãthat Berlioz had kept the program of the Symphonie fantastique a secret from everyone except Harriet Smithson...Ã Had that been the case, we would be completely in the dark about the meaning of that work, as indeed we used to be about the Lyric Suite, in spite of a few hints that had caught the eyes of some astute analysts early on. One such hint was a conspicuous quote from WagnerÃs Tristan prelude, the ultimate musical symbol of forbidden love. There are additional quotes from Alexander von ZemlinskyÃs Lyric Symphony (1923), a song cycle on love poems by Rabindranath Tagore in German translation, whose very title is echoed by the Lyric Suite. (The published score of Lyric Suite is dedicated to Zemlinsky.) In particular, one of the culminating moments in the Zemlinsky is the line Du bist mein Eigen, mein Eigen (Ãyou are my own, my ownÃ); this motif is heard in the ÃAdagio appassionatoÃ movement of BergÃs work. Another significant quote, which appears several times in different forms throughout the work, comes from BergÃs own Wozzeck, where it was sung to the words Lauter kÂhle Wein muss es sein (ÃNothing but cool wine it must beÃ). This would be harder to interpret without some knowledge of personal circumstances, but apparently it was a nod to Fuchs-RobettinÃs husband Herbert, a great wine connoisseur.
On another level, the encoded messages ha v e m uch to do with numerology, in which Berg believed strongly. Berg considered 23 his own personal number, and 10 the number of Hanna. Many of the workÃs individual sections, in measure numbers are multiples of either 10 or 23 as are many of the metronome markings; and while you donÃt hear these relationships directly, they significantly affect the durational proportions that you do hear.
In addition, much of the workÃs thematic material is derived from the notes AÃB-flatÃB-naturalÃF (AÃBÃHÃF, using the German note names), which are the initials of Alban Berg and Hanna Fuchs. This is actually audible, because HÃF outline a tritone, a very striking interval, and the chromatic scale segment AÃBÃH is also quite distinctive.
A prominent gesture in the viola in the second movement, a persistently repeated ÃC,Ã finds its explanation in the solmization syllable do, ÃDodoÃ being the pet name of Fuchs-RobettinÃs daughter Dorothea, future owner of the annotated score, three years old at the time the piece was written. Her older brother, who went to a Czech-language school in Prague, was remembered in a dance-like passage that Berg described as Czech in character.
Yet one of the most astonishing among all the astonishing revelations concerning the Lyric Suite is the fact that the last movement was written with a poetic text in mindÃa text that the composer inscribed into the annotated copy. The poem was De profundis clamavi by Charles Baudelaire, in the German translation of Stefan George, which fits the instrumental parts perfectly. The first line, in English, reads: ÃTo you, you sole dear one, my cry rises...Ã (The work is now occasionally performed with a soprano joining for the last movement; there is a recording of such a rendition with the Kronos Quartet and Dawn Upshaw.)
From all these hints, allusions, and symbols, Berg created a cohesive work thanks in part to the 12-tone method devised by BergÃs former teacher Arnold Schoenberg, which is used extensively though not exclusively in the Suite. By organizing the entire pitch material in tone rows, Berg ensured motivic unity and at the same time maximized pitch variety. But the 12-tone method is just technique, and Berg never wanted his listener to focus on that. One is reminded of his famous words about Wozzeck (which was not 12-tone but used some other structural constraints):
From the moment when the curtain goes up until it falls for the last time, there should be nobody in the audience who is aware of any of these various fugues and inventions, suites and sonata movements, variations and passacaglias: nobody filled with anything but the idea of this opera, which transcends the individual fate of Wozzeck. And I believe that in this I have been successful.
Program note by Peter Laki.
String Quartet in c minor, Op. 51, No. 1 (1873)
Johannes Brahms Born May 7, 1833 in Hamburg, Germany Died April 3, 1897 in Vienna, Austria
UMS premiere: Kolisch String Quartet, January 1936 in Hill Auditorium
SNAPSHOTS OF HISTORYÃIN 1873:
Jules Verne publishes Around the World in 80 Days
Anton Bruckner composes Symphony No. 3
Levi Strauss begins manufacturing jeans
Stock market crashes in Vienna (the beginning of a widely felt ÃLong DepressionÃ)
World exposition held in Vienna
To the listening public of the day, Brahms was the musical heir of Beethoven Ã a burden he did not bear easily. ÃYou do not know what it is like,Ã Brahms wrote, Ãhearing his [BeethovenÃs] footsteps constantly behind me.Ã It is, therefore, not surprising that the two forms in which Beethoven produced such enduring masterworks, the string quartet and the symphony, were precisely those in which Brahms felt the greatest pressure to measure up to his model. Consequently, he wrote and destroyed some 20 string quartets and then spent about two decades revising and polishing his first quartet before he allowed it to be published in 1873, when he was 40. His first symphony appeared only after an equally long period of gestation.
Brahms began work on his c-minor Quartet in the early 1850s. Several times over the following years, he asked various musicians to read through the work. Following each rehearsal, however, he withdrew the music. It was not until the summer of 1873, which he spent at Tutzing on Starnberg Lake, that the Quartet finally measured up to his expectations. In September he submitted it for publication, and on December 11, 1873, the Hellmesberger Quartet gave the premiere performance in Vienna.
The Quartet opens with a heroic ascending theme. After two sustained notes in the viola, the first violin presents a languid descending counterpart to the vigor of the previous phrase. The second theme proper, played by the two violins, enters over a rapid leaping figure in the viola. The poised concluding theme is given to the first violin over a rhythmically complex texture. All of the thematic material is worked over in the brief development section and then recapitulated, leading to an exciting, agitated coda.
Intimate and pensive, the second movement has been described as a song without words, a favorite Romantic, 19th.century character piece. It is ternary in form: the gently expressive opening section, a wistful contrast; and the return of the opening melody, ending with a coda that includes both themes, although in reverse order.
The third movement, really a charmingly simple intermezzo , is removed in mood from the somewhat severe and reserved character of the rest of the quartet. The delightful melody of connected pairs of notes is played by the first violin, while the viola strives for attention with its attractive countermelody. Various episodes follow, until the tempo picks up for a contrasting m i d d l e s e c t i o n . To a c c o mpa ny t h e graceful, naÂve melody, the second violin employs an effect known as bariolage, in which the same note is played on two different strings, producing a tonal effect not unlike a jazz trumpet player using a wah-wah mute. The movement ends with an exact repeat of the opening section.
Spiritually akin to the first movement, the final movement starts with a terse, forceful motto theme derived from the opening of the first movement. An excited, passionate melody ensues but with no diminution of energy or drive. The second violin introduces the more relaxed subsidiary subject. There is barely any development before Brahms brings back all three themes to end the movement, and
the quartet ends with an extended coda.
Program note by Melvin Berger from Guide to Chamber Music, published by Anchor/Doubleday.
hat the B E L C E A Q U A RT E T
writes in the preface to its
recording of the complete Beethoven String Quartets could also be described as their artistic creed. These musicians are not confined by traditional boundaries; it is perhaps their diverse cultural backgrounds that are behind their dynamic and free interpretative style. Founded at the Royal College of Music in London in 1994, the Quartet is based in Great Britain. However, the two founding members, Romanian violinist Corina Belcea and the Polish violist Krzysztof Chorzelski, bring a very different artistic provenance to the ensemble while drawing from the best traditions of string quartet playing received from the QuartetÃs mentors: the members of the Alban Berg and Amadeus Quartets. This spectrum is extended by the French musicians Axel Schacher (violin) and Antoine Lederlin (cello), blending its diverse influences into a common musical language.
This diversity is reflected in the Belcea QuartetÃs repertoire. Regular world premieres Ã among them Mark-Anthony TurnageÃs string quartet entitled Twisted Blues with Twisted Ballad in 2010 Ã go hand-in-hand with its profound connection to the great works of the Classical and Romantic periods. The QuartetÃs open-minded approach to music invariably enables it to find its own unique, elegant, and refined interpretations of the main string quartet repertoire.
The Belcea Quartet has shared a residence at the Vienna Konzerthaus with the Artemis Quartet since 2010. It is also Quartet-in-Residence at LondonÃs Guildhall School of Music and Drama. The musicians recently created the Belcea Quartet Trust, whose main goals are to support and inspire young string quartets through intensive coaching sessions, and to support the commissioning of new works by todayÃs leading composers to be premiered by the Quartet in the future.
The Belcea Quartet has an impressive discogra phy. During its long-term association with EMI Classics, the Quartet recorded the complete Britten and BartÂk quartets as well as works by Schubert, Brahms, Mozart, Debussy, Ravel, and Dutilleux, among others. In 2012 and 2013, the Quartet recorded the complete Beethoven quartets live in the Benjamin Britten Studio in Snape, England. This recording was released under ZigZag Territoires, the QuartetÃs new label.
This eveningÃs performance marks the Belcea QuartetÃs fourth appearance under UMS auspices. The Quartet made its UMS debut in March 2006 in a concert with tenor Ian Bostridge in the Lydia Mendelssohn Theatre, and most recently appeared in November 2012 in Rackham Auditorium.
Translation and adaptation by
A production of
ThÂÂtre de la VilleÃParis
A co-production with
Les ThÂÂtres de la Ville du Luxembourg
Friday Evening, October 24, 2014 at 8:00 pm Saturday Evening, October 25, 2014 at 8:00 pm Power Center Â¥ Ann Arbor
Ninth and 10th Performances of the 136th Annual Season International Theater Series
Photo: Six Characters in Search of an Author production shot; photographer: JL Fernandez.
Assistant Director Costumes
Christophe Lemaire Corinne Baudelot
Set and Lighting Designer Make-up
Yves Collet Catherine Nicolas
Six Characters in Search of an Author is approximately one hour and 50 minutes in duration and is performed without intermission.
Following Friday eveningÃs performance, please feel free to remain in your seats and join us for a post-performance Q&A with members of the company.
SIX CHARACTERS IN SEARCH OF AN AUTHOR
The Friday evening performance is supported by Frank Legacki and Alicia Torres.
Endowment support provided by the Wallace Endowment Fund.
Funded in part by the National Endowment for the Arts.
Media partnership is provided by WDET 101.9 FM.
The US tour of Six Characters in Search of an Author is produced by David Eden Productions, Ltd.
This production features actors from ThÂÂtre de la VilleÃs resident company.
The father Hugues Quester The step-daughter ValÂrie Dashwood The mother Sarah Karbasnikoff The son StÂphane KrÂhenbÂhl The teenager Walter NÃguyen The little girl Anna Spycher Madame Pace CÂline CarrÂre
The director Alain Libolt
The actors Charles-Roger Bour Sandra Faure Olivier Le Borgne GaÂlle Guillou
The stage manager GÂrald Maillet The carpenter Pascal Vuillemot The assistant Jauris Casanova
DIRECTORÃS NOTE: LOOKING FOR ANY DRAMA
An empty theater, a bare stage, no need to pretend. Or rather yes. It is the very issue of pretense that is raised here, that of the relation between illusion and reality. Is it because today, it seems that reality has replaced the idea, that the appearance of this world just passes by and is only an illusion, that we believe that Ãthe whole world is a stage?Ã
The feeling is more that the illusion has overcome bodies and souls, and caused such a discomfort of hopelessly divided human beings. We gather on a ghostly stage, invaded by bodies caught in their dreams. We then witness the lives of these characters through poorly controlled agitations, poorly suppressed past violence, as they mingle in the laboratory of theatrical activity.
