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UMS Concert Program, December 6, 2014 - January 11, 2015: Handel's Messiah; Rossini's William Tell; Helen & Edgar

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FALL 2014


Be Present.
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.

Your body is your instrument.

Keep it in tune.

Center for Plastic & Reconstructive Surgery
Paul Izenberg, MD . David Hing, MD . Richard Beil, MD . Daniel Sherick, MD . Ian Lytle, MD . Rachel Streu, MD



ÒOne 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 UMSÕs 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.Ó

President, University of Michigan

ÒThank 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 UMSÕs 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 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.Ó

UMS President

ÒUMS 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.Ó

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







2014 2015 SEASON CALEND AR. F ALL 2014 UMS
14 Itzhak Perlman, violin
21 Royal Shakespeare Company Live in HD:

ShakespeareÕs The Two Gentlemen of Verona 27 Emerson String Quartet 28 National Theatre Live: EuripidesÕ Medea
10-12 Kiss & Cry
Charleroi Danses, Belgium 15 Gregory Porter 16 Chris Thile & Edgar Meyer 18 Belcea Quartet 24-25 ThŽ‰tre 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 ApolloÕs Fire & ApolloÕs Singers
MonteverdiÕs Vespers of 1610 9 Quatuor ƒbne 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 HandelÕs Messiah UMS Choral Union & Ann Arbor Symphony Orchestra Jerry Blackstone, conductor
RossiniÕs William Tell Teatro Regio Torino Orchestra & Chorus Gianandrea Noseda, conductor

Artists, programs, and dates are subject to change.
Please visit for an up-to-date season calendar.

To learn more, see video previews, get in-depth performance descriptions,

and buy tickets, visit
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 MendelssohnÕs 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 NŽzet-SŽguin, conductor
HŽlne 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
Photo: Oliver Mtukudzi

Ann Arbor Symphony Orchestra
Music in the Key of A2¨
Beethoven Festival with AndrŽ Watts
September 13
Made in the USA
October 11
Tchaikovsky & Friends
November 15
Holiday Pops
December 12
First-time subscribers: buy one series, get one free!

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 Kaf•g 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 HandelÕs 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, youÕll meet some of the individuals and organizations that help bring our season to the stage.

The following individuals have made gift commitments of $50,000 or more for the 2013Ð14 and/or 2014Ð15 seasons, or have established a permanent endowment of $100,000 or more as a part of the Victors for Michigan Campaign.

ÒThe arts have made a significant difference in my life and my daughterÕs 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
Ñ BertÕs Ticket Ñ to introduce them to a cultural experience at Michigan.Ó

ÒI 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.Ó

ÒWe 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.Ó

Maxine and Stuart Frankel
ÒWe 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 Ñ allowing us to challenge our existing beliefs and push our own boundaries.Ó

ÒThe arts are a vital part of oneÕs 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.Ó

ÒUMS 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.Ó

ÒDon'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!Ó

The following businesses have made commitments of $5,000 or more for the 2014Ð15 season.

President and CEO, Bank of Ann Arbor
ÒWe 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 2014Ð15 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.Ó

Ann Arbor and South Central Michigan Regional Bank President, Comerica Bank
ÒComerica is proud to support UMS. UMS continues to enrich the local community by bringing the finest performing arts to Ann Arbor, and weÕre pleased to continue to support this longstanding tradition.Ó

Ann Arbor Office Managing Partner, Honigman Miller Schwartz and Cohn LLP
ÒIn our firmÕs 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.Ó

Director, Issa Foundation
ÒThe 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.Ó

Vice President, Corporate Affairs and Chair, Masco Corporation Foundation
ÒMasco 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.Ó


Principal, Miller, Canfield, Paddock and Stone, P.L.C.
ÒMiller Canfield proudly supports UMS for enhancing our quality of life by bringing the unfiltered immediacy of live performing

Detroit and Southeast Michigan Regional President, PNC Bank
ÒPNC Bank is proud to support the efforts of UMS and the Ann Arbor community.Ó

Managing Partner, Retirement Income Solutions, Inc.
ÒWith strong roots in the community for more than 30 years, our team of investment advisors is proud to support UMS. We recognize and appreciate UMSÕs successful history and applaud the organizationÕs ongoing commitment to presenting authentic, world-renowned artists to the Ann Arbor community.Ó

President, Sesi Lincoln Volvo Mazda
ÒUMS is an important cultural asset for our community. The Sesi Lincoln Volvo Mazda team is delighted to sponsor such a fine organization.Ó

President, Stout Systems
ÒSupporting UMS is really a labor of love Ñ 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.Ó
President, Toyota Motor Engineering & Manufacturing North
America, Inc.
ÒToyota 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.Ó
President, University of Michigan Credit Union
ÒThank 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.Ó
President, University of Michigan
ÒThe 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.Ó

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
Expanded Professional Counseling Services

H elping You B alanc e Lif eÕs Challenges
Professional ¥ Trusted ¥ Safe ¥ Accessible ¥ Personalized ¥ Convenient
Most insurance plans accepted

Jewish Family Services
of Washtenaw County 2245 S. State Street ¥ Ann Arbor, MI 48104

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


ÒGrimaud doesnÕt sound like most pianists: she isÑa re-inventor of phrasings, a taker of chances.Ó
ÑThe New Yorker
SEPTEMBER 19, 2014, 8 PM

ÒBrilliantly colored and conveyed with dazzling speed and control, É an irresistible invitation to the dance.Ó
ÑLos Angeles Times
MARCH 18, 2015, 8 PM

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 Ñ 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. ItÕs 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 momentÕs 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.

Classical Music

NPR News

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


Saturday, December 6, 8:00 pm
Sunday, December 7, 2:00 pm
Hill Auditorium

Wednesday, January 7, 7:30 pm
Thursday, January 8, 7:30 pm
Friday, January 9, 8:00 pm
Saturday, January 10, 2:00 pm
Saturday, January 10, 8:00 pm
Sunday, January 11, 2:00 pm
Sunday, January 11, 6:00 pm
Arthur Miller Theatre

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.

Composed by
George Frideric Handel
Ann Arbor Symphony Orchestra UMS Choral Union Jerry Blackstone
Janai Brugger, Soprano David Daniels, Countertenor Colin Ainsworth, Tenor David Pittsinger, Bass-Baritone
Edward Parmentier, Harpsichord Scott VanOrnum, Organ
Saturday Evening, December 6, 2014 at 8:00 Sunday Afternoon, December 7, 2014 at 2:00 Hill Auditorium ¥ Ann Arbor
21st and 22nd Performances of the 136th Annual Season
Photo: Jerry Blackstone conducts UMSÕs 2012 production of Messiah; photographer: Mark Gjukich Photography.


Part I
l Sinfonia
2 Arioso Mr. Ainsworth
Isaiah 40: 1 Comfort ye, comfort ye my people, saith your God.
Isaiah 40: 2 Speak ye comfortably to Jerusalem, and cry unto her that her
warfare is accomplished, that her iniquity is pardoned.
Isaiah 40: 3 The voice of him that crieth in the wilderness: Prepare ye the way
of the Lord, make straight in the desert a highway for our God.
3 Air Mr. Ainsworth
Isaiah 40: 4 Every valley shall be exalted, and every hill and mountain . . .
made low: the crooked . . . straight, and the rough places plain:
4 Chorus
Isaiah 40: 5 And the glory of the Lord shall be revealed, and all flesh shall
see it together: for the mouth of the Lord hath spoken it.
5 Accompanied
recitative Mr. Pittsinger
Haggai 2: 6 . . . thus saith the Lord of hosts: Yet once, . . . a little while, and I
will shake the heavens and the earth, the sea and the dry land;
Haggai 2: 7 And I will shake all nations, and the desire of all nations shall
come: . . .
Malachi 3: 1 . . . the Lord, whom ye seek, shall suddenly come to his temple,
even the messenger of the covenant, whom ye delight in:
behold, he shall come, saith the Lord of hosts.
6 Air Mr. Daniels
Malachi 3: 2 But who may abide the day of his coming? And who shall stand
when he appeareth? For he is like a refinerÕs fire, . . .

Endowed support from the Carl and Isabelle Brauer Fund.
Media partnership is provided by Michigan Radio 91.7 FM and Ann ArborÕs 107one FM.
Special thanks to Kipp Cortez for coordinating the pre-concert music on the Charles Baird Carillon.
Ms. Brugger appears by arrangement with Rayfield Allied, London.
Mr. Daniels and Mr. Pittsinger appear by arrangement with IMG Artists, New York, NY.
Mr. Ainsworth appears by arrangement with Opus 3 Artists, New York, NY.

7 Chorus Malachi 3: 3 . . . and he shall purify the sons of Levi, . . . that they may offer unto the Lord an offering in righteousness.
8 Recitative Isaiah 7: 14 Mr. Daniels Behold, a virgin shall conceive, and bear a son, and shall call his name Immanuel, ÒGod-with-us.Ó
9 Air and Chorus Isaiah 40: 9 Isaiah 60: 1 Mr. Daniels O thou that tellest good tidings to Zion, get thee up into the high mountain; O thou that tellest good tidings to Jerusalem, lift up thy voice with strength; lift it up, be not afraid; say unto the cities of Judah: Behold your God! Arise, shine; for thy light is come, and the glory of the Lord is risen upon thee.
10 Arioso Isaiah 60: 2 Isaiah 60: 3 Mr. Pittsinger For behold, . . . darkness shall cover the earth, and gross darkness the people: but the Lord shall arise upon thee, and His glory shall be seen upon thee. And the Gentiles shall come to thy light, and kings to the brightness of thy rising.
11 Air Isaiah 9: 2 Mr. Pittsinger The people that walked in darkness have seen a great light: and they that dwell in the land of the shadow of death, upon them hath the light shined.
12 Chorus Isaiah 9: 6 For unto us a child is born, unto us a son is given: and the government shall be upon his shoulder, and his name shall be called Wonderful, Counselor, The Mighty God, The Everlasting Father, The Prince of Peace.
13 Pifa (Pastoral Symphony)
14 Recitative Luke 2: 8 Ms. Brugger . . . there were . . . shepherds abiding in the field, keeping watch over their flock by night.

15 Arioso Ms. Brugger
Luke 2: 9 And, lo, the angel of the Lord came upon them, and the glory of
the Lord shone round about them: and they were sore afraid.
16 Recitative Ms. Brugger
Luke 2: 10 And the angel said unto them, Fear not: for, behold, I bring you
good tidings of great joy, which shall be to all people.
Luke 2: 11 For unto you is born this day in the city of David a Savior, which
is Christ the Lord.
17 Arioso Ms. Brugger
Luke 2: 13 And suddenly there was with the angel a multitude of the
heavenly host praising God and saying,
18 Chorus
Luke 2: 14 Glory to God in the highest, and peace on earth, good will
toward men.
19 Air Ms. Brugger
Zechariah 9: 9 Rejoice greatly, O daughter of Zion; shout, O daughter of
Jerusalem: behold, thy King cometh unto thee: he is the
righteous Savior, . . .
Zechariah 9: 10 . . . and he shall speak peace unto the heathen: . . .
20 Recitative Mr. Daniels
Isaiah 35: 5 Then shall the eyes of the blind be opened, and the ears of the
deaf . . . unstopped.
Isaiah 35: 6 Then shall the lame man leap as a hart, and the tongue of the
dumb shall sing: . . .
21 Air Mr. Daniels and Ms. Brugger
Isaiah 40: 11 He shall feed his flock like a shepherd: and he shall gather the
lambs with his arm, and carry them in his bosom, and . . . gently
lead those that are with young.
Matthew 11: 28 Come unto Him, all ye that labor and are heavy laden, and He
will give you rest.
Matthew 11: 29 Take His yoke upon you, and learn of Him, for He is meek and
lowly of heart: and ye shall find rest unto your souls.
22 Chorus
Matthew 11: 30 . . . His yoke is easy, and His burden is light.

Part II
23 Chorus John 1: 29 . . . Behold, the Lamb of God, that taketh away the sin of the world! . . .
24 Air Mr. Daniels Isaiah 53: 3 He was despised and rejected of men; a man of sorrows, and acquainted with grief: . . . Isaiah 50: 6 He gave his back to the smiters, and His cheeks to them that plucked off the hair: He hid not His face from shame and spitting.
25 Chorus
Isaiah 53: 4 Surely he hath borne our griefs, and carried our sorrows: . . .
Isaiah 53: 5 . . . he was wounded for our transgressions, he was bruised for our iniquities: the chastisement of our peace was upon him; and with his stripes are we healed.
26 Chorus Isaiah 53: 4 All we like sheep have gone astray; we have turned every one to his own way; and the Lord hath laid on him the iniquity of us all.
27 Arioso Mr. Ainsworth Psalm 22: 7 All they that see him laugh him to scorn: they shoot our their lips, and shake their heads, saying:
28 Chorus Psalm 22: 8 He trusted in God that he would deliver him: let him deliver him, if he delight in him.
29 Accompanied recitative Mr. Ainsworth Psalm 69: 20 Thy rebuke hath broken his heart; he is full of heaviness: he looked for some to have pity on him, but there was no man; neither found he any to comfort him.
30 Arioso Mr. Ainsworth
Lamentations 1: 12 . . . Behold and see if there be any sorrow like unto his sorrow . . .
31 Accompanied recitative Mr. Ainsworth Isaiah 53: 8 . . . he was cut off out of the land of the living: for the transgressions of thy people was he stricken.
32 Air Psalm 16: 10
33 Chorus Psalm 24: 7
Psalm 24: 8
Psalm 24: 9
Psalm 24: 10
34 Recitative Hebrews 1: 5
35 Chorus Hebrews 1: 6
36 Air Psalm 68: 18
37 Chorus Psalm 68: 11
38 Air Isaiah 52: 7
39 Chorus Romans 10: 18
40 Air Psalm 2: 1
Psalm 2: 2
41 Chorus Psalm 2: 3

Mr. Ainsworth
But thou didst not leave his soul in hell; nor didst thou suffer thy
Holy One to see corruption.

Lift up your heads, O ye gates; and be ye lift up, ye everlasting
doors; and the King of glory shall come in.
Who is this King of glory? The Lord strong and mighty, the Lord
mighty in battle.
Lift up your heads, O ye gates; and be ye lift up, ye everlasting
doors; and the King of glory shall come in.
Who is this King of glory? The Lord of hosts, he is the King of glory.

Mr. Ainsworth
. . . unto which of the angels said he at any time, Thou art my son, this day have I begotten thee? . . .
. . . let all the angels of God worship him.
Mr. Daniels
Thou art gone up on high, thou has lead captivity captive: and received gifts for men; yea, even for thine enemies, that the Lord God might dwell among them.
The Lord gave the word: great was the company of the preachers.
Ms. Brugger
How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things . . .
Their sound is gone out into all lands, and their words unto the ends of the world.
Mr. Pittsinger
Why do the nations so furiously rage together, . . . why do the
people imagine a vain thing?
The kings of the earth rise up, and the rulers take counsel
together against the Lord and his anointed, . . .

Let us break their bonds asunder, and cast away their yokes
from us.

42 Recitative Mr. Ainsworth Psalm 2: 4 He that dwelleth in heaven shall laugh them to scorn: the Lord shall leave them in derision.
43 Air Mr. Ainsworth Psalm 2: 9 Thou shalt break them with a rod of iron; thou shalt dash them in pieces like a potterÕs vessel.
44 Chorus Revelation 19: 6 Hallelujah: for the Lord God omnipotent reigneth. Revelation 11: 15 . . . The kingdom of this world is become the kingdom of our Lord, and of his Christ; and he shall reign for ever and ever. Revelation 19: 16 . . . King of Kings, and Lord of Lords.
You are invited to join the UMS Choral Union in singing the ÒHallelujahÓ chorus. Please leave the music at the door when exiting the auditorium. Thank you.

Part III
45 Air Ms. Brugger Job 19: 25 I know that my redeemer liveth, and that he shall stand at the latter day upon the earth. Job 19: 26 And though . . . worms destroy this body, yet in my flesh shall I see God. I Cor. 15: 20 For now is Christ risen from the dead, . . . the first fruits of them that sleep.
46 Chorus I Cor. 15: 21 . . . since by man came death, by man came also the resurrection of the dead. I Cor. 15: 22 For as in Adam all die, even so in Christ shall all be made alive.
47 Accompanied recitative Mr. Pittsinger I Cor. 15: 51 Behold, I tell you a mystery; we shall not all sleep, but we shall all be changed, I Cor. 15: 52 In a moment, in the twinkling of an eye at the last trumpet:
48 Air Mr. Pittsinger I Cor. 15: 52 . . . the trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed. I Cor. 15: 53 For this corruptible must put on incorruption, and this mortal must put on immortality.
49 Recitative Mr. Daniels
I Cor. 15: 54 . . . then shall be brought to pass the saying that is written,
Death is swallowed up in victory.
50 Duet Mr. Daniels and Mr. Ainsworth
I Cor. 15: 55 O death, where is thy sting? O grave, where is thy victory?
I Cor. 15: 56 The sting of death is sin; and the strength of sin is the law.
51 Chorus
I Cor. 15: 57 But thanks be to God, who giveth us the victory through our
Lord Jesus Christ.
52 Air Ms. Brugger
Romans 8: 31 If God be for us, who can be against us?
Romans 8: 33 Who shall lay anything to the charge of GodÕs elect? It is God
that justifieth.
Romans 8: 34 Who is he that condemneth? It is Christ that died, yea rather,
that is risen again, who is . . . at the right hand of God, who . . .
maketh intercession for us.
53 Chorus
Revelation 5: 12 . . . Worthy is the Lamb that was slain and hath redeemed us to
God by His blood to receive power, and riches, and wisdom,
and strength, and honor, and glory, and blessing.
Revelation 5: 13 . . . Blessing, and honor, . . . glory, and power, be unto Him that
sitteth upon the throne, and unto the Lamb for ever and ever.

Jerry Blackstone; photographer: Peter Smith
rammy Award-winning conductor JERRY BLACKSTONE i s Director of Choirs and Chair of the Conducting Department at the University of Michigan School of Music, Theatre & Dance where he conducts the Chamber Choir, teaches conducting at the graduate and undergraduate levels, an d a dm ini st er s a choral program of 11 choirs. In 2006, he received two Grammy Awards (ÒBest Choral PerformanceÓ and ÒBest Classical AlbumÓ) as chorus master for the critically acclaimed

Naxos recording of William BolcomÕs monumental Songs of Innocence and of Experience.
In 2006, the Cham ber Choir performed by special invitation at the inaugural convention of the National Collegiate Choral Organization in San Antonio, and in 2003, the Chamber Choir presented three enthusiastically received performances in New York City at the National Convention of the American Choral Directors Association (ACDA). In addition to Dr. BlackstoneÕs choral conducting work at the University, he has led operatic productions with the U-M Opera Theatre, including productions
of Jan‡cÿekÕs The Cunning Little Vixen
Zauberflote before
and StraussÕs Die Fledermaus. For his
travelling to London
significant contributions to choral to sing the role at the
music in Michigan, he received the 2006 Royal Opera House
Maynard Klein Lifetime Achievement Covent Garden.

Award from the ACDA-Michigan chapter. R ec en t h ig hl ig hts
Dr. Blackstone is considered one of the countryÕs leading conducting teachers and his students have received first place awards and been finalists in both the graduate and undergraduate divisions
o f t h e A m e r i c a n C h o ra l D i r e c t o r s Association biennial National Choral Conducting Awards competition. He has appeared as festival guest conductor and workshop presenter in 30 states as well as New Zealand, Hong Kong, Shanghai, and Australia.
In 2004, Dr. Blackstone was named Conductor and Music Director of the UMS Choral Union, a large community/ university chorus that frequently appears with the Detroit Symphony Orchestra and presents yearly performances of HandelÕs Messiah and other major works for chorus and orchestra. In March 2008, he conducted the UMS Choral Union and the Detroit Symphony Orchestra in a special performance of BachÕs St. Matthew Passion. Choirs prepared by Dr. Blackstone have appeared under the batons of Valery Gergiev, Neeme JŠrvi, Leonard Slatkin, John Adams, Helmuth Rilling, James Conlon, Nicholas McGegan, Rafael FrŸhbeck de Burgos, Peter Oundjian, Michael Tilson Thomas, and Itzhak Perlman.
include her appearance as Liu Turandot at Hawaii Opera Theatre, a role she previously sang at the MET, and Pamina Die Zauberflote at Los Angeles Opera where she was a member of the young artist program for two seasons. She joined the roster of the Metropolitan Opera to sing the role of Helena The Enchanted Island, made her debut as Michaela (Carmen) with Opera Colorado, and joined Los Angeles Philharmonic and Gustavo Dudamel as High Priestess (Aida) in performances at the Hollywood Bowl.
As a member of the Domingo-Thornton Young Artist Program, Ms. BruggerÕs Los Angeles Opera appearances include Barbarina (Le Nozze di Figaro) under the baton of Placido Domingo, Page (Rigoletto) with James Conlon, and Musetta La Bohme with Patrick Summers. Cover assignments included the roles of Mrs. Neruda (Il Postino), Governess (The Turn of the Screw), and Juliette (RomŽo et Juliette), a role in which she made her debut in a special appearance at Palm Beach Opera in 2010.
AVID DANIELS is known for his superlative artistry, magnetic stage presence, and a voice of