PirandelloÃs play can express its power, tremendous strength, because it contains a mystery which is the contamination of the visible world by the invisible world, Ãa surreal world,Ã where the hidden magic that we could not anticipate, terrifying and deadly, naturally takes its place in theater.
The theater is so overwhelmed by what is essential, its own heart, and its root: the characters! Characters that are not only in search of an author, but of theater as a whole, theater must be at their service, be sucked in by their existence, their incompleteness, by their violent drama that is not even consumed. A tragedy that must be rehearsed to make it happen.
The richness of this overlapping genera tes dizziness and stems a reflection on contemporary theater in its most intimate ins and outs. The theater world becomes the place where all is possible: from barely disguised incest to the violent death of innocents. The family of characters is in the future compared to actors who are in the present, and who act as a chorus to the present.
And the sudden a ppearance of Madame Pace becomes the unveiling of the very power of the stage, which opens a gap where the character required by the situation slips in, the drama of the sex and death scene can then take place. Here and now we reinvent a past action, a primal scene. For the step-daughter, this repetition has no other goal than to seal the irreversible aspect of incest. This takes place under the gaze of the theater director, who sees that these characters gain fresh blood from being on stage, so
that they can be guilty victims among the living rather than pale heroes among the dead. So they can delude themselves about their story.
This is a unique opportunity to seek to exceed the limits of theater, not by denying them but by bringing them to paradoxical consequences. To have a modern dream: a curtain drops in a breath of air, throbbing like a living thing, freezes in absolute stillness; a sheet becomes a home or a theater. A mobile boxing ring, gallows, a raft, where all meet to quote the father, ÃChained and nailed for eternity.Ã
Ã Emmanuel Demarcy-Mota
The stage is the stage of a theater.
The rehearsal of a play is about to begin. The Rules of the game, a play by Pirandello. The actors enter, followed by the director who will stage the play. Visitors are announced.
Six unknown characters appear, the father declares: ÃWe are searching for an author.Ã He then asks the director to stage their drama. He says they were born characters forever, but that the author who created them left their story unfinished. Director and actors are perplexed. The young lady of the group asks to perform the scene of her passion for the father. She introduces the other characters: the mother who is the fatherÃs ex-wife, their legitimate son, then born of a second husband, herself (the step.daughter), a very closed-in adolescent, and last, a little girl. The step-daughter accuses the father of having wanted to pay her for sexual scenes in the back store of a procuress seamstress, Madame Pace. The step-daughter absolutely wants to relive this traumatizing scene by acting it. The father explains himself trying to justify his attitude. He has rescued this whole family after the death of the second husband.
The director, at first reticent, lets himself be seduced and invites the characters to his dressing room.
Scene between actors and stage hands exchanging various opinions and impressions.
II: First Act
The director returns with the characters.
They will need to rehearse in front of the actors, who will then replay the scenes. Casting of the parts. The father conjures an apparition by Madame Pace. The mother then intervenes: she refuses to watch this scene. The father pushes her aside. Scene between the step-daughter and Madame Pace. Then the fateful scene between the father and the step-daughter that the actors try to perform. The step-daughter decides to show the scene as it actually took place, erotic and scandalous thus meaning to reveal the ignominy of the father. The mother is once again horror struck, because the scene is taking place here and now: the eternal moment, the very reality of theater! The director then calls ÃCurtain.Ã
SIX CHARACTERS IN SEARCH OF AN AUTHOR
A garden pond.
The father and step-daughter recall their initial meeting with the ÃauthorÃ who was powerless to finish their story. The step-daughter then describes the scenes taking place in the garden: the son had rushed through the garden to rescue the little girl, but was withheld by the
vision of the adolescent watching his little sister who had just drowned. Then the adolescent shot a bullet through his head. The mother screams. General confusion: Reality? Fiction? No one knows!
The rehearsal is over. Silhouettes of the ÃsurvivingÃ characters. The step.daughter alone emerges from this mirage and leaves the theater space. End.
HÂÃ¥TRE DE LA VILLEÃPARIS
brings together the collaborators
who have been working with Emmanuel Demarcy-Mota for close to 20 years, from the ThÂÂtre des Millefontaines Company, via the ComÂdie de Reims (CDN/ National Drama Centre) for seven years. The companyÃs recently developed works include: ShakespeareÃs LoveÃs LabourÃs Lost (1999), PirandelloÃs Six Characters in Search of an Author (2001), IonescoÃs RhinocÂros (2005) and Ionesco Suite (2012), BrechtÃs Man for Man (2008), HorvathÃs Casimir and Caroline (2009), VitracÃs Victor or Power to the Children (2012), BalzacÃs Le Faiseur (Mercadet), as well as Fabrice MelquiotÃs Ma vie de chandelle (2006), Marcia Hesse (2007), Wanted Petula, and Bouli AnnÂe ZÂro.
ThÂÂtre de la Ville shares the
constant need for periods of research, a
kind of laboratory work, providing the
possibility to explore a writerÃs work in
full and to reflect on the various forms of
representation and interpretation.
(director) was born on June 19,
1970, the son of Portuguese actress Teresa Mota and French director and playwright Richard Demarcy. He founded the Compagnie des Millefontaines in 1988 and was director of La ComÂdie de Reims, Centre dramatique national from 2002Ã2008. Mr. Demarcy has directed ThÂÂtre de la Ville since 2008, and has served as General Director of the Festival dÃAutomne Â Paris since 2011.
Among the man y w orks Mr. Demarcy-Mota has directed for the stage are Caligula by Albert Camus (LycÂe Rodin, 1988); The Suicide by NicolaÂ Erdman (Paris V University, 1990); The Story of the Soldier by Ramuz (ThÂÂtre de la Commune dÃAubervilliers, 1993Ã1994); Leonce and Lena by BÂchner (ThÂÂtre de la Commune dÃAubervilliers, 1995Ã1996); LoveÃs LabourÃs Lost by Shakespeare (Blanc Mesnil and ThÂÂtre de la Ville, 1998Ã1999); Marat Sade by Peter Weiss (ThÂÂtre de la Commune dÃAubervilliers, 2000); Six Characters in Search of an Author by Pirandello; Le Diable en partage by Fabrice Melquiot, and LÃInattendu by Fabrice Melquiot (ThÂÂtre de la Ville, 2001Ã2003); Ma vie de chandelle by Fabrice Melquiot (CDN de Reims, ThÂÂtre de la Ville, 2004); RhinocÂros by Ionesco (ThÂÂtre de la Ville, 2004Ã2006); Marcia Hesse by Fabrice Melquiot. (CDN de Reims, ThÂÂtre de la Ville, 2005Ã2007); LÃAutre CÂtÂ, an opera by Bruno Mantovani (Festival Musica, Strasbourg, 2006); Tanto amor desperdiÂado by Shakespeare (bilingual FrenchÃPortuguese version, Teatro Nacional Dona Maria II Lisbon, International Naples Festival, 2007); Man
SIX CHARACTERS IN SEARCH OF AN AUTHOR
Is Man by Brecht (ThÂÂtre de la Ville, 2007); Casimir and Caroline by HorvÂth and Wanted Petula by Fabrice Melquiot (ThÂÂtre de la Ville, 2009); Bouli annÂe zÂro by Fabrice Melquiot (ThÂÂtre de la Ville, 2010); RhinocÂros by Ionesco (restaging, ThÂÂtre de la Ville, 2011); Victor or Power to the Children by Roger Vitrac (ThÂÂtre de la Ville, 2012); and Le Faiseur (Mercadet) by Balzac (ThÂÂtre de la VilleÃAbbesses, March 2014).
LUIGI PIRANDELLO (playwright, 1867Ã1936) was born in Girgenti, Sicily. He studied philology in Rome and in Bonn and wrote a dissertation on the dialect of his native town in 1891. From 1897 to 1922, he was professor of aesthetics and stylistics at the Real Istituto di Magistere Femminile at Rome. PirandelloÃs work is impressive by its sheer volume. He wrote a great number of novellas which were collected under the title Novelle per un anno (15 volumes, 1922Ã37). Of his six novels, the best known are Il fu Mattia Pascal (The Late Mattia Pascal, 1904), I vecchi e i giovani (The Old and the Young, 1913), Si gira (Shoot!, 1916), and Uno, nessuno e centomila (One, None, and a Hundred Thousand, 1926).
PirandelloÃs greatest achievement is in his plays. He wrote a large number of dramas which were published between 1918 and 1935 under the collective title of Maschere nude (Naked Masks). The title is programmatic. Pirandello was always preoccupied with the problem of identity. The self existed to him only in relation to others; it consisted of changing facets that hide an inscrutable abyss. In a play like CosÂ Â (se vi pare) (Right You Are [If You Think You Are], 1926), two people hold contradictory notions about the identity of a third person. The protagonist in Vestire gli ignudi (To Clothe the Naked, 1923) tries to establish her individuality by assuming various identities, which are successively stripped from her; she gradually realizes her true position in the social order and in the end dies Ãnaked,Ã without a social mask, in both her own and her friendsÃ eyes. Similarly in Enrico IV (Henry IV, 1922) a man supposedly mad imagines that he is a medieval emperor, and his imagination and reality are strangely confused. The conflict between illusion and reality is central in La vita che ti diedi (The Life I Gave You, 1924) in which AnnaÃs long-lost son returns home and contradicts her mental conception of him. However, her sonÃs death resolves AnnaÃs conflict; she clings to illusion rather than to reality. The analysis and dissolution of a unified self are carried to an extreme in Sei personaggi in cerca dÃautore (Six Characters in Search of An Author, 1921) where the stage itself, the symbol of appearance versus reality, becomes the setting of the play.
The a ttitudes e x pressed in LÃUmorismo (Humor), an early essay from 1908, are fundamental to all of PirandelloÃs plays. His characters attempt to fulfill their self-seeking roles and are defeated by life itself which, always changing, enables them to see their perversity. This is PirandelloÃs humor, an irony which arises from the contradictions inherent in life.
FRANÂOIS REGNAULT (translator) was born in 1938 and studied philosophy at the LycÂe Louis-Le-Grand before moving on to the Ecole Normale SupÂrieure in 1959. At the Ecole Normale he attended the seminars of Louis Althusser and Jacques Lacan in the early 1960s, and was a member of Cahiers editorial board and the Cercle dÃÂpistÂmologie from their inception in 1966. He taught at the LycÂe de Reims from 1964Ã70, where he became a close friend of Alain Badiou. In 1970 he joined the Department of Philosophy headed by Michel Foucault at the new University of Paris VIII (Vincennes). In 1974, he moved to Paris VIIIÃs Department of Psychoanalysis, where he remained until his retirement from teaching.
From the early 1970s, Mr. RegnaultÃs work expanded to include, alongside philosophy and psychoanalysis, a practical involvement in theater. Coming from a family with theatrical connections, in 1973 he translated Tankred DorstÃs Toller (1968) for Patrice ChÂreau. He collaborated with Ms. ChÂreau on several productions culminating with Peer Gynt in 1981. In 1974 he founded the Pandora Company with Brigitte Jaques-Wajeman. He has continued to work in the theater ever since as a translator (of, amongst many other works, IbsenÃs Peer Gynt and J.M. SyngeÃs Playboy of the Western World) and as a theorist, dramaturg, and playwright. From 1991Ã1997 with Brigitte Jaques-Wajeman, he co-directed the ThÂÂtre de la Commune (Pandora) at Aubervilliers, and from 1994Ã2001 he taught diction at the Conservatoire National dÃArt dramatique in Paris.
He joined Emmanuel Demarcy-Mo taÃs ensem ble in 1999 for the translation and dramarturgy of LoveÃs LabourÃs Lost. He has since collaborated on most of the productions.
CHARLES-ROGER BOUR (Actor) Following initial theatrical training in Aix-en-Provence, Mr. Bour attended the Florent School in Paris. In 1994, he joined Emmanuel Demarcy-MotaÃs ensemble and has taken part in most of the ensembleÃs productions: The Story of the Soldiar, Leonce and Lena, LoveÃs LabourÃs Lost, Marat Sade, Six Characters in Search of an Author, Le Diable en partage, Rhinoceros, Marcia Hesse, Man is Man, Wanted Petula, Bouli annÂe zÂro, Casimir and Caroline, and Le Faiseur. He has worked under the direction of Christophe Perton, Philippe Faure, Myriam Tanant, Jacques Weber, and Louis Castel, and in cinema with directors including Yves Boisset, RenÂ Allio, Jean-Pierre Jeunet, and Tonie Marshall.
CÂLINE CARRÃ©RE (Madame Pace) trained at Conservatoire National SupÂrieur dÃArt Dramatique in Paris. Ms. CarrÂre has worked in theater under the direction of Patrice ChÂreau (Richard III), Emmanuel Demarcy-Mota (LoveÃs LabourÃs Lost, Ionesco Suite, Rhinoceros, Variation Brecht, Casimir and Caroline, Le Faiseur), Alain Milianti (Hedda Gabler), Nicolas Bigard (Manuscrit corbeau), Philippe Calvario (Cymbeline), Wissam Arbache (le cid), and Nazim Boudjenah (La Cantate Â trois voix). Since 2008, she has been a member of ThÂÂtre de la VilleÃs ensemble.
JAURIS CASANOVA (The assistant) trained at Âcole Nationale SupÂrieure des Arts et Techniques du ThÂÂtre and performs in theater, cinema, and television in a wide range of styles and roles, both classical (ChekhovÃs Platonov, Jason in SenecaÃs Medea) and contemporary (Joe PenhallÃs Pale Horse, Martin ShermanÃs Bent) under the direction of Richard Brunel, Adel Akhim, and Thierry Lavat. With Emmanuel Demarcy-Mota, his work includes LoveÃs LabourÃs Lost, Man is Man, Rhinoceros, Casimir and Caroline, Wanted Petula, Bouli annÂe zÂro, Ionesco Suite, and Le Faiseur. In film, he has acted in Bord de Mer by Julie Lopez Curval (Gold Camera Award at the 2001 Cannes Film Festival) and Est-Ouest by RÂgis Warnier.
VALÂRIE DASHWOOD (The step.daughter) Following her training at the Florent School and the Conservatoire national supÂrieur dÃart dramatique de Paris, her first collaboration with
Christian Rist, Brigitte Jacques-Wajeman,
SIX CHARACTERS IN SEARCH OF AN AUTHOR
Emmanuel Demarcy-Mota was with ShakespeareÃs LoveÃs LabourÃs Lost in 1998. As a member of his ensemble, she also acted in Marat-Sade, Six Characters in Search of an Author, Ma vie de chandelle, Rhinoceros, Wanted Petula, Victor or Power to the Children, and Le Faiseur. She has also worked under the direction of Stuart Seide, Daniel Janneteau, and on a regular basis since 2002 with Ludovic Lagarde. In film, she has been directed by Fred Cavaye, Damien Odoul, and Marina de Van.
SANDRA FAURE (Actor) trained for 15 years in ballet, contemporary dance, and musical theater, while a part-time student in a childrenÃs school for the performing arts. As a child, she performed in both operas and musicals. After completing four years of training at the Florent theater school, she then worked under the direction of Christophe Lidon, Susanna Lastreto, FrÂdÂric Fisbach, Lisa Wurmser, and Christian Germain. She has been a part of Emmanuel Demarcy.MotaÃs ensemble since 2002 and has acted in Le diable en partage, Wanted Petula, Bouli annÂe zero, Rhinoceros, Ionesco Suite, Man is Man, Variations Brecht, Casimir and Caroline, and Le Faiseur. She also writes, composes, and sings original songs, and has released a CD titled Les nu.pieds rouges.
GAÃ¨LLE GUILLOU (Actor) trained at Studio 34 and with Mario GonzalÂs on clown and masked acting techniques. Her credits include the following productions directed by Emmanuel Demarcy-Mota: Leonce and Lena, LoveÃs LabourÃs Lost, Marcia Hesse, Rhinoceros, Casimir and Caroline, Le Faiseur, and Wanted Petula. She also acts with the companies Puzzle ThÂÂtre dÃAssemblage, Sortie de secours, and Puce Muse.
SARAH KARBASNIKOFF (The mother) trained at Âcole du Passage and ThÂÂtre en actes in Paris, and at the school of ThÂÂtre national de Strasbourg, from which she graduated in 1996. She has worked with Adel Hakim, StÂphane Braunschweig, Declan Donnellan, Agathe Alexis, and Lionel Spycher. As a member of Emmanuel Demarcy-MotaÃs ensemble, she has acted in Marat Sade, Rhinoceros, Tanto amor desperdiÂado, Man is Man, Casimir and Caroline, Bouli annÂe zÂro, Victor or Power to the Children, and Le Faiseur.
STÂPHANE KRÂHENBÂHL (The son) trained at the Conservatoire dÃArt Dramatique in Strasbourg in 1992. Mr. KrÂhenbÂhl is a member of Emmanuel Demarcy-MotaÃs ensemble and has acted in LoveÃs LabourÃs Lost (Shakespeare), Six Characters in Search of an Author (Pirandello), Rhinoceros and Ionesco S uite (Ionesco), Man is Man and Variations Brecht (Brecht), Wanted Petula (Melquiot), Casimir and Caroline (Horvath), Victor or Power to the Children (Vitrac), and Le Faiseur. He is also assistant director to Emmanuel Demarcy-Mota for Bouli annÂe zÂro (Melquiot) and Victor or Power to the Children (Vitrac). He also acts with Catherine Delattres, la Compagnie de lÃÂlan Bleu, and Pierre Diependaele. He appears in several short and TV films and is a very active teacher of theater in secondary schools.
OLIVIER LE BORGNE (Actor) joined New YorkÃs Lee Strasberg Institute following an initial theatrical training in Julie VillemontÃs workshop. He has worked with Richard Brunel and Robert Wilson. Mr. Le Borgne has been part of Emmanuel Demarcy-MotaÃs company since the creation of LoveÃs LabourÃs Lost in 1998, and has played in many of his productions including Six Characters in
Search of an Author, Rhinoceros, Ionesco Suite, Marcia Hesse, Wanted Petula, Casimir and Caroline, and Le Faiseur.
ALAIN LIBOLT (The director) has worked under the direction of theater directors including Patrice ChÂreau (Hamlet, La Dispute), Didier Bezace (La Version de Browning for which he was nominated for a MoliÂre Award in 2003) and Alain FranÂon (Mais aussi autre chose). His first encounter with Emmanuel Demarcy-Mota was in Le Diable en partage in 2002. He was also noted for his contribution to many film productions including Home (Patric Chiha), LÃArmÂe des ombres (Jean-Pierre Melville), and Out 1: Noli Me Tangere (Jacques Rivette).
GÂRALD MAILLET (The stage manager) Following his training at Âcole Nationale SupÂrieure des Arts et Techniques du ThÂÂtre, Mr. Maillet worked with several companies, and with Thierry Lavat for Martin ShermanÃs Bent, which earned a MoliÂre Award for ÃBest PlayÃ in 2000. He has also worked in television and cinema. His first work with Emmanuel Demarcy-Mota was LoveÃs LabourÃs Lost. As a member of ThÂÂtre de la VilleÃs ensemble, he has since taken part in most of its productions, including Six Characters in Search of an Author, Rhinoceros, Casimir and Caroline, Wanted Petula, Ionesco Suite, and Le Faiseur.
WALTER NÃGUYEN (The teenager) began his career as an actor in 1992 with several films for television, and began working in puppet theater in 1996 with Objouets 9/7 by StÂphane Bault. He has also worked with the companies Arketal, 9 mg, and Kiwat Compagnie; with directors AgnÂs Del Amo, Yves Borrini, Ricardo Lopez Munoz, and Laurent Vignaux; a n d w i t h c h o r e o g rap h e r s W i l l i am Petit, Sandra Martine, TomÂo VergÂs, and Christian Bourigault. He joined Emmanuel Demarcy-MotaÃs ensemble for the creation of Rhinoceros in 2004 and has also acted with the ensemble in Man is Man and Casimir and Caroline. His work also includes collaboration with Jefferson Lembeye on musical composition for several productions (Ionesco Suite, The Flies, Variations Brecht, Man is Man).
HUGUES QUESTER (The father) has acted under the direction of some the greatest European theater and film directors (Patrice ChÂreau, Jacques Lassalle, Giorgio Strehler, Claude RÂgy, Roger Planchon, Lucian PintilliÂ, StÂphane Braunschweig, Alain Tanner, Raul Ruiz, Jacques Demy, Serge Gainsbourg, Eric Rohmer, Krzystof Kieslowski, and Joao Cesar Monteiro) in mainstream and avant-garde productions of classical and contemporary texts. He met Emmanuel Demarcy-Mota in 2001 and has since worked with him in five different productions: Six Characters in Search of an Author (earning the criticsÃ Best ActorÃs Award in 2002), Rhinoceros, Man is Man, Casimir and Caroline, and Victor or Power to the Children.
PASCAL VUILLEMOT (The carpenter) received his degree from the Conservatoire National SupÂrieur dÃArt Dramatique in Paris in 1997. Since then, Mr. Vuillemot worked with directors Michel Didym, GÂrard Watkins, and Victor Gauthier-Martin. In 2000, he met Emmanuel Demarcy-Mota and joined his ensemble, subsequently taking part in most of the ensembleÃs productions, including Marat Sade, Six Characters in Search of an Author, LoveÃs LabourÃs Lost, Rhinoceros, Man is Man, Casimir and Caroline, and Le Faiseur. He also works on a regular basis with filmmaker Philippe Garrel.
CHRISTOPHE LEMAIRE (assistant director) is a longstanding friend and collaborator of Emmanuel Demarcy-Mota. He is a founding member of Le ThÂÂtre des Millefontaines as an assistant director and an artistic collaborator. He has worked on every production by the company since high school.