singular warmth and surpassing beauty, which have helped him redefine his voice category for the modern public. The
former winner in 2012 of Placido DomingoÕs prestigious Operalia competition and of the
American countertenor has appeared
with the worldÕs major
Metropolitan Opera National Council opera companies and
Auditions, American soprano JANAI on its main concert
BRUGGER begins the 2014Ð15 season and recital stages and
with her return to the Metropolitan
made history as the
Opera for the role of Pamina (cover) Die
Continued on pg. 14...
n 2014, the UMS Choral Union mourned the loss of two of its past leaders, Donald Bryant, who served as Music Director from 1969Ð1990, and Thomas
Sheets, who served in that post from 1993Ð2003. During this most-celebrated
annual tradition of Messiah, we wish to acknowledge their service to the ensemble, to UMS, and to the greater Ann Arbor community.
HOMAS SHEETS passed away on April 24, 2014, in Prescott, AZ, at the age of 62. He was an accomplished choral conductor, dedicated

church musician, and choir master in a number of churches, including First Baptist and First United Methodist in Ann Arbor and St. JohnÕs Episcopal in Detroit. He taught classes, coached voice and conducting, produced editions of several choral works, and nurtured many musicians. A graduate of Chapman University, Thomas Sheets earned an MM from CSU Fullerton and a DMA from University of Southern California. Before moving to Ann Arbor in 1993, he served as associate conductor for two prominent southern California choruses conducted by his mentor, the distinguished choral conductor William Hall. His tenure with these choruses prepared him well for the leadership of the 150-voice UMS Choral Union (1993Ð2003). During his tenure, he established the UMS Choral Union as the large chorus of choice for the Detroit Symphony Orchestra and expanded the choirÕs regional exposure through collaborative performances with orchestras and choruses in Toledo and Grand Rapids. He also prepared the Choral Union for numerous performances with visiting international orchestras at Hill. He conducted performances of BachÕs St. Matthew Passion and b-minor Mass, BerliozÕs Requiem, MendelssohnÕs Elijah, BrahmsÕs Ein Deutsches Requiem, and the annual performances of HandelÕs Messiah. Dr. Sheets conducted the Jackson, Michigan, Chorale (1999Ð2004) and Toledo Symphony Chorus (1995Ð98). He also instituted the annual UMS Choral Union Summer Sings in 1994, an enduring summertime tradition that just celebrated its 21st anniversary last July. After his tenure with the Choral Union, Dr. Sheets conducted the Masterworks Chorale of Belleville, IL (2007Ð08) and also served as interim conductor of the Buffalo Symphony Chorus, preparing performances of John AdamsÕs Harmonium as well as VerdiÕs Requiemfor a performance of Murry SidlinÕs concert drama Defiant Requiem: Verdi at Terezin, based on the true story of 16 performances of the Verdi Requiem, performed during World War II in the Teresienstadt concentration camp by Jewish prisoners. In August 2013, Dr. Sheets moved to Prescott, Arizona, to become choirmaster at St. LukeÕs Episcopal Church. He also became involved with the Prescott Chamber Orchestra, the Yavapai Symphony Association, and the Yavapai College Master Chorale.

Photo: Thomas Sheets.
ONALD TROWBRIDGE many performances for the annual May BRYANT passed away in Festivals and for visiting orchestras, and led
Chelsea, Michigan, on April 11, the annual performances of Messiah, an Ann
2014, aged 95. Born in Chesterville, Ohio, he began taking piano lessons at age eight. By age 14, he had his own piano students

and was directing a church choir. He studied music education and composition at Capital University in Columbus, Ohio, receiving bachelorÕs degrees in both disciplines. After four years of military service during World War II, Mr. Bryant entered The Juilliard School of Music in 1946 and earned a masterÕs degree in piano performance. While at Juilliard, he also studied singing with Mack Harrell and served as HarrellÕs studio accompanist. Mr. Bryant then served for 20 years as director/pianist of the Columbus Boychoir Ñ now known as the American Boychoir, one of the major US boychoir schools Ñ which during his tenure was involved in major national and international tours and numerous landmark performances in New York, including the official opening of Lincoln Center, the American premieres of Leonard BernsteinÕs Symphony No. 3 (ÒKaddishÓ), Benjamin BrittenÕs War Requiem, and numerous concerts performed under Arturo Toscanini. In 1969, Bryant moved to Ann Arbor to become the music director of the UMS Choral Union, a post he held until 1990, and director of music at First Presbyterian Church, Ann Arbor, from which he retired in 1994. With the Choral Union and its smaller ensemble, the Festival Chorus, he prepared Arbor tradition since 1879. He also led the Festival Chorus in three international tours (Europe in 1976, Egypt in 1979, and Spain in 1980). At First Presbyterian Church, he led the Chancel Choir and the childrenÕs choirs, performed piano recitals at the church, and composed many anthems and responses for both adult and childrenÕs choirs. In addition to the anthems and responses, he composed an opera, The Tower of Babel (1976, reprised in 1988). Other musical commissions included musical settings for the poems of Hungarian poet Sandor Weores and Polish-American Nobel Laureate Mi.osz (1981); from UMS, a choral work, DeathÕs Echo, with poetry by W. H. Auden (1984); a three-act oratorio, Genesis, commissioned for BryantÕs retirement (1990); from U-M Museum of Art, an oratorio Esther (1993); and from John and Cheryl MacKrell, commissions for a Missa Brevis (1988) andA Requiem for Our Mothers(1999).
For his achievements in music, Donald Bryant was awarded an honorary doctorate by the Westminster Choir College in Princeton, New Jersey. In Ann Arbor, he was recognized by the Washtenaw Council of the Arts with an Annie Award for artistic excellence and as the local leader in helping Òhundreds of children in Ann Arbor to grow up singing and singing well.Ó The Rotary Club of Ann Arbor also named him a Paul Harris Fellow for his service to the community, mankind, and the club Ñ the highest honor a Rotarian can receive.
Remembrances may be made to the UMS Choral Union Endowment Fund in memory of Donald Bryant and Thomas Sheets. Gifts can be sent to the UMS Development Department, Burton Memorial Tower, 881
N. University Ave., Ann Arbor, MI 48109.
Photo: Messiah, 1971: Donald Bryant (seated), conductor; with (l-r) Helen Boatwright, soprano; Dan Marek, tenor; Batyah Godfrey, contralto; Donald Bell, bass; photo: Thomas C. Ballantyne.

Colin Ainsworth
first countertenor to give a solo recital in the main auditorium of Carnegie Hall.
The 2014Ð15 season will see Mr.
Daniels in the title role of Theodore
MorrisonÕs Oscar, based on the life of
Oscar Wilde, in a company debut and East
Coast premiere with Opera Philadelphia.
Mr. Daniels will also make his company
debut with the Wiener Staatsoper in the
Robert Lepage production of The Tempest
as Trinculo, conducted by the composer
Thomas Ads. He will also return to San
Francisco Opera to sing the role of Arsace
in Paretenope, directed by Chrisopher
Alden. Concert performances include the
Bach Mass in b minor with the American
Classical Orchestra at Alice Tully Hall,
HandelÕs Messiah with UMS in Ann Arbor,
and a gala performance with soprano
Laura Claycomb and Mercury Houston.
Additional appearances include a recital
with Martin Katz at the Converse College
with the Friends of Petrie School of Music
in his home town of Spartanburg, SC.
Honored by the music world for his unique achievements, Mr. Daniels has been the recipient of two of classical musicÕs most significant awards: Musical AmericaÕs ÒVocalist of the YearÓ and the Richard Tucker Award.
anadian tenor C OL I N AINSWORTH has distinguished himself as an up-and-coming tenor by his exceptional singing and diverse repertoire.
Acclaimed for his interpretations of the major classical and Baroque tenor roles, his many roles have included the title roles in OrphŽe et Euridice,

Pygmalion , Castor et Pollux , Roberto Devereux, and Albert Herring ; Don Ottavio in Don Gio vanni , Tamino
in Die Zauberflšte , Ernesto in Don Pasquale, Rinnucio in Gianni Schicchi, Tonio in La Fille du RŽgiment, Tom Rakewell in The RakeÕs Progress, and Lysander in A Midsummer NightÕs Dream. Also a supporter of new works, he has appeared in world premieres of John EstacioÕs Lillian Alling at the Vancouver Opera, Stuart MacRaeÕs The Assassin Tree at the Edinburgh International Festival, Victor DaviesÕ The Transit of Venus with the Manitoba Opera, and Rufus WainwrightÕs Prima Donna at SadlerÕs Wells in London and at the Luminato Festival.
A prol ific co ncert s inge r, Mr. Ainsworth has appeared with the Montreal Symphony, Toronto Symphony Or c he st ra, P hi lh ar mo ni a B ar oq ue Orchestra of San Francisco, Music of the Baroque in Chicago, Mercury Baroque in Houston, Les Violons du Roy in Montreal, and the Tafelmusik Baroque Orchestra in Toronto. His vast concert and recital repertoire includes BachÕs Mass in b minor and St. JohnÕs Passion, OrffÕs Carmina Burana, MozartÕs Requiem, SchubertÕs Dichterliebe, and Jan‡c.ekÕs Diary of One Who Vanished.
Mr. AinsworthÕs growing discography includes VivaldiÕsLa Griselda(Naxos),Castor et Pollux (Naxos), Gloria in Excelsis Deo with the Tafelmusik Baroque Orchestra (CBC Records), the collected masses of Vanhal, Haydn, and Cherbuini with Nicholas McGegan (Naxos), and the premiere recording of Derek HolmanÕs The Heart Mislaid which was included on the Alderburgh ConnectionÕs Our Songs (Marquis Classics). He also appears in a live DVD recording of LullyÕs PersŽe with the Tafelmusik Baroque Orchestra (Euroarts).
This season, Mr. Ainsworth makes his debut at the Canadian Opera Company and appears in concert in Toronto, Vancouver, and Nova Scotia.
merican bass-baritone DAVID PITTSINGER o pens the current season as the Captain in Daniel Cat‡nÕs Florencia in the Amazon at Washington National Opera directed by Francesca Zambello, a role he reprises