YVES COLLET (set and lighting designer) has designed sets and lights for Emmanuel Demarcy-Mota since 1998, including: LoveÃs LabourÃs Lost, Marat-Sade, Six Characters in Search of an Author, Rhinoceros, LÃInattendu, Le diable en partage, Ma vie de chandelle, Marcia Hesse, Man is Man, Wanted Petula, Casimir and Caroline, and Victor or Power to the Children. He has also designed sets for LÃAutre CÂtÂ, an opera by Bruno Mantovani with libretto by FranÂois Regnault, directed by Emmanuel Demarcy-Mota at OpÂra National du Rhin. With the artistic ensemble, he also works in other formats and has redesigned the public spaces of ThÂÂtre de la Ville. He has also collaborated with Catherine DastÂ, Adel Hakim, Claude Buchwald, Elisabeth Chailloux, and Brigitte Jaques-Wajeman.
JEFFERSON LEMBEYE (music and sound design) has com posed music for all of Emmanuel Demarcy-MotaÃs productions since 1998. Within the artistic ensemble of ThÂÂtre de la Ville, he composes and performs on a regular basis for poetry recitals and small-format work. His work mixes both acoustic and electronic music. He has also worked with Catherine Hiegel, Ricardo Lopez Munoz, and in dance with the ensembles LÃexpÂrience Harmaat, Retouramont, and Kirvat. He also works in cinema, and is a co-founder of the Mix Collective.
D AVID EDEN PR OD U CTIONS, LTD. (tour producer) has been one of the leading American organizations devoted to producing international work in the US for more than 25 years. Most recently, David Eden Productions has produced American tours of Gate Theatre DublinÃs KrappÃs Last Tape, Endgame, and Watt; GalwayÃs Druid Theatre in The Cripple of Inishmaan, The Walworth Farce, and DruidSynge; and the ThÂÂtre de la Ville-Paris production of IonescoÃs Rhinoceros. Other recent tours include ThÂÂtre Bouffes du NordÃs The Suit, the Gate Theatre DublinÃs Waiting for Godot, Declan DonnellanÃsTwelfth Night, PropellerÃs The WinterÃs Tale, Piccolo Teatro di MilanoÃs Arlecchino, the Russian Patriarchate Choir of Moscow, Batsheva Dance Company, and the State Ballet of Georgia with Bolshoi prima ballerina Nina Ananiashvili.
For David Eden Productions The US tour of ThÂÂtre de la Ville is supported by: David Eden, President Erica Charpentier, General Manager Chris Buckley, Production Consultant Elise-Ann Konstantin, Visa Coordinator Lori Harrison/Atlas Travel, Travel Agent
This weekendÃs performances mark ThÂÂtre de la VilleÃs second UMS appearance following the companyÃs UMS debut in October 2012 in three performances of IonescoÃs RhinocÂros at the Power Center.
SUPERPO SITION | R Y O JI IKED A
Concept, direction, and music by Ryoji Ikeda
Friday, October 31, 8 pm Saturday, November 1, 8 pm
SUPPOR TED B Y THE
Renegade Ventures Fund,
established by Maxine and Stuart Frankel
ENDO WED SUPPOR T FR OM
The Doris Duke Charitable Foundation Endowment Fund
FUNDED IN PAR T B Y
The Japan Foundation through the Performing Arts JAPAN program
Tickets on Sale Now
For more information, visit www.ums.org or call 734.764.2538.
OUR HISTORY. IN YOUR HANDS.
For the last several years, weÃve been digitizing all of the information from our rich 136-year history. Performance records, program books, photos, and much more are now available online. WeÃre proud to announce the launch of our online archives. We encourage you to explore.
LEADERSHIP. FALL 2014 UMS
The UMS Senate is composed of former members of the Board of Directors who dedicate time and energy to UMS and our community. Their ongoing commitment and gracious support of UMS are greatly appreciated.
Wadad Abed Peter N. Heydon Harold T. Shapiro
Michael C. Allemang Toni Hoover George I. Shirley
Carol L. Amster Kay Hunt John O. Simpson
Gail Davis-Barnes Alice Davis Irani Timothy P. Slottow
Kathleen Benton Stuart A. Isaac Anthony L. Smith
Lynda Berg Thomas E. Kauper Carol Shalita Smokler
Richard S. Berger David B. Kennedy Jorge A. Solis
Maurice S. Binkow Gloria James Kerry Peter Sparling
DJ Boehm Thomas C. Kinnear James C. Stanley
Lee C. Bollinger Marvin Krislov Lois U. Stegeman
Charles W. Borgsdorf F. Bruce Kulp Edward D. Surovell
Janice Stevens-Botsford Leo A. Legatski James L. Telfer
Paul C. Boylan Melvin A. Lester Susan B. Ullrich
William M. Broucek Earl Lewis Michael D. VanHermert
Barbara Everitt Bryant Patrick B. Long Eileen Lappin Weiser
Robert Buckler Helen B. Love B. Joseph White
Letitia J. Byrd Cynthia MacDonald Marina v.N. Whitman
Kathleen G. Charla Robert C. Macek Clayton E. Wilhite
Mary Sue Coleman Judythe H. Maugh Iva M. Wilson
Jill A. Corr Rebecca McGowan Karen Wolff
Peter B. Corr Barbara Meadows
Ronald M. Cresswell Joetta Mial
Martha Darling Lester Monts
Hal Davis Alberto Nacif
Sally Stegeman DiCarlo Shirley C. Neuman
Robert F. DiRomualdo Jan Barney Newman
Junia Doan Roger Newton
Al Dodds Len Niehoff
James J. Duderstadt Gilbert S. Omenn
Aaron P. Dworkin Joe E. OÃNeal
David Featherman Randall Pittman
David J. Flowers Phil Power
George V. Fornero John D. Psarouthakis
Maxine J. Frankel Rossi Ray-Taylor
Patricia M. Garcia John W. Reed
Beverley B. Geltner Todd Roberts
Christopher Genteel Richard H. Rogel
Anne Glendon Prudence L. Rosenthal
Patricia Green A. Douglas Rothwell
William S. Hann Judy Dow Rumelhart
Shelia M. Harden Maya Savarino
Randy J. Harris Ann Schriber
Walter L. Harrison Edward R. Schulak
Norman G. Herbert John J.H. Schwarz
Deborah S. Herbert Erik H. Serr
Carl W. Herstein Ellie Serras
David Herzig Joseph A. Sesi
UMS NATIONAL COUNCIL
The UMS National Council is comprised of U-M alumni and performing arts enthusiasts across the country committed to supporting, promoting, and advocating for UMS with a focus on ensuring that the performing arts are an integral part of the student experience.
Bruce Tuchman Barbara Fleischman Zarin Mehta
Chair Maxine Frankel Jordan Morgan
Eugene Grant James A. Read
Andrew Bernstein Charles Hamlen Herbert Ruben
Kathleen G. Charla Katherine D. Hein James and Nancy Stanley
Jacqueline Davis David Heleniak Russell Willis Taylor
Marylene Delbourg-Delphis Patti Kenner Ann and Clayton Wilhite
John and Betty Edman Wallis C. Klein
Janet Eilber Jerry and Dale Kolins
UMS CORPORATE COUNCIL
The UMS Corporate Council is a group of regional business leaders who serve as advocates and advisors to UMS as we seek to broaden our base of corporate support throughout southeastern Michigan.
A. Douglas Rothwell Richard L. DeVore Vivian Pickard
Chair Nolan Finley Sharon Rothwell
Stephen R. Forrest Frederick E. Shell
Albert Berriz Michele Hodges Michael B. Staebler
Bruce Brownlee Mary Kramer James G. Vella
Robert Buckler Maud Lyon Stephen G. Palms,
Robert Casalou David Parsigian Ex-Officio
BE PRESENT FALL 2014
Students in our volunteer internship and work-study program gain valuable experience in all areas of arts management while contributing greatly to
UMSÃs continued success.
Maryam Ahmed Margaret Albrecht Megan Boczar Clare Brennan Gabrielle Carels Hannah Crisler Catherine Cypert Anna Darnell Sophia Deery* Adam DesJardins Trevor Griffin Annie Jacobson Travis Jones Scott Kloosterman Emily Kloska Caitlyn Koester Alexandra Koi Bridget Kojima Flores Komatsu* Hillary Kooistra* Brian Lee Jordan Miller Gunnar Moll Nisreen Salka Elizabeth Seidner* Marissa Solomon Haylie Stewart Rachel Stopchinski Melanie Toney Jocelyn Weberg
* 21st Century Artist Interns
WKAR thanks the University Musical Society for such high-caliber performances and an amazing schedule this season.
You can explore the arts everyday by tuning into:
WKAR - TV,
and 90.5 FM
NETWORK OF OPPORTUNITY
Proudly Supports the
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UMS FACULTY INSIGHT GROUP
As part of the UMS Mellon Initiative on Arts/Academic Integration, this group advises UMS staff on opportunities to integrate our programming more deeply and systematically into the academic life of the University of Michigan.
Mark Clague Marjorie Horton Lester Monts
Clare Croft Joel Howell Melody Racine
Philip J. Deloria Daniel Klionsky Sidonie Smith
Gillian Eaton Lawrence La Fountain- Emily Wilcox
Linda Gregerson Stokes
UMS TEACHER INSIGHT GROUP
Through UMS Teacher Insight, we stay aware of trends, changing resources, and new opportunities for learning in the K-12 classroom.
Robin Bailey Cecelia Sharpe Rebeca Pietrzak
Jennifer Burton Cynthia Page Bogen Mark Salzer
Jeff Gaynor Karen McDonald
Neha Shah Melissa Poli
UMS ADVISORY COMMITTEE
The UMS Advisory Committee advances the goals of UMS, champions the UMS mission through community engagement, provides and secures financial support, and assists in countless other ways as UMS ambassadors.
BE PRESENT FALL 2014
Connie Rizzolo Brown
Gail Ferguson Stout
Sassa Akervall Sandy Aquino Karen Bantel Gail Bendit Corry Berkooz Dennis J. Carter Judy Cohen Sheila Crowley Jon Desenberg Annemarie Kilburn Dolan Sharon Peterson Dort Julie Dunifon Gloria J. Edwards Christina Ferris Laurel Fisher Rosamund Forrest Zita Gillis Nicki Griffith Joan Grissing Stephanie Hale Debbie Jackson Carol Kaplan Nancy Karp Kendra Kerr Freddi Kilburn Kyle Klobucar Russell Larson Marci Raver Lash Jean Long Laura Machida Katie Malicke Rita Malone Valerie Roedenbeck
Maloof Melanie Mandell Ann Martin Fran Martin Terry Meerkov Amy J. Moore Barbara Mulay Magda Munteanu Deborah Nash Marjorie Oliver Liz Othman Betty Palms Karen Pancost Lisa Patrell Anna Peterson Ruth Petit Susan Pollans Anne Preston Jeff Reece Polly Ricciardo Kathy Rich Nan Richter Audrey Schwimmer William Shell Arlene P. Shy Ren Snyder Linda Spector Janet Torno Elaine Tetreault Martha Williams Sarajane Winkelman Wendy K. Zellers
LEADERSHIP. FALL 2014 UMS
The UMS Staff works hard to inspire individuals and enrich communities by connecting audiences and artists in uncommon and engaging experiences.