later in the season with LA Opera. Other highligh ts of Mr. PittsingerÕs upcoming season include his re turn to the Metropolitan Opera
in Bartlett SherÕs production Les Contes dÕHoffmann as Luther, and Crespel under the batons of James Levine and Yves Abel, StravinskyÕs Pulcinella and HaydnÕs Missa in tempore belli with Rafael FrŸhbeck de Burgos and the Boston Symphony Orchestra; and the world premiere of Scott EyerlyÕs Arlington Sons Ñ composed for Mr. Pittsinger and his son Richard, a boy soprano Ñ with Leonard Slatkin and the Pittsburgh Symphony, which was released on CD in 2014.
this past summer as professor of harpsichord and director of the Early Music Ensemble
David Pittsinger; photographer: Christian Steiner
Edward Parmentier

at the U-M School
of Music, Theatre &
Dance. He has both led
and directed doctoral
seminars on campus, and Nick Shadow in Portland OperaÕs
production of The RakeÕs Progress.
Operatic highlights of Mr. PittsingerÕs
recent seasons include his summer
performances at the Glimmerglass Festival as King Arthur in Lerner and LoeweÕs Camelot directed by Francesca Zambello; his return to Portland Opera as Jokanaan in Salome in a production by Stephen Lawless and conducted by George Manahan; Washington National Opera as the Speaker in a new production of The Magic Flute conducted by Philippe Auguin; a reprise of his Helen Hayes Award-nominated performance as Emile de Becque in Rodgers & HammersteinÕs South Pacific at the Riverside Theater; the role of Roy Disney in the world premiere of Philip GlassÕs The Perfect American at Teatro Real directed by Phelim McDermott, which was released on DVD in 2013; and the Metropolitan Opera as the Marquis de la Force in Dialogues des CarmŽlites conducted by Louis LangrŽe.
Mr. PittsingerÕs recent orchestral engagements include a concert staging of Peter Grimes with David Robertson and the St. Louis Symphony, in St. Louis and also at Carnegie Hall; RachmaninoffÕs The Bells with the Houston Symphony; several small Baroque ensembles, and co.directed the Baroque Chamber Orchestra with Aaron Berofsky. Recent activities include solo harpsichord performances in Dexter, Flint, and at Michigan State University; a presentation for the Livonia Piano TeachersÕ Association; two U-M summer harpsichord workshops (ÒF undamen tals of Har psichord PerformanceÓ and ÒRe per toire: Harpsichord Suites of J.S. BachÓ); and a duo-faculty recital with U-M professor of violin Aaron Berofsky.
A strong advocate for education and outreach, Mr. Parmentier both directed and performed at the annual Michigan Harpsichord Saturday, an outreach program held at the U-M School of Music, Theatre & Dance for young musicians in the Ann Arbor area. He has also had the privilege of performing for recovering patients at the Rehabilitation Center of the Multiple Sclerosis in Southfield, Michigan; for the Great Lakes Chamber Music Society; and for Redeemer Lutheran Church in St. Clair Shores, Michigan.
he ANN ARBOR SYMPHONY ORCHESTRA (A2SO) has been independently and favorably compared to musical giants such as the Leipzig Gewandhaus, the Boston Symphony, and the Detroit Symphony Orchestras. This past season the A2SO announced its second-largest subscriber base in its 86-year history, underscoring the quality of the musical experience delivered to our growing audience.
The A2SO is a versatile orchestra, performing a gamut of musical styles: from Beethoven to PŠrt, and from the revered Russian masters to new and contemporary music by Ann ArborÕs own William Bolcom, Evan Chambers, Michael Daugherty, and Bright Sheng.
A2SO concerts frequently feature world-class guest soloists including AndrŽ Watts, opening this current season in Hill Auditorium. Our Symphony is most privileged to be part of a community already enriched with musical talent including concertmaster Aaron Berofsky and principal oboist Tim Michling. We are proud to play concerts in a variety of venues Ñ from area farmers markets to school classroom, and from libraries to day-care centers and senior centers.
Patrons may listen to A2SO concerts in person and by broadcast on WKAR and WRCJ radio stations.
Whether on the iPod or radio, in the concert hall or the classroom, the A2SO is passionately committed to lead and enrich the culture of the region. We attract, inspire, and educate the most diverse audience possible, foster a growing appreciation for orchestral music and regional talent, and provide imaginative programming through community involvement.
ormed by a group of local university and townspeople who gathered together for the study of HandelÕs Messiah, the UMS CHORAL UNION has performed with many of the worldÕs distinguished orchestras and conductors in its 135-year history. First led by Professor Henry Simmons Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Since its first performance of HandelÕs Messiah in December 1879, the oratorio has been performed by the UMS Choral Union in Ann Arbor annually. Based in Ann Arbor under the aegis of UMS, the 200-voice Choral Union is known for its definitive performances of large-scale works for chorus and orchestra. Eighteen years ago, the UMS Choral Union further enriched that tradition when it began appearing regularly with the Detroit Symphony Orchestra (DSO).
Led by Grammy Award-winning conductor and music director Jerry Blackstone, the UMS Choral Union was a participant chorus in a rare performance and recording of William BolcomÕs Songs of Innocence and of Experience in Hill Auditorium in April 2004 under the baton of Leonard Slatkin. Naxos released a three-disc set of this recording in October 2004, featuring the UMS Choral Union and U-M School of Music, Theatre & Dance ensembles. The recording won four Grammy Awards in 2006, including ÒBest Choral PerformanceÓ and ÒBest Classical Album.Ó The recording was also selected as one of The New York TimesÒBest Classical Music CDs of 2004.Ó
The UMS Choral UnionÕs 2014Ð15
season began with a performance of
RavelÕs Daphnis et ChloŽ with the San
Francisco Symphony under the baton of
Michael Tilson Thomas this November.
The chorus will return to HillÕs stage on ValentineÕs Day for a performance of Felix MendelssohnÕs oratorio Elijah with the Ann Arbor Symphony under the direction of Jerry Blackstone. In May, the UMS Choral Union will join with the Detroit Symphony Orchestra for a concert rendition of Giacomo PucciniÕs Tosca under the direction of Leonard Slatkin at Orchestra Hall in Detroit.


Participation in the UMS Choral Union remains open to all students and adults by a udition. For mo re information on how to audition, please email, call 734.763.8997, or visit about/ums-choral-union.
The UMS Choral Union began performing on December 16, 1879 and has presented HandelÕs Messiah in annual performances ever since. This weekendÕs performances mark the UMS Choral UnionÕs 427th and 428th performances under UMS auspices. The chorus most recently appeared at UMS last month joining the San Francisco Symphony in a presentation of RavelÕs Daphnis et ChloŽ under the baton of Michael Tilson Thomas. This weekend, Jerry Blackstone makes his 27th and 28th UMS appearances, following his debut leading the Choral Union in performances of Messiah in 2003 at the Michigan Theater. Dr. Blackstone most recently appeared under UMS auspices leading the Ann Arbor Symphony Orchestra and UMS Choral Union in April 2014 in a concert presentation of BrahmsÕs German Requiem at Hill Auditorium. This weekendÕs performances mark the Ann Arbor Symphony OrchestraÕs 68th and 69th UMS performances since its 1974 UMS debut. This eveningÕs concert marks David DanielsÕ 13th performance under UMS auspices. A U-M alumnus, Mr. Daniels made his UMS debut in HandelÕs Messiah in December 1994, and most recently appeared under UMS auspices in February 2013 in HandelÕs Radamisto. Harpsichordist Edward Parmentier has performed in the annual UMS presentations of Messiah since 1995; this weekendÕs performances mark his 41st and 42nd appearances under UMS auspices. UMS welcomes soloists Janai Brugger, Colin Ainsworth, and David Pittsinger, who make their UMS debuts this evening.


Arie Lipsky,
Music Director
Aaron Berofsky*
Stephen B. Shipps
Concertmaster Chair Kathryn Votapek
Straka-Funk Associate
Concertmaster Chair
Honoring Kathryn
Votapek Mallory Bray
Ruth Merigian and
Albert A. Adams Chair Karen Donato
Froehlich Family Violin Chair
Linda Etter
Linda Etter Violin Chair
Jennifer Berg
Sarah and Jack Adelson Violin Chair
Laura Longman Katie Rowan
Kim, Darlene and Taylor Eagle Violin Chair
Barbara Sturgis-Everett*
The A2 Principal Second Violin Chair Honoring Anne & Julie Gates and Annie & Sally Rudisill
David Lamse
Brian K. Etter Memorial Violin Chair
Jenny Wan
Priscilla Johnson Violin Chair
Grace Kim Daniel Stachyra Anne Ogren Sharon Meyers Cyril Zilka
Janine Bradbury*
Tim and Leah Adams
Principal Viola Chair Barbara Zmich Antione Hackney Johnathan McNurlen Amy Pikler
Judith Vander Weg*
Sundelson Endowed
Principal Cello Chair Jacob Wunsch
Marijean Quigley-Young Cello Chair
Gregg Emerson Powell* Robert Rohwer
The EZ Chair
Timothy Michling*
Gilbert Omenn Endowed Oboe Chair
Liz Spector Callahan
Bill and Jan Maxbauer Oboe Chair
Nermis Mieses
Jeffrey Lyman*
E. Daniel Long Principal Bassoon Chair
Christian Green
William and Betty
Knapp Bassoon Chair Susan Nelson Thomas Crespo
Bill Campbell*
David S. Evans II Principal Trumpet Chair
Kyle Mallari
Lisa Marie Tubbs
Trumpet Chair

James Lancioni*
A. Michael and
Remedios Montalbo
Young Principal
Timpani Chair

* denotes Principal position

Erin Casler,
Production Coordinator Zac Moore, General Manager
and Education Director Mary Steffek Blaske,
Executive Director

Jerry Blackstone,
Conductor and Musical Director
Arianne Abela,
Assistant Conductor
Jean Schneider and Scott VanOrnum,
Kathleen Operhall,
Chorus Manager
Nancy Heaton,
Arianne Abela Camila Ballario Jamie Bott * Debra Joy Brabenec ** Roberta Brehm Ann K. Burke **** Anne Busch Ann Cain-Nielsen Carol Callan * Susan F. Campbell **** Susan Catanese Young Cho *** Cheryl D. Clarkson ** Elizabeth Crabtree Marie Ankenbruck Davis ** Carrie Deierlein Kristina Eden Erin L. Scheffler Franklin Cynthia Freeman Jennifer Freese * Katheryne Friske Karen Furuhjelm Cindy Glovinsky Keiko Goto * Juyeon Ha Katharina Huang Karen T. Isble Emilia Jahangir Emily Jennings Jaclyn Johnson Ellen Kettler Patricia Lindemann Loretta Lovalvo *** Rebecca Marks Shayla McDermott Carole C. McNamara Jayme Mester Katherine Mysliwiec Virginia Adele Neisler Tsukumo Niwa Amanda Palomino Christie Peck Sara J. Peth **** Margaret Dearden Petersen ** Carolyn Priebe Kristen Reid Jane Renas Mary A. Schieve ** Joy C. Schultz Sujin Seo Kristi Shaffer Kelsey Sieverding Stefanie Stallard Elizabeth Starr * Jennifer Stevenson Abigail Stonerook Sue Ellen Straub *** Virginia Thorne
Herrmann Ð SC * Barbara Hertz Wallgren *** Margie Warrick *** Barbara J. Weathers * Mary Wigton Ð SL **
Paula Allison-England * Carol Barnhart * Hannah Bingham Dody Blackstone * Margy Boshoven Elim Chan Kathleen Evans Daly Carole DeHart Elise Demitrack Melissa Doyle Sarah Fenstermaker Norma Freeman * Rebecca Fulop Marie Gatien Johanna Grum Kat Hagedorn * Sook Han * Nancy Heaton ** Carol Kraemer Hohnke ** Sue Johnson Mimi Lanseur Amanda Leggett Jean Leverich * Cynthia Lunan ** Karla K. Manson Ð SC * Sandra Lau Martins Elizabeth Mathie Kathleen McEnnis Beth McNally * Marilyn Meeker Ð SL *** Carol Milstein ** Lisa Murray Jane Lewy Mykytenko Sile OÕModhrain Kathleen Operhall ** Lauren Tian Park Hanna Martha Reincke Susan Schilperoort Ruth Senter Cindy Shindledecker * Susan Sinta * Hanna Song Katherine Spindler * Gayle Beck Stevens * Isabel Suarez Liyan Sun Ruth A. Theobald * Carrie Throm Alice E. Tremont Barbara Trevethan * Cheryl Utiger ** Alice VanWambeke * Cynthia Weaver Mary Beth Westin Sandra K. Wiley * Joyce Wong Susan Wortman Allison Anastasio Zeglis
Matthew Abernathy Achyuta Adhvaryu Gary Banks Adam Begley Joseph Bozich John R. Diehl Timothy J. Dombrowski **** Steven Fudge Ð SL * Carl Gies Randy Gilchrist Roy Glover **** Arthur Gulick ** Peter Henninger-Osgood Marius Jooste * Bob Klaffke ** Mark A. Krempski Ð SC * Scott Langenburg Richard Marsh * Chris Petersen Ray Shuster Carl Smith ** Robert J. Stevenson * Raymond Strobel Patrick Tonks Trevor Young Lawrence Zane
Sam Baetzel * William Baxter * Robert Boardman William Boggs Ð SC Walker Boyle Kyle Cozad George Dentel * John Dryden ** Robert Edgar Jeffrey Ellison Don Faber ** Kevin Fitzgerald Greg Fleming Robert R. Florka Kenneth A. Freeman * Christopher Friese Philip Gorman ** Christopher Hampson James Head * Benjamin Henri Robert Heyn Jorge Iniguez-Lluhi Sunho Lee Roderick Little * Joe Lohrum Joseph D. McCadden ** James B. McCarthy Nic Mishler Tristan Rais-Sherman Travis Ratliff Lawrence Reichle Eli Rhodenhiser James Cousins Rhodenhiser * Evaristo Rodriguez Paul C. Schultz John Selby William Shell Robert Shereda David Sibbold Donald Sizemore Ð SL * William Stevenson Thomas L. Trevethan * Paul Venema James Watz
*Each asterisk next to a name represents one decade of membership in the UMS Choral Union.
SL = Section Leader SC = Section Coach
In Memoriam
We fondly remember those longtime members of the UMS Choral Union who passed away during 2014: Michael Pratt Beverly N. Slater Terril O. Tompkins


For some, dance can seem like a mystery. For others, dance unlocks sights, sounds, ideas, and emotions unlike any other art form. How do you experience dance? On the heels of last season s popular UMS Night School: Bodies in Motion series, this edition of Night School continues to explore dance and invites both newcomers and dance aficionados alike to build knowledge about dance and meet others who share an interest in the art form.
These 90-minute ÒclassesÓ combine conversation, interactive exercises, and ÒlecturesÓ with genre experts to draw you into the themes related to dance, and are hosted by Clare Croft, assistant professor of dance at the University of Michigan. Drop-in to just one session, or attend them all. Events are free, and no pre-registration is required. Complete details available at
Sessions are held on Mondays from 7Ð8:30 pm, February 2ÐMarch 16, 2015 (no class on March 2) in the U-M Alumni Center FounderÕs Room, 200 Fletcher Street, Ann Arbor.

Photo: Trisha Brown; photographer: Julieta Cervantes UMS.ORG/LEARN

Teatro Regio Torino Orchestra and Chorus
Gianandrea Noseda
Claudio Fenoglio
Chorus Master
Tuesday Evening, December 9, 2014 at 7:30 Hill Auditorium ¥ Ann Arbor
23rd Performance of the 136th Annual Season 136th Annual Choral Union Series
Illustration: From Friends to Know ©Blue Lantern Studio/Corbis.


Gioachino Rossini
William Tell
Opera in four acts to a libretto by ƒtienne de Jouy and Hippolite Bis after the eponymous play by Friedrich Schiller and Jean-Pierre Claris de FlorianÕs story La Suisse libre. Performance duration of this evening's production, including intermissions, is approximately 3 hours and 45 minutes.

Act I

Act II

Act III Act IV
Translation by Calisto Bassi reviewed by Paolo Cattelan and based on the critical edition by M. Elizabeth C. Bartlet, Fondazione Rossini Pesaro/Ricordi.

Endowed support from the Susan B. Ullrich Endowment Fund.
Media partnership provided by WGTE 91.3 FM and WRCJ 90.9 FM.
Special thanks to Kipp Cortez for coordinating the pre-concert music on the Charles Baird Carillon.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of

lobby floral art for this eveningÕs concert.

Special thanks to the Packard Humanities Institute for providing supertitles funding for the North
American tour.
Teatro Regio Torino is grateful for the generous support of its Rossini Tour Main Partners Barilla, Eataly,

Eni, Lavazza, and Tour Sponsor, Maserati. Special thanks to The Opera Foundation.


Concert performance
Luca Salsi (Baritone)
Guglielmo Tell, a Swiss conjured
John Osborn (Tenor)
Arnoldo Melcthal, a Swiss conjured
Angela Meade (Soprano)
Matilde, a Habsburg princess, appointed to Swiss govern
Marco Spotti (Bass)
Gualtiero Farst, a Swiss conjured
Fabrizio Beggi (Bass)
Melcthal, ArnoldoÕs father
Marina Bucciarelli (Soprano)
Jemmy, Guglielmo TellÕs son
Anna Maria Chiuri (Mezzo-Soprano)
Edwige, Guglielmo TellÕs wife
Gabriele Sagona (Bass)
Gessler, the Governor of the cantons of Schwitz and Uri
Mikeldi Atxalandabaso (Tenor)
Ruodi, a fisherman
Saverio Fiore (Tenor)
Rodolfo, Captain of GesslerÕs guard
Paolo Maria Orecchia (Baritone)
Leutoldo, a shepherd
Three brides and bridegrooms, Swiss peasants, knights, pages, ladies attending Matilde, hunters, GesslerÕs guards, soldiers, Tyrolian men and women, performed by members of the Chorus

Of the opera William Tell, many people know only the last portion of the overture, the melody popularized by the classic radio and TV series Lone Ranger. Remembering this one tune, irresistible as it certainly is, does no justice even to the overture, which has many other wonderful moments besides this theme; and even less to the grandiose four-act opera that follows. Rarely performed these days, in part because it is hard to find singers who can meet its formidable vocal demands, RossiniÕs final opera is a masterpiece of the first order, an uplifting paean to freedom and heroism, as well as a true musical feast.
Guglielmo Tell (1829/1831)
Gioachino Rossini
Born February 29, 1792 in Pesaro, Papal States Died November 13, 1868 in Passy, nr. Paris
UMS premiere: This complete opera has never been performed on a UMS stage.
Revolts in Modena, Parma, and the Papal States are put down by Austrian troops