ADMINISTRATION & FINANCE
Kenneth C. Fischer
John B. Kennard, Jr.
Director of Administration
Tessitura Systems Administrator
Information Systems Manager
Director of Development
Susan Bozell Craig
Associate Director of Development, Corporate Partnerships & Major Gifts
Lisa Michiko Murray
Senior Manager of Foundation & Government Relations
Associate Director of Development, Major Gifts
Manager of Volunteers & Special Events
EDUCATION & COMMUNITY ENGAGEMENT
James P. Leija
Director of Education & Community Engagement
Campus Engagement Specialist
Associate Manager of Community Engagement
MARKETING & COMMUNICATIONS
Director of Marketing & Communications
Video Production Specialist
Manager of New Media & Online Initiatives
Press & Marketing Manager
PROGRAMMING & PRODUCTION
Michael J. Kondziolka
Director of Programming
Artist Services Manager
Senior Programming Manager
Associate Programming Manager
Ticket Services Manager
Ticket Office/Front-of-House Assistant
Sales & Promotions Coordinator
Ticket Services Coordinator
Dennis Carter, Bruce Oshaben, Brian Roddy
UMS CHORAL UNION
Conductor & Music Director
UMS excites the imagination, sparks creativity, sharpens collaboration, inspires new ways of thinking, and connects us in ways that only the arts can.
Ticket sales, however, cover less than 40% of the world-class programs that benefit our students and community.
Your gift of any size will enable UMS to deliver bold artistic leadership, to create engaged learning through the arts, and to provide access and inclusiveness.
NOW IS THE TIME.
Be a Victor for UMS.
Be a Victor for the Arts.
Be a Victor for Michigan.
Please send your gift to: UMS Development 881 N. University Ave. Ann Arbor, MI 48109-1011
For more information, please visit www.ums.org/support or call Margaret McKinley at 734.647.1177.
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As a locally owned, independent financial advisory firm serving the U-M community and families throughout the area for more than 30 years, we are proud to support the outstanding performances UMS brings to Ann Arbor.
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Celebrating 136 Successful Seasons
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GENER OUS UMS DONORS.
CAMPAIGN GIFTS AND MULTI-YEAR PLEDGES
To help ensure the future of UMS, the following donors have made pledges which are payable over a period of up to five years. We are grateful to these
generous donors for their commitments.
$500,000 OR MORE
Ilene H. Forsyth Maxine and Stuart Frankel Foundation The Andrew W. Mellon Foundation Candis J. and Helmut F. Stern
Anonymous Bert Askwith and Patti Askwith Kenner Emily W. Bandera Dennis Dahlmann Sharon and Dallas Dort Eugene and Emily Grant Family Foundation Susan and Richard Gutow Wallis Cherniack Klein Norma and Dick Sarns Ron and Eileen Weiser Max Wicha and Sheila Crowley Ann and Clayton Wilhite
David and Phyllis Herzig
Essel and Menakka Bailey Penny and Ken Fischer Mohamad Issa/Issa Foundation Miller, Canfield, Paddock and Stone, P.L.C. Donald L. Morelock Agnes Moy-Sarns and David Sarns and the
Sarns Family Gil Omenn and Martha Darling Sharon and Doug Rothwell Linda Samuleson and Joel Howell Jane and Edward Schulak Dennis and Ellie Serras Nancy and James Stanley Glenn E. Watkins Marina and Bob Whitman Gerald B. Zelenock
Carol Amster Cheryl Cassidy Junia Doan John R. Edman and Betty B. Edman Charles H. Gershenson Trust Anne and Paul Glendon Norman and Debbie Herbert Carl and Charlene Herstein Jerry and Dale Kolins Lois Stegeman Stout Systems Karen and David Stutz Dody Viola
Michael and Suzan Alexander Valerie and David Canter Sara and Michael Frank Wendy and Ted Lawrence
M. Haskell and Jan Barney Newman Eleanor Pollack
John and Lillian Back Karen Bantel and Steve Geiringer Suzanne A. and Frederick J. Beutler Tim and Robin Damschroder Michele Derr Ann Martin and Russ Larson Eric and Ines Storhok
The success of UMS is secured in part by income from UMS endowment funds. You may contribute to an existing endowment fund or establish a named endowment with a minimum gift of $25,000. We extend our deepest appreciation to the many donors who have established and/or contributed to the following funds:
H. Gardner and Bonnie Ackley Endowment Fund Herbert S. and Carol Amster Endowment Fund Catherine S. Arcure Endowment Fund Carl and Isabelle Brauer Endowment Fund Dahlmann Sigma Nu Endowment UMS Fund Hal and Ann Davis Endowment Fund Doris Duke Charitable Foundation
Endowment Fund John R. and Betty B. Edman Endowment Fund Epstein Endowment Fund Ilene H. Forsyth Endowment Fund Anne and Paul Glendon Endowment Fund Susan and Richard Gutow Renegade Ventures
Endowment Fund George N. and Katherine C. Hall
Endowment Fund Norman and Debbie Herbert Endowment Fund David and Phyllis Herzig Endowment Fund JazzNet Endowment Fund William R. Kinney Endowment Fund Wallis Cherniack Klein Endowment for
Dr. and Mrs. Jerry Kolins Shakespearean Endowment Fund Frances Mauney Lohr Choral Union
Endowment Fund Natalie Matovinovi. Endowment Fund Medical Community Endowment Fund Dr. Robert and Janet Miller Endowment Fund NEA Matching Fund Ottmar Eberbach Funds Palmer Endowment Fund Mary R. Romig-deYoung Music
Appreciation Fund Prudence and Amnon Rosenthal K-12
Education Endowment Fund Charles A. Sink Endowment Fund Herbert E. and Doris Sloan Endowment Fund James and Nancy Stanley Endowment Fund Susan B. Ullrich Endowment Fund UMS Endowment Fund The Wallace Endowment Fund The Zelenock Family Endowment Fund
We are grateful to the following donors for including UMS in their estate plans. These gifts will provide financial support to UMS for generations to come. For more information, please contact Margaret McKinley at 734.647.1177.
Anonymous Bernard and Raquel Agranoff Mike Allemang Carol and Herb Amster Neil P. Anderson Dr. and Mrs. David G. Anderson Catherine S. Arcure Barbara K. and
Laurence R. Baker Rodney and Joan Bentz Kathy Benton and
Robert Brown Linda and Maurice Binkow Elizabeth S. Bishop Mr. and Mrs. W. Howard Bond Mr. and Mrs. Pal E. Borondy Barbara Everitt Bryant Pat and George Chatas Mr. and Mrs. John Alden Clark Mary C. Crichton Alan and Bette Cotzin Penny and Ken Fischer Susan Ruth Fisher Meredith L. and Neal Foster Thomas and Barbara Gelehrter Beverley and Gerson Geltner Anne and Paul Glendon Debbie and Norman Herbert Rita and Peter Heydon John and Martha Hicks Gideon and Carol Hoffer Marilyn G. Jeffs Thomas C. and
Constance M. Kinnear Diane Kirkpatrick Dr. and Mrs. Jerry Kolins Frank Legacki and Alicia Torres Leo and Kathy Legatski Richard LeSueur Robert and Pearson Macek Susan McClanahan Joanna McNamara
M. Haskell and
Jan Barney Newman Len Niehoff Dr. and Mrs. Frederick OÃDell Mr. and Mrs. Dennis M. Powers Mr. and Mrs. Michael Radock Mr. and Mrs. Jack Ricketts Prue and Ami Rosenthal Irma J. Sklenar Art and Elizabeth Solomon Hildreth Spencer Louise Taylor Roy and JoAn Wetzel Ann and Clayton Wilhite Max Wicha and Sheila Crowley Marion Wirick Mr. and Mrs. Ronald G. Zollar
Proud to support the
University Musical Society.
Member FDIC 0112 069
LIFETIME GIVING OF $500,000 OR MORE
The donors listed below have provided significant support to UMS over a number of years. We recognize those whose cumulative giving to UMS
totals $500,000 or more.
Anonymous Linda and Maurice Binkow Community Foundation for Southeast Michigan Doris Duke Charitable Foundation DTE Energy Foundation Ford Motor Company Fund and Community Services Forest Health Services Ilene H. Forsyth Maxine and Stuart Frankel Foundation Richard and Lillian Ives Trust The Andrew W. Mellon Foundation Michigan Council for Arts and Cultural Affairs Michigan Economic Development Corporation National Endowment for the Arts Pfizer, Inc. Randall and Mary Pittman Philip and Kathy Power Estate of Mary Romig-deYoung Herbert E. Sloan, Jr. M.D. Candis J. and Helmut F. Stern University of Michigan University of Michigan Health System The Wallace Foundation
UMS SUPPORT Ã JULY 1, 2013 Ã JUNE 30, 2014
The following list includes donors who made gifts to UMS between July 1, 2013 and June 30, 2014. Due to space constraints, we can only list in the UMS program book those who donated $250 or more. Donors of $1Ã$249 will be included in the online list at ums.org.
. indicates the donor made a contribution to a UMS Endowment Fund
PRODUCERS ($500,000 OR MORE)
Ilene H. Forsyth. Candis J. and Helmut F. Stern.
Carl and Isabelle Brauer Fund. Ford Motor Company Fund and Community Services Maxine and Stuart Frankel
Foundation Wallis Cherniack Klein. The Andrew W. Mellon Foundation University of Michigan Health
Anonymous Anonymous. Bert Askwith and
Patti Askwith Kenner Dance/USA Doris Duke Charitable Foundation Dallas and Sharon Dort. DTE Energy Foundation Michigan Council for Arts and
Cultural Affairs National Endowment for the Arts Ann and Clayton Wilhite
Ann Arbor Area Community Foundation
Essel and Menakka Bailey.
Emily W. Bandera
John R. Edman and Betty B. Edman.
Esperance Family Foundation
Anne and Paul Glendon.
Susan and Richard Gutow.
Masco Corporation Foundation
Roger and Coco Newton.
Philip and Kathy Power
Sharon and Doug Rothwell.
Norma and Dick Sarns
Jane and Edward Schulak
University of Michigan Office of the Senior Vice Provost for Academic Affairs
University of Michigan Office of the Vice President for Research
Ron and Eileen Weiser
Max Wicha and Sheila Crowley
Jerry and Gloria Abrams. Ann Arbor Regent Bank of Ann Arbor Bell Tower Hotel Rachel Bendit and Mark Bernstein The Dahlmann Campus Inn Alice Dobson Jim and Patsy Donahey Penny and Ken Fischer Stephen and Rosamund Forrest Charles H. Gershenson Trust David and Phyllis Herzig Joel Howell and Linda Samuelson Mohamad Issa and the Issa
Foundation The Japan Foundation Frank Legacki and Alicia Torres McKinley Associates Mrs. Robert E. Meredith Miller, Canfield, Paddock,
and Stone, P.L.C. Donald L. Morelock Agnes Moy-Sarns and David Sarns New England Foundation for the Arts Old National Bank Gil Omenn and Martha Darling Michael J. and Leslee Perlstein James Read Retirement Income Solutions RunSignUp Dennis and Ellie Serras
SUPPORT. FALL 2014 UMS
Joe and Yvonne Sesi Sesi Motors Irma J. Sklenar Trust Nancy and James Stanley University of Michigan Credit Union University of Michigan Third Century
Initiative Robert O. and Darragh H. Weisman Marina and Robert Whitman Gerald B. (Jay) Zelenock
Michael Allemang and Janis Bobrin Carol Amster Ann Arbor Automotive Anonymous Janet and Arnold Aronoff Arts at Michigan Aventura babo: a market by Sava Kathy Benton and Robert Brown Andrew and Lisa Bernstein Gary Boren Edward and Mary Cady Valerie and David Canter Cheryl Cassidy Mary Sue and Kenneth Coleman Comerica The Herbert & Junia Doan
Foundation David and Jo-Anna Featherman Barbara G. Fleischman Katherine and Tom Goldberg Norman and Debbie Herbert. Carl W. and Charlene R. Herstein Honigman Miller Schwartz and
Cohn LLP James A. Kelly and Mariam C. Noland David and Sally Kennedy. John S. and James L. Knight
Foundation Samuel and Marilyn Krimm Linda Langer and Paula McCracken Ted and Wendy Lawrence. Richard and Carolyn Lineback The Mardi Gras Fund Sally and Bill Martin Natalie Matovinovi. Michigan Critical Care Consultants Inc.
M. Haskell and Jan Barney Newman Virginia and Gordon Nordby Rob and Quincy Northrup Paula Novelli and Paul Lee and Pearl Eleanor Pollack. Prue and Ami Rosenthal Herbert and Ernestine Ruben SavaÃs Restaurant John W. and Gail Ferguson Stout Stout Systems Karen and David Stutz. Bruce G. Tuchman United Way of Washtenaw County Dody Viola
Jim and Barbara Adams Michael and Suzan Alexander Barbara A. Anderson and Anonymous Arts Midwest Touring Fund Elizabeth R. Axelson and Donald
H. Regan John and Lillian Back Ulysses Balis and Jennifer Wyckoff Karen Bantel and Steve Geiringer Norman E. Barnett Robert and Wanda Bartlett Bradford and Lydia Bates Ronald and Linda Benson Suzanne A. and Frederick J. Beutler. Blue Nile Restaurant John and Denise Carethers Carolyn M. Carty and Thomas H. Haug Jean and Ken Casey Center for Plastic and
Reconstructive Surgery Kathy Cooney and Gary Faerber Anne and Howard Cooper Culture Source Julia Donovan Darlow and John
Corbett OÃMeara Marylene Delbourg-Delphis and
Sophie Delphis John Dryden and Diana Raimi Rosalie Edwards/Vibrant
Ann Arbor Fund of the Ann Arbor
Area Community Foundation Joan and Emil Engel Betsy Foxman and Michael Boehnke Sara and Michael Frank Prof. David M. Gates Thomas and Barbara Gelehrter Germain Honda of Ann Arbor Sid Gilman and Carol Barbour Elliott and Gayle Greenberg Richard and Linda Greene John and Helen Griffith Lynn and Martin Halbfinger Stephanie Hale and Pete Siers James and Patricia Kennedy Connie and Tom Kinnear Diane Kirkpatrick Wally and Robert Klein Philip and Kathryn Klintworth Tim and Kathy Laing Carolyn and Donald Lewis Lawrence and Rebecca Lohr Jean E. Long Jeffrey MacKie-Mason and Janet Netz Ann W. Martin and Russ Larson Ernest and AdÂle McCarus Erin McKean and Steve Sullivan Paul Morel and Linda Woodworth Margaret and Randolph Nesse William Nolting and Donna Parmelee Steve and Betty Palms Elizabeth and David Parsigian Tim and Sally Petersen Bertram and Elaine Pitt Jim and Bonnie Reece John W. Reed Anthony L. Reffells Corliss and Jerry Rosenberg Nathaniel and Melody Rowe Frances U. and Scott K. Simonds Susan M. Smith and Robert H. Gray Linda Spector and Peter Jacobson Eric and Ines Storhok Judy and Lewis Tann Louise Taylor Ted and Eileen Thacker Louise Townley Jim Toy
Bernard and Raquel Agranoff Katherine Aldrich Richard and Mona Alonzo David G. and Joan M. Anderson Dave and Katie Andrea Anonymous Dr. and Mrs. Rudi Ansbacher Harlene and Henry Appelman Dr. Frank J. Ascione Bob and Martha Ause Jonathan Ayers and Teresa Gallagher John and Ginny Bareham Barracuda Networks Anne Beaubien and Phil Berry Cecilia Benner Dr. Rosemary R. Berardi and Dr.
Carolyn R. Zaleon Mitchell Bernstein and
Jessica Halprin John E. Billi and Sheryl Hirsch Joan Binkow Judy Bobrow and Jon Desenberg DJ and Dieter Boehm Horace and Francine Bomar Margaret and Howard Bond Charles and Linda Borgsdorf Laurence and Grace Boxer Dr. and Mrs. Ralph R. Bozell Dale E. and Nancy M. Briggs Barbara Everitt Bryant Jeannine and Robert Buchanan Lawrence and Valerie Bullen Charles and Joan Burleigh Barbara and Al Cain Lou and Janet Callaway Dan Cameron Family Foundation Jean W. Campbell Sally Camper and Bob Lyons Thomas and Marilou Capo Brent and Valerie Carey Cheng-Yang Chang MD PhD. Tsun and Siu Ying Chang Anne Chase Patricia Chatas Myung Choi Clark Hill PLC Brian and Cheryl Clarkson Ellen and Hubert Cohen Judy and Malcolm Cohen Chris Conlin Tim and Robin Damschroder. Susan T. Darrow Charles and Kathleen Davenport. Monique and Dennis Deschaine Sally and Larry DiCarlo Molly Dobson Peter and Grace Duren Barbara and Tony Eichmuller Charles and Julia Eisendrath. Johanna Epstein and Steven Katz Harvey and Elly Falit Scott and Kristine Fisher
John H. Romani Ed and Natalie Surovell Susan Fisher and John Waidley
The reviews are in!
ÃMaryanneÃs marketing strategy got us an offer 10% over ask ing price before we listed our house!...she clearly goes above and beyond in everything she does!Ã Kevin and Liz
Ã...an example of what a good honest realtor should be...truly a class act!Ã Steve and Janet
Ã...her tenacity, experience and knowledge of the market were instrumental...refreshing straightforwardness...superb sounding-board...Ã Ryan and Stephanie
ÃWe have experienced buying and selling homes 28 times over 43 years in 3 countries...Maryanne wins hands down as our favorite realtor of all times!Ã Tony and Chrissie
734.6 45.3065 firstname.lastname@example.org www.maryannetelese.com
189 8 W. Stadium Blvd. Ann A rbor, MI
Esther Floyd Food Art Dan and Jill Francis Paul and Judith Freedman Leon and Marcia Friedman Bill and Boc Fulton
B. Garavaglia Tom Gasloli Chris and Dara Genteel Zita and Wayne Gillis Glen Arbor Cabin LLC Cozette Grabb Leslie and Mary Ellen Guinn Marlys Hamill Steven and Sheila Hamp Jeff Hannah and Nur Akcasu Martin D. and Connie D. Harris Clifford and Alice Hart Larry Hastie Sivana Heller Robert M. and Joan F. Howe Eileen and Saul Hymans Keki and Alice Irani Jean Jacobson Janet and Wallie Jeffries Kent and Mary Johnson. Timothy and Jo Wiese Johnson. Key Hope Foundation Elise K. Kirk Carolyn and Jim Knake Michael J. Kondziolka and Mathias-
Philippe Badin Barbara and Ronald Kramer Donald J. and Jeanne L. Kunz Jerry and Marion Lawrence John K. Lawrence and
Jeanine A. DeLay. Leo and Kathy Legatski Richard LeSueur Joan and Melvyn Levitsky Carolyn and Paul Lichter Fran Lyman Lisa and Tim Lynch Robert and Pearson Macek John and Cheryl MacKrell Edwin and Cathy Marcus.
W. Harry Marsden Irwin and Fran Martin Mary M. Matthews Judythe and Roger Maugh Jerry A. and Deborah Orr May. Susan McClanahan and
W. Joseph McCune and Georgiana
M. Sanders Griff and Pat McDonald Lyn McHie and John Anderson Margaret McKinley Semyon and Terry Meerkov Melange Bistro Harry and Natalie Mobley Lester and Jeanne Monts THE MOSAIC FOUNDATION
(of R. & P. Heydon) Moscow Philanthropic Fund Dana Muir and Tracy Grogan Mullick Foundation Dan and Sarah Nicoli Susan and Mark Orringer. Judith A. Pavitt Lisa Payne Lisa and John Peterson Pfizer Foundation Juliet S. Pierson Susan Pollans and Alan Levy Stephen and Bettina Pollock Rick and Mary Price Ray and Ginny Reilly Charles Reinhart Company Realtors Malverne Reinhart Richard and Edie Rosenfeld Craig and Jan Ruff Karem and Lena Sakallah Alan and Swanna Saltiel Maya Savarino Ann and Tom Schriber John J.H. Schwarz Erik and Carol Serr Janet Shatusky Bill and Chris Shell Carl Simon and Bobbi Low Nancy and Brooks Sitterley Michael Sivak and Enid Wasserman Dr. Rodney Smith and Janet Kemink Ren and Susan Snyder Becki Spangler and Peyton Bland Ted St. Antoine Michael B. Staebler and
Jennifer R. Poteat Gary and Diane Stahle Lois Stegeman Virginia E. Stein
SUPPORT. FALL 2014 UMS
Dalia and Stan Strasius Jon Cohn and Daniela Wittmann Don and Sue Kaul
DJ and Kate Sullivan Conlin Travel Christopher Kendall and
Charlotte B. Sundelson Connie and Jim Cook Susan Schilperoort
Elaine and Jim Tetreault Arnold and Susan Coran Rhea K. Kish
Keturah Thunder-Haab Katherine and Clifford Cox Paul and Dana Kissner
Jeff and Lisa Tulin-Silver Mac and Nita Cox Jean and Arnold Kluge
Marianne Udow-Phillips and Clifford and Laura Craig. Regan Knapp and John Scudder
Bill Phillips John and Mary Curtis Joseph and Marilynn Kokoszka
Susan B. Ullrich. Joseph R. Custer MD Dr. Melvyn Korobkin and
Jack and Marilyn van der Velde Roderick and Mary Ann Daane Linda Korobkin
Florence S. Wagner Christopher Dahl and Ruth Rowse Mary L. Kramer.
Bob and Liina Wallin Dennis Dahlmann and Paul Krutko and Ellya Jeffries
Shaomeng Wang and Ju-Yun Li. Patricia Garcia Ken and Maria Laberteaux
Joyce Watson and Marty Warshaw Elena and Nicholas Delbanco Jane Fryman Laird
Harvey and Robin Wax David and Nancy Deromedi David Lampe and Susan Rosegrant
Karl and Karen Weick Michele Derr Henry M. Lederman
Steven Werns MD Macdonald and Carolin Dick Derick and Diane Lenters.