The Bosnian uprising against the Ottoman Empire begins

Nat TurnerÕs slave rebellion breaks out in Virginia

Charles Darwin embarks on his historic voyage aboard HMS Beagle

Founding of New York University in New York City

Rossini and his wife, the great Spanish-born singer Isabella Colbran, moved to Paris in 1824. The Barber of Seville, Tancredi, and many other operas were already all the rage at the ThŽ‰tre-Italien; now the Paris OpŽra decided to turn Rossini into a French composer and plans were soon underway not only for a commission but for a life annuity from the French government. During the next few years, Rossini made French versions of two of his Italian operas and adapted the music of another Italian opera to a French piece with a new plot, before embarking on a work that was conceived in French from the start: Guillaume Tell.
Tell was unprecedented not only in RossiniÕs output; it was also new in the context of French opera, and served as a model for what became known as Ògrand opera.Ó The main characteristics of this genre Ñ historical subject, vast tableaux involving many extras, numerous choral scenes and, above all, an elaborate ballet
Ñ are all present in this four-act work which, if performed without cuts, runs almost four hours in performance.
The legend of William Tell first appears in a late 15th-century chronicle, but the events described there supposedly took place about a century-and-a-half earlier. True or not, the story of this fearless archer who shot an apple off his sonÕs head is known not only in TellÕs native Switzerland but well beyond. TellÕs courageous act was said to have sparked the revolt of the three original Swiss cantons (Uri, Schwyz, and Unterwalden) against the Austrian oppressors, and to have led to the creation of the Swiss Confederacy.
Among the many literary adaptations of the story, the play by Friedrich Schiller (1759Ð1805) is one of the great classics of German literature. It became, in turn, the basis for the French libretto by Etienne de Jouy that Rossini set to music (in a revised form) to create Guillaume Tell. The opera, premiered in Paris on August 3, 1829, was later translated from French into Italian, and after its first Italian performance in 1831, became known as Guglielmo Tell. Since then the work has been performed, and recorded, in both languages.
In a way, Guillaume Tell could almost be called two operas in one. The political thread includes the uprising of the Swiss cantons, the parts of Melcthal and Gualtiero (Walter FŸrst), the solemn oath that forms the magnificent finale of Act II, the apple scene, and the glorious conclusion. Yet there is a second thread, the love across the political divide between Arnoldo, the son of Melcthal, and Mathilde, a Habsburg princess. As the primo uomo and prima donna, it is Arnoldo and Mathilde who have the most demanding music; these young lovers are the only ones to sing long and virtuosic solo numbers Ñ although TellÕs moving ÒResta immobile,Ó with its memorable cello solo, is arguably the emotional high point of the opera.
Even so, it is likely that ArnoldoÕs many high ÔCÕsÕ will steal the show. In fact, the great tenor aria in Act IV had a major impact on the history of operatic singing in general. It may have been the first time that there was such a fundamental difference between the way two singers approached the same part. Contemporaries commented on the striking contrast between Adolphe Nourrit, who sang Arnoldo at the world premiere, and Gilbert Duprez, who took over the role in 1837. DuprezÕs more powerful, darker interpretation Ñ he was said to have been the first to take full chest voice to the highest register Ñ influenced a whole new style of singing. To this day, one can distinguish between the two approaches in performance Ñ one lighter, the other more heroic Ñ to one of the most challenging tenor parts ever written.
Both the political plot and the love story in Guillaume Tell unfold against the backdrop of the breathtakingly beautiful Swiss mountains. Rossini had not visited Switzerland (neither, for that matter, had Schiller), but the stage designer Pierre-Luc-Charles CicŽri insisted on taking a trip to Altdorf to study the locale. As a result, the entire production had to be postponed (further delays were caused by the pregnancy of the prima donna, Laure Cinti-Damoreau). Traces of local color appear at several points in the score, including the use, in the overture, of the ranz des vaches, a traditional melody played by Swiss shepherds on the Alphorn. (The ranz des vaches was also used by Berlioz in his Symphonie fantastique, written one year after Tell.) The a cappella chorus in Act III seems to allude to traditional music from the Alps as well; it is very unusual in classical opera to dispense with orchestral accompaniment entirely.
Rossini united all these elements
Ñ the public and the personal spheres as well as the local color Ñ in the extraordinary closing scene of the opera (an arrangement of which, for many years, was heard at the beginning and end of transmission on Italian television). At this moment, Tell is out of danger, the Swiss have liberated their country from the oppressors, and Mathilde, who has embraced the cause of the insurgents, is united with her beloved Arnold. Over the gentle chords of the harp, everyone rejoices in the beauties of nature and praises their newly-won freedom in a majestic crescendo, ending the opera in a glorious and resplendent C Major.

Guillaume Tell, which opened the chapter of French grand opŽra, also turned out to be the last stage work Rossini ever wrote. In fact, although he lived for another 38 years, Rossini never composed another opera. He did not abandon composition altogether; his Stabat Mater, Petite messe solennelle,
and a collection of songs and piano pieces published under the title PŽchŽs de vieillesse (Sins of Old Age) are ample proof that his creative juices hadnÕt stopped flowing. Yet despite several invitations, he never returned to the theater. Exhaustion, poor health, and a lack of financial motivation (Rossini was, by this time, a very wealthy man) have all been cited as reasons for this early retirement. Yet whatever the reason or reasons, Rossini couldnÕt have ended his operatic career more gloriously: whether we call it Guillaume or Guglielmo, Tell unquestionably stands as one of this great composerÕs greatest accomplishments.
Program note by Peter Laki.
Act I
BŸrglen, Canton of Uri. The country folk are celebrating the imminent weddings of three couples. While the fisherman Ruodi sings a love song, William Tell, standing aside, ponders on the fate of his people, oppressed by the domination of Austria. When the wise old Melcthal arrives, accompanied by his son Arnold, Hedwige, the wife of William, asks him to bless the couples. They all sing together a song of joy.
William invites Melcthal into his house, mentioning his happiness as a father. Melcthal accepts the invitation, and pointing to William as a model, reproaches Arnold, who hasnÕt yet started a family. Left alone, Arnold gives vent to his desperation: he is ashamed of having once fought among the ranks of the present oppressors and he is hopelessly in love with Matilde, an Austrian princess whose life he saved in an avalanche, now a guest of the Austrian governor Gessler; he is separated from her by status and political differences. A fanfare announces the arrival of Gessler. Arnold wants to reach his train, in the hope of seeing Matilde, but he runs into William, who urges him to carry out his duty; torn between his love for Matilde and his patriotism, Arnold finally declares himself ready to join the conspirators. Hedwige again invites Melcthal to bless the three couples. Everyone wishes the newlyweds a life of serenity.
Horns in the distance signal the arrival of Gessler; Arnold leaves, followed by William. The wedding celebrations are enlivened by song and an archery contest. Many participate unsuccessfully, but Jemmy, WilliamÕs son, hits the target on his first try. Everyone hails the winner, emphasizing that, due to his ability and bravery, he is the worthy heir to William. However, it is the same Jemmy who calls attention to a man down at heel who is approaching: it is the shepherd Leuthold, running away because, in order to

defend his daughter, he has killed one of GesslerÕs soldiers. Ruodi refuses to ferry him to the other shore, with the excuse that the current is too strong. William, having just returned, offers his help. As soon as they set off in the boat, the guards arrive. Rudolph, their captain, demands to know the name of the boatman, whose punishment is to be death. Melcthal entreats everyone to share the responsibility and not answer: for this reason he is arrested by the guards. The unarmed villagers, who can do nothing to help him, dream of the day when they will rise in rebellion.
Act II
On the highlands of RŸtli, as evening approaches. A group of hunters return from a hunt; a bell reminds them that it is time to go home. Once again the sound of a horn in the distance signals the oppressive presence of the governor. Matilde, in anguish, seeks comfort in the calm solitude of the forest. She knows that Arnold wants to meet her. From the moment he saved her she hasnÕt been able to forget him, and wants to confess her love. Arnold arrives. The two of them can finally express the feelings they have kept hidden until now: they confess to being attracted to each other, but recognize that many obstacles will have to be overcome before their love is realized. Matilde urges him to take up arms again and cover himself with glory on the battlefield. When William and Walter Farst arrive, Matilde leaves. William, recognizing her, accuses Arnold of conspiring with the oppressors. When Arnold protests that his meeting with her was dictated by other motives, the two men reproach him for his love for the daughter of an enemy and accuse him of being unpatriotic.
In the discussion that follows, Walter reveals to Arnold that Gessler has had his father killed. Arnold despairs, but William and Walter incite him to action: his father would have wanted vengeance, not tears, from him. Suddenly, noises are heard coming from the forest: one by one, the rebels of Unterwald, Schwitz and Uri arrive. The men of the three cantons solemnly swear to fight, and if necessary die, for the freedom of their homeland.
In the ruins of a chapel near the palace of Altdorf. Arnold tells Matilde that he doesnÕt want to fight any longer for the Austrians and intends to vindicate his father, even if this means renouncing her; he then tells her that Gessler is responsible for his fatherÕs death. The thought of having to relinquish Arnold drives Matilde to despair. The sound of the horn, once again, announces the arrival of Gessler: Matilde begs Arnold to find refuge.
In the main square of Altdorf. During the course of a celebration soldiers cheer Gessler. The population is obliged to pay its respects to the governorÕs hat, placed on top of a pole. Gessler orders that the hundredth anniversary of Austrian domination in Switzerland be celebrated with singing and dancing. The soldiers force the women to dance, while the behavior of the men reveals their indignation. A few of the soldiers, catching sight in the crowd of William and Jemmy who refuse to make obeisance, drag them before the governor. Rudolph recognizes in William the man who helped Leuthold to escape, and Gessler has him arrested.
William tells Jemmy to go to his mother so that, when she lights a flame, it will signal the revolt, but the guards prevent him from escaping. Gessler contrives a cruel punishment: William will have to shoot an apple from his sonÕs head, and if he refuses, they will both be killed. Encouraged by Jemmy, who urges him to go through with the trial, William

takes aim and infallibly hits the target. William faints from emotion, letting a second arrow fall. Questioned by Gessler, he confesses that he would have shot him with it had he not hit the mark. Gessler orders father and son to be executed, but Matilde, having arrived in the meantime, commands that he entrust her with Jemmy. When William is dragged away, the soldiers hail the governor, and the people curse him.
Act IV
A square in fron t of MelcthalÕs house. Arnold, embittered, dreams of vindicating his father and freeing William. When the country folk appear, determined to stage a revolt, he shows them where the arms are hidden and exhorts them to storm the governorÕs residence.
On the shores of the Lake of the Four Cantons. Matilde takes Jemmy back to his mother. Hedwige begs her to convince the governor to spare WilliamÕs life. Jemmy tells them that his father is
no longer in Altdorf because Gessler is taking him away on his boat. Hedwige, observing that a storm is raging, fears that William is dead, but Leuthold brings the news that William has taken the helm and is leading them to safety.
Arriving near the shore, William leaps onto the rocks, pushing the boat adrift into the waves; he can finally embrace his wife and his son. Jemmy hands William his bow and arrow, saved from the house that was set on fire to signal the rebels that the revolt was beginning. Gessler and his soldiers, meanwhile, have reached the shore and intend to capture him, but William shoots Gessler with an arrow, singing the praises of liberty. Arnold arrives leading the rebels. The enemyÕs stronghold has fallen. The people cheer while the storm abates, the clouds disperse and the sun shines again over Switzerland, finally freed from the oppressor.
Translation by Cheryl Mengle, ©Teatro Regio Torino.
recognized as one of the leading
conductors of his generation. His appointment as music director of the Teatro Regio Torino in 2007 ushered in a transformative era for the company, met with international acclaim for productions, tours, recording, and film projects. Under his leadership, the Teatro Regio Torino has launched its first tours outside of Torino with performances in Austria, China, France, Germany, Japan,

Russia, the UK, and, with this tour, Canada and the US. Maestro NosedaÕs initiatives have propelled the Teatro Regio Torino onto the global stage where it has become one of ItalyÕs most im por tan t cultur al ex por ts.
Maestro Noseda is principal guest conductor of the Israel Philharmonic Orchestra, the Victor De Sabata guest conductor of the Pittsburgh Symphony Orchestra, conductor laureate of the BBC Philharmonic Orchestra, and artistic director of the Stresa Festival (Italy). In 1997 he was appointed the first foreign principal guest conductor of the Mariinsky Theatre, a position he held for a decade.
Maestro Noseda is known to New York audiences for his regular appearances at the Metropolitan Opera since 2002 and numerous performances a t Lincoln Cen ter. He has close
Gianandrea Noseda, ©Sussie Ahlburg
relationships with many of the leading orchestras and opera houses, including the London Symphony Orchestra, NHK Symphony, Philadelphia Orchestra, and Teatro alla Scala. Highlights of the current season include his Berlin Philharmonic and Salzburg Festival debuts. This season also marks his Carnegie Hall debut.
A native of Milan, Maestro Noseda is Cavaliere Ufficiale al Merito della Repubblica Italiana.
CLAUDIO FENOGLIO (chorus master) was born in 1976 and studied choral music, conducting, and composition, as well as piano, with Laura Richaud, Franco Scala, Giorgio Colombo Taccani, and Gilberto Bosco. During his studies he began to work in opera as an assistant conductor before specializing in choral conducting. He was Assistant Chorus Master at the Teatro Massimo in Palermo for two years before becoming the Assistant Chorus Master to Claudio Marino Moretti and Roberto Gabbiani at the Teatro Regio Torino in 2002. As Associate Chorus Master since 2007, he alternated with the principal chorus master on several productions and collaborated with the Coro Filarmonico of Teatro Regio Torino. In November 2010 he became Chorus Master of the Teatro Regio Torino. He is also Chorus Master of the ChildrenÕs Chorus of the Teatro Regio and of the Giuseppe Verdi Conservatory in Turin.
LUCA SALSI (Guglielmo Tell) made his operatic debut at the Teatro Comunale di Bologna in RossiniÕs La scala di seta. His repertoire includes such roles as Sharpless in Madama Butterfly, Marcello in La bohme, Ford in Falstaff, Figaro in Il barbiere di Siviglia, Valentin in Faust, the title role in Gianni Schicchi, Germont in La traviata, Ezio in Attila, and Frank in Edgar (Torre del Lago). During the 2012Ð 13 season he made his company debut with Liceu de Barcelona as Don Carlo in La forza del destino, followed by other important Verdi role debuts: Macbeth, Conte di Luna (Il trovatore), Francesco Foscari (I due Foscari), and Nabucco. He opened last season with the Chicago Symphony Orchestra in Macbeth under the baton of Riccardo Muti. His recent and future plans inclue Ernani (Don Carlo), Adriana Lecouvreur (Michonnet) in Bilbao, Luisa Miller (Miller) at OpŽra de Lausanne, Nabucco in tournŽe in Japan with RomeÕs Opera Theater, Nabucco and Macbeth at Liceu de Barcelona, Falstaff in Sao Paulo, Un ballo in maschera, Aida, and Nabucco at Arena in Verona, La forza del destino in Parma, Un ballo in maschera in Bologna, I Puritani in Turin, La Traviata in Paris and Turin, Rigoletto in Madrid, Nabucco in Berlin, and Ernani in Salzburg.
JOHN OSBORN (Arnoldo) is a winner of the Metropolitan Opera National Counsel Auditions, Opera Index Awards, First Place in the Operalia Placido Domingo Competition, and is a graduate of the Metropolitan Opera Young Artists Development Program. Osborn is a recent winner of the Aureliano Pertile Award in Asti, and recipient of a Goffredo Petrassi Award. Prestigious b a t o n s i n c l u d e A n t o n i o P a p p a n o , Richard Bonynge, Marc Minkowski, Roberto Abbado, and Zubin Mehta. He has frequented some of the most important opera houses including The Metropolitan Opera, Wiener Staatsoper, Lyric Opera of Chicago, Maggio Musicale Fiorentino, OpŽra National de Paris, San Francisco Opera, Opernhaus ZŸrich, La Monnaie in Brussels, San Carlo in Naples, Salzburger Festspiele, Teatro alla Scala in Milan, Accademia di Santa Cecilia in Rome, Royal Opera House in London, Teatro Col—n in Buenos Aires, and the Verona
Arena. His wide repertoire includes Guillaume Tell, La Donna del Lago, Otello and Armida by Rossini; Norma, I Puritani and La Sonnambula by Bellini; Les Vpres siciliennes, Rigoletto, La Traviata, and Falstaff by Verdi; DonizettiÕs LÕelisir dÕamore,Don Pasquale,Roberto Devereux, and Lucia di Lammermoor; MozartÕs Die En tfŸhr ung a us dem Ser ail , Die Za uberflš te , Cos“ Fan Tutte , and Don Giovanni; other French operas including Les pcheurs de perle, La Juive, Les Huguenots, OffenbachÕs Hoffmann, and Massene tÕs Manon; concer t performances of HŠndelÕs Messiah, RossiniÕs Stabat Mater, OrffÕs Carmina Burana, and BrucknerÕs Te Deum.
ANGELA MEADE (Matilde) is a native of Washington State and an alumnus of the Academy of Vocal Arts in Philadelphia, and is the recipient of the 2012 Beverly Sills Artist Award from the Metropolitan Opera and the 2011 Richard Tucker Award. She joined an elite group of singers when she made her professional operatic debut on the stage of the Metropolitan Opera substituting for an ill colleague in March 2008, in the role of Elvira in VerdiÕs Ernani. She had previously sung on the Met stage as one of the winners of the 2007 Metropolitan Opera National Council Auditions, a process documented in the film The Audition, released on DVD by Decca. Highlights of Ms. MeadeÕs recent seasons include BelliniÕs Norma and VerdiÕs Falstaff at the Metropolitan Opera, the latter broadcasted live in HD; debuts at the Vienna State Opera, Deutsche Oper Berlin, Frankfurt Opera, Los Angeles Opera, TorinoÕs Teatro Regio, and Washington National Opera, where she was subsequently honored as Ò2013 Artist of the Year.Ó On the concert stage, she has appeared in recital at the Kennedy Center, and as soloist with the Baltimore, Boston, Cleveland, Houston, Minnesota, Philadelphia, Pittsburgh, and Seattle symphony orchestras, with such conductors as Roberto Abbado, Marin Alsop, Charles Dutoit, Manfred Honeck, Yannick NŽzet-SŽguin, and Osmo VŠnskŠ. This summer she returns to the Caramoor Festival in the title role of DonizettiÕs Lucrezia Borgia. Ms. Meade has taken first prize in 57 vocal competitions.
MARCO SPOTTI (Gualtiero) was born in Parma, graduated from the Conservatory Arrigo Boito, and won the Riccardo Zandonai Competition in Riva del Garda, Voci Verdiane in Busseto, and the Viotti-Valsesia Competition. After his debut at Teatro Regio Parma, he sung Il Re (Aida) at the Opera Marseille, Sarastro (Die Zauberflšte) and Orbazzano (Tancredi) at the Opera in Rome, Massimiliano (I Masnadieri) in Bologna under Daniele Gatti and in Las Palmas, Oroe (Semiramide) and Orbazzano (Tancredi) at Rossini Opera Festival Pesaro, Procida (I Vespri Siciliani) at Teatro Massimo Palermo, and Alvise (La Gioconda) at Teatro Bellini Catania and in Athens. He regularly collaborates with the Arena di Verona as Ramfis (Aida), Alvise (La Gioconda), Colline (La Bohme), Sparafucile (Rigoletto), and Timur (Turandot). In 2003 Marco Spotti debuted at La Scala in Milan as Arcas (Iphigenie En Aulide) with Riccardo Muti. After this debut, he was regularly invited for Sparafucile (Rigoletto), Aida with Riccardo Chailly, Daniel Barenboim, Loredano (I Due Foscari), Timur (Turandot) with Valery Gergiev, and Wurm (Luisa Miller) with Gianandrea Noseda. Recently he sung Don Giovanni at Covent Garden London, Colline (La Bohme) at Scala Milano and Festival Orange, Loredano (I Due Foscari) at Theatre Champs Elysees Paris, Enrico VIII (Anna Bolena) at Oper Kšln, Walther (Guillaume Tell) at Opera Amsterdam and La Monnaie Bruxelles, Inquisitore (Don Carlo) at Teatro Regio Torino, Banquo (Macbeth) at Maggio Musicale Fiorentino with James Conlon, Oroveso (Norma) at Teatro Massimo Palermo, and Basilio (Il Barbiere Di Siviglia) at Teatro Col—n in Buenos Aires.
FABRIZIO BEGGI ( Melcthal ) studied with Giovanni Mazzei in 2009. He subsequently studied with Claudio Desderi at the Accademia Musicale di Santa Cecilia, and currently studies with Roberto Scaltriti and Carlo Meliciani. He won the Toti Dal Monte Prize in 2012. In 2011 he sang Amonasro in La Fiaba di Aida, a project based on VerdiÕs Aida at the Teatro del Maggio Musicale Fiorentino. At the Teatro Carlo Felice, Genoa, his roles have included Don Annibale, Pistaccio in DonizettiÕs Il campanello, Marco and Spinelloccio INB PucciniÕs Gianni Schicchi, Uncle Henry in the world premiere of Bruno ColiÕs Oz on the Road, and the Duke (RomŽo et Juliette). His engagements elsewhere include Geronimo (I l matrimonio segreto) in Treviso, Ferrara and Rovigo; Schmidt (Andrea ChŽnier), Pietro (Simon Boccanegra), Monterone (Rigoletto) and Betto (Gianni Schicchi) in Turin; Don Ciccio in Giorgio BattistelliÕs Divorzio allÕitaliana in Bologna; and Alidoro (La Cenerentola) in Ferrara and Treviso.
MARINA BUCCIARELLI (Jemmy) studied at the ÒLuisa dÕAnnunzioÓ Conservatory in Pescara and with Mariella Devia. After winning several competitions, including the As.Li.Co. Competition, she performed at many leading Italian theatres and festivals, including the Rossini Opera Festival in Pesaro, where she made her debut as Corinna (Il viaggio a Reims). Her engagements also include Lisa (La sonnambula) in Como, Cremona, and Pavia; Bimba in Raffaele SargentiÕs Lupus in fabula in Trieste; Isabella in RossiniÕs LÕinganno felice at the Teatro Malibran in Venice; Fann’ in RossiniÕs La cambiale di matrimonio at the Teatro Malibran and in Ingolstadt; Annina (La traviata) at La Fenice; Zerlina (Don Giovanni) in Genoa; Euridice (OrphŽe aux enfers) at the Maggio Musicale Fiorentino; and Pamina (Die Zauberflšte) in Bolzano. Her concert engagements include RossiniÕs Petite messe solennelle at the OpŽra de Marseille and in Liverpool with the Royal Liverpool Philharmonic Orchestra, and a recital at the Musashino Cultural Foundation in Tokyo.
ANNA MARIA CHIURI (Edwige) was born in Alto Adige (South Tyrol) and studied at the ÒArrigo BoitoÓ Conservatory in Parma, and with Franco Corelli, and has won numero us com petitions , including the Tchaikovsky Competition in Moscow. Her engagements include Fricka (Das Rheingold, Die WalkŸre) in Palermo; Eboli (Don Carlos) at La Scala in Milan and in Turin; Mistress Quickly (Falstaff) in Tel Aviv; Amneris (Aida) and Ulrica (Un ballo in maschera) in Lige; Edwige and the Princess de Bouillon (Adriana Lecouvreur) in Turin; Azucena (Il trovatore) at La Fenice, Venice; KlytemnŠstra (Elektra) and Herodias (Salome) in Bolzano, Modena, Ferrara, and Piacenza; Annina (Der Rosenkavalier) at the Maggio Musicale Fiorentino; and Fenena (Nabucco) in Wiesbaden, Parma, and Modena. Her concert engagements include VerdiÕs Requiem in Washington, BeethovenÕs Symphony No. 9 in Turin, and WagnerÕs Wesendonck Lieder at the Ravello Festival; recently, BrucknerÕs Te Deum and MozartÕs Requiem under Zubin Mehta at the Maggio Musicale Fiorentino.
GABRIELE SAGONA (Gessler) started singing with his father Vincenzo and i s c u r rent ly s t u d y i n g w it h mez z o Biancamaria Casoni. In 2009 he made his
debut as Colline in PucciniÕs La BohŽme in Pesaro, after which he was the only bass in the finals at the As.Li.Co competition for the role of Colline. In 2010 he sang in Simone MayrÕsAmore ingegnoso (Barone) at the Bergamo Musica Festiva l a nd R o s s i n iÕs B a rbiere d i Siv igl ia a n d PaisielloÕs Barbiere di Siviglia at Teatro Verdi in Sassari. His repertoire includes s e v e r a l t i t l e s : D on G i ova n n i (D o n Giov a n ni, Leporello, Masetto); Elisir d'A more (Du lca ma ra ; Don Pasquale; A id a ( R e); R i g o l e t to ( M on t e r on e) ; a nd To s c a (A n gelo t t i). H i s co ncer t enga gements i nclude performa nces in Wiener Konzerthaus, Teatro Sociale in Bergamo and Como, Festival MiTo, Circolo degli Artisti in Torino, A mici della musica in Sondalo, and Casa Verdi i n M i l a n . He h a s reco r de d Si m one MayrÕs Amore ingegnoso for Bongiovanni and VerdiÕs Un ballo in maschera (Tom) in a Teatro Regio Torino production for R AI.
(Ruodi) was born in Bilbao. He won the Manuel Ausensi Com petition and made his professional debut in 2007. His engagements include the title role in FallaÕs El retablo de Maese Pedro at La Monnaie in Brussels, Teatro Real in Madrid, and Teatre del Liceu in Barcelona; Ruodi (Guillaume Tell) conducted by Alberto Zedda in La Coru–a and in Amsterdam; the Duke (Rigoletto) in La Coru–a; Nemorino (LÕelisir dÕamore); Monostatos (Die Zauberflšte) and Pong (Turandot) in Oviedo; Sir Bruno Robertson (I Puritani), Lord Cecil (Roberto Devereux) with Edita Gruberova and Bois-RosŽ (Les Huguenots) at the Teatro Real in Madrid; Bardolfo (Falstaff), Brighella (Ariadne auf Naxos), Triquet (Eugene Onegin), and Nemorino in Bilbao; Goro (Madama Butterfly) in Seville; Tony (West Side Story); Jorge in ArrietaÕs Marina at the Teatro Zarzuela in Madrid; and Beppe (Pagliacci) in Toulouse. His concert engagements include BeethovenÕs Symphony No. 9 with the Orchestra of the Teatro Real in Madrid, conducted by Jesœs L—pez Cobos.
SAVERIO FIORE (Rodolfo) was born in Bari, and won a scholarship to the Accademia di Arte Lirica in Osimo. At present he continues his studies coached by Luigi de Corado. After having performed title roles at the most prestigious Italian musical institutions for several years (Teatro La Fenice in Venice, the Maggio Musicale Fiorentino, the Teatro dellÕOpera in Rome, the Teatro San Carlo in Naples, and the Teatro Massimo in Palermo), the singer decided to devote himself mainly to the interpretation of side roles, like Arturo in Lucia di Lammermoor, Peppe in Pagliacci, Edmondo in Manon Lescaut, and Goro in Madama Butterfly. He sang in several opera productions under the batons of Loris Maazel, Seiji Ozawa, and Ricardo Muti, under which he made his debut at the Festival in Salzburg as Aufide in RossiniÕs Moise et Pharaon, then being re-engaged for the opening of the 2010Ð11 season at the Teatro dellÕOpera in Rome for the same production.
PAOLO MARIA ORECCHIA (Leutoldo) was born in Rome and studied at the ÒLuisa DÕAnnunzioÓ Conservatory in Pescara, and with Ezio Di Cesare. He made his debut as Malatesta (Don Pasquale) with the Bayerischer Rundfunk Orchester conducted by Roberto Abbado and has subsequently performed at some of the most important theatres in Italy. His recent engagements include Prince Yamadori (Madama Butterfly), le Danca•re (Carmen), Baron Douphol (La traviata), and Bogdanowitsch (Die lustige Witwe) in Turin; Marquis dÕObigny (La traviata) and Sciarrone (Tosca) in Verona; Fiorello (Il barbiere di Siviglia) in Toulon; Nicomedes in ZemlinskyÕs Der Kšnig Kandaules, Marullo (Rigoletto), Kunz and Gilgenstock in StraussÕs Feuersnot, and Hortensius (La fille du rŽgiment) in Palermo; Sacristan (Tosca) at La Scala in Milan, and in Brescia, Como, Pavia, Cremona, Caracalla, and Rome; Don Alfonso (Cos“ fan tutte) in Cagliari; and Schaunard (La bohme) at La Scala and La Fenice.
RCHESTRA TEATRO REGIO TORINO descends from an orchestra founded at the end of the 19th century by Arturo Toscanini, under whose direction were staged the world premieres of Manon Lescaut and La Bohme by Puccini. The Orchestra has been conducted by such internationally famous conductors as Abbado, Bychkov, Gergiev, Luisotti, Tate, and finally Gianandrea Noseda, who has been the Music Director of the Teatro Regio since 2007. The Orchestra has been invited to many foreign festivals and theaters. In the last five years, it has been guest, together with maestro Noseda, in Germany (Wiesbaden, Dresden), Spain (Madrid, Oviedo, Zaragoza), Austria (Wiener Konzerthaus), France (at ThŽ‰tre des Champs-ElysŽes in Paris), and Switzerland (Verbier Festival). In the summer of 2010 it carried out a triumphant tour in Japan and China with Traviata and Bohme, a great success that was repeated in 2013 with the recent Regio Japan Tour. The first tour in Saint Petersburg in 2014 has been followed by many others concerts in Stresa, Edinburgh, and Paris. The Orchestra of Teatro Regio Torino with the Chorus of the Teatro, all conducted by Gianandrea Noseda, have recorded two Deutsche Grammophon CDs dedicated to Verdi with Rolando Villaz—n and Anna Netrebko, one CD dedicated to Mozart with Ildebrando DÕArcangelo, and two for Chandos: Four Sacred Pieces by Verdi and Magnificat e Salmo XII by Petrassi.
inaugurated in December 1740,
with Francesco FeoÕs Arsace. An
important international opera house from
the outset, it hosted the world premieres
of PucciniÕs Manon Lescaut (1893) and La
bohme (1896), and the Italian premiere
of StraussÕs Salome, conducted by the
composer. The old theatre was destroyed
by fire in 1936; its replacement was
inaugurated in April 1973, with I Vespri
siciliani directed by Maria Callas and
Giuseppe Di Stefano. The new theatre
rapidly established a reputation as one of
the leading Italian opera houses, thanks
largely to the quality of its Orchestra and
Chorus. In 2007 Gianandrea Noseda was
appointed music director of the Teatro
Regio Torino. In addition to a full season
of staged operas, Mr. Noseda leads the
Orchestra and Chorus of the Teatro Regio
on international tours to represent Italian
music culture worldwide, undertaking
residences at the Bunka Kaikan in Tokyo
in 2010 and 2013; in Spain in 2011; at
the Dresden Music Festival, the Vienna
Konzerthaus, and the Verbier Festival
in 2013; and, each year since 2011,
at the ThŽ‰tre des Champs-ƒlysŽes,
Paris. This year the Teatro Regio Torino
makes its first tour of North America,
including performances of Guglielmo
Tell in Chicago, Ann Arbor, Toronto, and at
Carnegie Hall in New York City.
HORUS TEATRO REGIO TORINO was fo unded a t the end of the 19th century
and re-established in 1945 after the
Second World War, and is one of the
most impo rtant o pera chorus es in