W. Scott Westerman, Jr. Linda Dintenfass and Ken Wisinski Sue Leong
Roy and JoAn Wetzel. Andrzej and Cynthia Dlugosz Jennifer Lewis and Marc Bernstein
Lauren and Gareth Williams Heather and Stuart Dombey Rod and Robin Little
Beth and I. W. Winsten Julie and Bruce Dunlap E. Daniel and Kay Long
Max and Mary Wisgerhof Dr. and Mrs. W. Duvernoy Marilyn and Frode Maaseidvaag
Charles Witke and Aileen Gatten Dykema Brigitte and Paul Maassen
The Worsham Family Foundation Alan S. Eiser Martin and Jane Maehr
David Engelke and Alexandra Krikos Melvin and Jean Manis
BENEFACTORS Ernst & Young Foundation Betsy Yvonne Mark
($500Ã$999) Etymotic Research, Inc. Geri and Sheldon Markel
Jan and Sassa Akervall Michael and Michaelene Farrell Howard L. Mason
Roger Albin and Nili Tannenbaum Margaret and John Faulkner Olivia Maynard and Olof Karlstrom
Gordon and Carol Allardyce. Carol Finerman Martha Mayo and Irwin Goldstein
Neil P. Anderson George W. Ford Margaret E. McCarthy
Ann Arbor Area Convention and David Fox and Paula Bockenstedt Thomas and Deborah McMullen
Visitors Bureau Otto W. and Helga B. Freitag Joanna McNamara and Mel Guyer
Ann Arbor Optometry Philip and RenÂe Woodten Frost Bernice and Herman Merte
Anonymous Carol Gagliardi and David Flesher Lee Meyer
Sandy and Charlie Aquino Luis and April Gago Gene and Lois Miller
Penny and Arthur Ashe Janet and Charles Garvin Candice and Andrew Mitchell
Stephany and Jim Austin Bob and Julie Gates Bert and Kathy Moberg
Laurence R. and Barbara K. Baker David and Maureen Ginsburg Olga Ann Moir
Lisa and Jim Baker Meidee Goh and David Fry. Kara and Lewis Morgenstern
Reg and Pat Baker Mr. and Mrs. Charles Drs. Louis and Julie Jaffee Nagel
Bank of America Charitable and Janet Goss. Erika Nelson and David Wagener
Foundation Marla Gousseff John and Ann Nicklas
Pat Bantle Christopher and Elaine Graham. Len Niehoff, Lisa Rudgers, and
Nancy Barbas and Jonathan Sugar Martha and Larry Gray J.J. Niehoff
Rosalyn, Joshua, and Beth Barclay Dr. and Mrs. Robert A. Green Arthur S. Nusbaum
David and Monika Barera Linda and Roger Grekin Constance and David Osler
Frank and Lindsay Tyas Bateman Raymond Grew Marysia Ostafin and George Smillie
Astrid B. Beck Werner H. Grilk M. Joseph and Zoe Pearson
The Benevity Community Ken and Margaret Guire Jack and Jean Peirce
Impact Fund Arthur W. Gulick Wesen and William Peterson
Merete BlÂndal Bengtsson Talbot and Jan Hack Joyce Plummer
Kathleen G. Benua Dr. Don P. Haefner and Diana and Bill Pratt
Helen V. Berg Dr. Cynthia J. Stewart Wallace and Barbara Prince
L. S. Berlin and Jean McPhail Helen C. Hall Quest Productions
Maria and Terry Bertram Alan Harnik and Professor Gillian Doug and Nancy Roosa
Sara Billmann and Jeffrey Kuras Feeley-Harnik Nancy Rugani
William and Ilene Birge Dan and Jane Hayes Ashish and Norma Sarkar
John Blankley and Maureen Foley Katherine D. Hein MD David W. Schmidt
R.M. Bradley and C.M. Mistretta Diane S. Hoff Matthew Shapiro and Susan Garetz
David and Sharon Brooks Jane and Thomas Holland John Shultz Photography
Pamela Brown Kay Holsinger and Douglas C. Wood Bruce M. Siegan
Sean Burton and Ronald and Ann Holz Sandy and Dick Simon
Dr. Jennifer Scott-Burton Mabelle Hsueh Sue and Don Sinta
Susan and Oliver Cameron Jim and Colleen Hume JÂrgen Skoppek
Campus Realty Ann D. Hungerman Cheryl Soper
Janet and Bill Cassebaum Isciences, L.L.C. Robbie and Bill Stapleton
Albert C. Cattell Debbie Jackson Allan and Marcia Stillwagon
John and Camilla Chiapuris Elizabeth Jahn Sandy Talbott and Mark Lindley
Alice S. Cohen Mark and Madolyn Kaminski
Stephanie Teasley and
Thomas Finholt Doris H. Terwilliger Brad Thompson Nigel and Jane Thompson Peter, Carrie, and Emma Throm. Jonathan Trobe and
Joan Lowenstein. Claire Turcotte Joyce Urba and David Kinsella Douglas and Andrea Van Houweling Brad L. Vincent Barbara and Thomas Wagner Elizabeth A. and David C. Walker Arthur and Renata Wasserman Richard and Madelon Weber. Deborah Webster and George Miller Lyndon Welch Kathy White. Iris and Fred Whitehouse Mac and Rosanne Whitehouse. Tabb and Deanna Wile, Birmingham
Wealth Management Group at
Morgan Stanley Dr. Kay Wilson and Dan Barry Thomas K. Wilson Lawrence and Mary Wise Mary Jean and John Yablonky Karen Yamada and Gary Dolce Linda Yohn Ron and Deb Yonkoski Thomas and Karen Zelnik
Judith Abrams Dr. Diane M. Agresta Roy Albert Helen and David Aminoff Catherine M. Andrea Anonymous Ralph and Elaine Anthony Phil and Lorie Arbour Eric and Nancy Aupperle Brian and Elizabeth Bachynski Robert and Mary Baird Barbara and Daniel Balbach Barbara Barclay Alex and Gloria Barends Kenneth and Eileen Behmer Christina Bellows and Joe Alberts Christy and Barney Bentgen William and Patricia Berlin Sheldon and Barbara Berry Elizabeth S. Bishop Mary E. Black Jerry and Dody Blackstone Mr. Mark D. Bomia Joel Bregman and Elaine Pomeranz Christie Brown and Jerry Davis Morton B. and Raya Brown Tom and Lori Buiteweg Jonathan and Trudy Bulkley Tony and Jane Burton Jennifer L. Caplis Thomas and Colleen Carey Barbara Mattison Carr Susie Carter John and Marsha Chamberlin Prof. J. Wehrley Chapman and Samuel and Roberta Chappell Joan and Mark Chesler Reginald and Beverly Ciokajlo Mark Clague and Laura Jackson Janice A. Clark Wayne and Melinda Colquitt Anne and Edward Comeau Minor J. and Susan L. Coon Mrs. Katharine Cosovich Roger Craig Susan Bozell Craig Mrs. C. Merle Crawford Jean Cunningham and
Fawwaz Ulaby Marylee Dalton and Lynn Drickamer Connie DÃAmato Sunil and Merial Das Art and Lyn Powrie Davidge Ed and Ellie Davidson Linda Davis and Bob Richter Norma and Peter Davis Elizabeth Duell Bill and Julie Dunifon Don and Kathy Duquette Ed and Mary Durfee Swati Dutta Dworkin Foundation Gavin Eadie and Barbara Murphy David Eden Productions, Ltd James F. Eder Richard and Myrna Edgar Gloria J. Edwards Morgan and Sally Edwards James Ellis and Jean Lawton Julie and Charles Ellis Thomas A. Fabiszewski Claudine Farrand and
Daniel Moerman Joseph Fazio and Lisa Patrell Phillip and Phyllis Fellin James and Flora Ferrara Herschel and Adrienne Fink
C. Peter and Beverly Fischer Harold and Billie Fischer Arnold Fleischmann Jessica Fogel and Lawrence Weiner Scott and Janet Fogler Lucia and Doug Freeth Stephanie and Tim Freeth Tavi Fulkerson and Bill Hampton Harriet Fusfeld Enid Galler Sandra Gast and Greg Kolecki Michael Gatti and Lisa Murray Beverley and Gerson Geltner Dr. Renate V. Gerulaitis Dr. Allan Gibbard and
Dr. Beth Genne
J. Martin Gillespie and Tara Gillespie Edie Goldenberg Edward and Mona Goldman Michael L. Gowing Jenny Graf Jerry M. and Mary K. Gray Jeffrey B. Green Milton and Susan Gross Susan C. Guszynski and
Gregory F. Mazure Lawrence Hack George and Mary Haddad Susan R. Harris Dorothy J. Hastings Gabrielle Hecht Wendel and Nancy Heers Rose and John Henderson
J. Lawrence Henkel and
Jacqueline Stearns Elaine Hockman Gideon and Carol Hoffer James S. and Wendy Fisher House Drs. Maha Hussain and Sal Jafar Hank and Karen Jallos Mark and Linda Johnson Paul and Olga Johnson Monica and Fritz Kaenzig Angela Kane Dr. Herbert and Mrs. Jane Kaufer. Deborah Keller-Cohen and
Evan Cohen Nancy Keppelman and
Michael Smerza Dan and Freddi Kilburn Paul and Leah Kileny Web and Betty Kirksey Shira and Steve Klein Michael Koen Brenda Krachenberg Gary and Barbara Krenz Mary Krieger Bert and Geraldine Kruse Donald J. Lachowicz Lucy and Kenneth Langa Neal and Anne Laurance John and Theresa Lee James Leija and Eric Knuth Anne and Harvey Leo Rachelle Lesko Gloria Kitto Lewis Jacqueline Lewis Marty and Marilyn Lindenauer. Arthur and Karen Lindenberg Ann Marie Lipinski Michael and Debra Lisull Daniel Little and Bernadette Lintz Dr. Len and Betty Lofstrom Julie Loftin William and Lois Lovejoy Roger E. Lyons Dr. Donald and Jane MacQueen William and Jutta Malm Tom Marini Margaret and Harris McClamroch Frances McSparran Gerlinda Melchiori Warren and Hilda Merchant Fei Fei and John Metzler Robin and Victor Miesel Jack and Carmen Miller Louise Miller John and Sally Mitani Gordon and Kimberly Mobley Mei-ying Moy Mark and Lesley Mozola Tom and Hedi Mulford Drs. George and Kerry Mychaliska. Gerry and Joanne Navarre Glenn Nelson and Margaret Dewar Thomas J. Nelson Kay and Gayl Ness Sarah Winans Newman
Mrs. Patricia Chapman Michael Halpern Richard and Susan Nisbett
SUPPORT. FALL 2014 UMS
Laura Nitzberg Christer and Outi Nordman Robert and Elizabeth Oneal Elizabeth Ong Mohammad and J. Elizabeth
Othman David and Andrea Page Karen Pancost Kathy Panoff Karen Park and John Beranek Sara Jane Peth Ruth S. Petit Robert and Mary Ann Pierce Donald and Evonne Plantinga Irena and Patrick Politano Pat Pooley Thomas S. Porter Anne Preston Ann Preuss Karen and Berislav Primorac John Psarouthakis and
Anitigoni Kefalogiannis The Quarter Bistro Stephen and Agnes Reading Jeff Reece Marnie Reid Anne and Fred Remley Carrol K. Robertsen Susan M. Rose, D.O. Drs. Stephen Rosenblum and
Rosalyn Sarver Dr. Daria Rothe Ms. Rosemarie Haag Rowney Carol Rugg and Richard
Montmorency Mitchell and Carole Rycus Linda and Leonard Sahn Amy Saldinger and Robert Axelrod Irv and Trudy Salmeen Ina and Terry Sandalow Michael and Kimm Sarosi Joseph M. Saul and Lisa
Leutheuser Albert J. and Jane L. Sayed Jochen and Helga Schacht Dick Scheer Ananda Sen and Mousumi
Banerjee Fred Shapiro David and Elvera Shappirio Jamie Sharkey Patrick and Carol Sherry Janet and David Shier George and Gladys Shirley Jean and Thomas Shope Hollis and Martha A. Showalter Douglas and Barbara Siders Edward and Kathy Silver Terry M. Silver Robert and Elaine Sims Scott and Joan Singer John and Anne Griffin Sloan Robert Sloan and Ellen Byerlein Carl and Jari Smith David and Renate Smith Robert W. Smith Hanna Song and Peter Toogood Cynthia Sorensen Doris and Larry Sperling Jim Spevak Jeff Spindler David and Ann Staiger Jeff and Kate Stanley James L. Stoddard Cynthia Straub Roger Stutesman Brian and Lee Talbot May Ling Tang Stephan Taylor and Elizabeth
Stumbo Textron Denise Thal and David Scobey Tom and Judy Thompson William J. Thornton Patricia and Terril Tompkins Hitomi Tonomura John G. Topliss Donald Tujaka Alvan and Katharine Uhle David Uhlmann and Virginia
Murphy Alison and Matthew Uzieblo Karla and Hugo Vandersypen Village Corner, Inc. Maureen and John Voorhees Charles R. and Barbara H. Wallgren MaryLinda and Larry Webster Jack and Jerry Weidenbach Mr. and Mrs. Richard Weiermiller Jack and Carol Weigel Neal and Susan Weinberg Mary Ann Whipple James B. White and Mary F. White Nancy Wiernik Nancy P. Williams Pat and John Wilson Sarajane Winkelman Steven and Helen Woghin Charlotte A. Wolfe Drs. Margo and Douglas R. Woll. Gail and David Zuk
Gifts have been given in memory of the following people:.
Mel Barclay MD Erling BlÂndal Bengtsson Bharat Bhushan Joan Boyle Carl Brauer Donald Bryant Brian Callahan Ralph Carey Leon Cohan Flip Connell Ellwood Derr Jim Garavaglia Daphne Grew Warren L. Hallock Lloyd and Edith Herrold Kenneth G. Holmes Ronald R. Humphrey Roger E. Hunt Ian Krieg Barbara Ann Lipinski Josip Matovinovi. MD Paul and Ruth McCracken Valerie D. Meyer Yetta Miller Emerson and Gwendolyn Powrie Henry J. Pratt Gail Rector Dot Reed Steffi Reiss Stanley Rontal Nona Schneider Tom Schneider Marvin Sharon Sidney Silber Irma Sklenar Beverly Slater Dr. Herbert Sloan Barry Sloat Lloyd St. Antoine Joan C. Susskind Charles Tieman Neil Van Riper Douglas O. Wayland Angela Welch Barbara R. Wykes
Gifts have been given in honor of the following people:
The 2013-14 UMS Advisory Judy Cohen Sharon Anne McAllister
Executive Committee Mary Sue Coleman Susan McClanahan
Nancy L. Ascione Kenneth C. Fischer Ann Meredith
Rachel Bendit Heather Gates John Reed
Sara Billmann Jenny Graf Dianne Widzinski
Jean W. Campbell Susan and Dick Gutow Ann and Clayton Wilhite
Beverly Carlisle Emanuel Joshua Bai Xianyong
Pat Chapman Michael Kondziolka
We believe in the energy that comes with being present. Therefore, we want to ensure that you have all of the information you need to fully enjoy your experience. Look through this section to learn more about tickets, policies, accessibility, and opportunities to become more involved with UMS.
HO W T O BUY TICKETS.
UMS Ticket Office Michigan League 911 North University Avenue MonÃFri: 9 amÃ5 pm Sat: 10 amÃ1 pm
Venue ticket offices open 90 minutes before each performance for in-person sales only.
(Outside the 734 area code, call toll-free 800.221.1229)
UMS Ticket Office
Burton Memorial Tower 881 North University Avenue Ann Arbor, MI 48109-1011
TICKET DONATIONS/UNUSED TICKETS
If you are unable to use your tickets, please return them to us on or before the performance date (accepted until the published performance time). A receipt will be issued by mail for tax purposes; please consult your tax advisor. Ticket returns count towards UMS giving levels.
All UMS venues have barrier-free entrances for persons with disabilities. For information on access at specific UMS venues, call the Ticket Office at 734.764.2538 or visit www.ums.org/about/accessibility. There is no elevator access to Power Center, Michigan Theater, or Lydia Mendelssohn Theatre balconies. Ushers are available for assistance.
Assistive listening devices are available in Hill Auditorium, Rackham Auditorium, Lydia Mendelssohn Theatre, Arthur Miller Theatre, and the Power Center. Earphones may be obtained upon arrival. Please ask an usher for assistance.
LOST AND FOUND
For items lost at Hill Auditorium, Rackham Auditorium, Power Center, Lydia Mendelssohn Theatre, or Arthur Miller Theatre, please visit the University Productions office in the Michigan League on weekdays from 9:00 am to 5:00 pm. For St. Francis of Assisi Catholic Church, call 734.821.2111. For Skyline High School, call 734.994.6515. For Trinosophes, call 313.737.6606.
Refreshments are available in the lobby during intermissions at events in the Power Center, in the lower lobby of Hill Auditorium, and in the Michigan Theater. Refreshments are not allowed in seating areas.
BE PRESENT FALL 2014
GENERAL INFO. FALL 2014 UMS
We know that parking in downtown Ann Arbor can be difficult and can sometimes take longer than expected. Please allow plenty of time to park. Parking is available in the Church Street, Maynard Street, Thayer Street, Fletcher Street, and Liberty Square structures for a minimal fee.
Valet parking is complimentary for UMS donors at the Virtuoso level ($10,000 or more annually) for Choral Union Series performances at Hill Auditorium and HandelÃs Messiah. Valet parking is also available for a fee ($20 per car) until 30 minutes prior to the concert, and then subject to availability. Cars may be dropped off in front of Hill Auditorium beginning one hour prior to the performance.
FOR UP-TO-DATE PARKING INFORMATION, PLEASE VISIT WWW.UMS.ORG/PARKING.
As of July 1, 2011, the smoking of tobacco is not permitted on the grounds of the University of Michigan, including the exteriors of U-M theaters and concert halls. Smoking is allowed on sidewalks adjacent to public roads.
Subscribers may exchange tickets free of charge up until 48 hours prior to the performance. 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 at least 48 hours prior to the performance. You may send your torn tickets to us by mail, fax a photocopy of them to 734.647.1171, or email a scanned copy to email@example.com. Lost or misplaced tickets cannot be exchanged.
We will accept ticket exchanges within 48 hours of the performance for a $10 per ticket exchange fee (applies to both subscribers and single ticket buyers). Tickets must be exchanged at least one hour before the published performance time. Tickets received less than one hour before the performance will be returned as a donation until the published start time.
Children under the age of three will not be admitted to regular, full-length UMS performances. All children must be able to sit quietly in their own seats throughout the performance. Children unable to do so, along with the adult accompanying them, may be asked by an usher to leave the auditorium. UMS has posted age recommendations for most performances at www.ums.org. Please use discretion in choosing to bring a child. Remember, everyone must have a ticket regardless of age. Learn more about budget-friendly family concertgoing at www.ums.org/kids.
For more detailed information on how to get involved with UMS, please visit www.ums.org/volunteer.
STUDENT WORK-STUDY/VOLUNTEER INTERNSHIP PROGRAM
Internships with UMS provide valuable experiences in all areas of arts management, including performing arts production, education, administration, ticket sales, programming, development, and marketing. For more information about available positions and how to apply, please visit www.ums.org/jobs.
UMS STUDENT COMMITTEE
The UMS Student Committee is an official U-M student organization dedicated to keeping the campus community connected to the performing arts. For more information on how to join, please email firstname.lastname@example.org.
Usher orientation sessions are held twice annually for new and returning ushers. You must attend an orientation to be eligible for ushering. Information about upcoming sessions is available at www.ums.org/volunteer as sessions are scheduled. For more information, contact Kate Gorman at 734.615.9398 or email@example.com.
UMS CHORAL UNION
Open to singers of all ages, the 175-voice UMS Choral Union performs choral music of every genre in presentations throughout the region. Participation in the UMS Choral Union is open to all by audition. Auditions are held in the spring and the fall of each year. To learn more, please contact Kathy Operhall at firstname.lastname@example.org or 734.763.8997.
UMS ADVISORY COMMITTEE
If you are passionate about the arts, are looking for ways to spend time volunteering, and have a desire to connect with our organization on a deeper level, the UMS Advisory Committee may be a great match for you. To learn more, please contact Cindy Straub at email@example.com or 734.647.8009.
BE PRESENT FALL 2014
8 Ann Arbor Symphony Orchestra
22 Bank of Ann Arbor 2 Center for Plastic and Reconstructive Surgery
32 Charles Reinhart Co. Realtors
36 Donaldson & Guenther Dentistry
22 Gilmore International Keyboard Festival 4 Honigman Miller Schwartz and Cohn LLP
20 Howard Hanna Real Estate Services
28 Iris Dry Cleaners
32 Jaffe, Raitt, Heuer & Weiss PC
20 Jewish Family Services
28 Kensington Court
22 Mainstreet Ventures 8 Mark Gjukich Photography
39 Maryanne Telese, Realtor
34 Michigan Psychoanalytic Institute
8 Michigan Radio
36 Old National Bank
34 Real Estate One
48 Red Hawk and Revive + Replenish
32 Retirement Income Solutions
24 Silver Maples of Chelsea
34 Smith Haughey Rice & Roegge
48 Tom Thompson Flowers
44 U-M Alumni Association
20 UMS Prelude Dinners
IBC = Inside back cover
316 S. State StreetFull Service @ North UniversityFull Menu 734-994-4004 Full Bar
re v i v e
fresh food Ã¡ coffee Ã¡ beer and wine
r e pl e n i sh
market w beer Ã¡ wine Ã¡ essential groceries
619 East University @ Zaragon Place 734-332-3366 . www.revive-replenish.com
2013 WINTER SEASON CALENDAR.
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