Europe. Under the direction of maestro Bruno Casoni (1994Ð2002) it reached the highest international level, as demonstrated by the performance of VerdiÕs Otello under the baton of Claudio Abbado and by the esteem of Semyon Bychkov, who, after conducting the Chorus in 2002 in the b minor Mass by Bach, invited it to Cologne to record VerdiÕs Requiem and returned in 2012 to involve it in a concert of Brahms with the Rai National Symphony Orchestra. The Chorus was later conducted by maestro Roberto Gabbiani, who fostered its artistic development even further, while in November 2010 the position was assigned to Claudio Fenoglio. Engaged in
the productions of the Opera Season, the Chorus also carries out important concert activity, both opera-symphonic and a cappella, and participates in numerous recordings, including the DVD production of Boris Godunov by Mussorgsky, Un ballo in maschera and Vespri siciliani by Verdi, Tha•s by Massenet, Edgar by Puccini, Medea by Cherubini, and several Chandos records with the Orchestra Teatro Regio Torino. The Chorus took part in numerous tours of the Teatro Regio all over Europe and in both Eastern tours, with different operas and opera-symphonic concerts: China and Japan in 2010, Tokyo and Verbier Festival in 2013, Saint Petersburg, Stresa, Edinburgh, and Paris in 2014.
Piero Fassino, The Mayor of the City of
Torino and President Walter Vergnano, General Manager Gast—n Fournier-Facio, Artistic Director Gianandrea Noseda, Conductor
Alessandro Galoppini, Director of Artistic Area
Alessandra Bazoli, Director of Organisation, Personnel and Legal
Carlo Carrˆ, Director of Finance and Administration
Paola Giunti, Director of Communication and Public Relations
Florence Plouchart-Cohn, Assistant to the General Manager and Music Director

Sergey Galaktionov Stefano Vagnarelli
Marina Bertolo Claudia Zanzotto Fation Hoxholli Elio Lercara Enrico Luxardo Miriam Maltagliati Alessio Murgia Paola Pradotto Laura Quaglia Daniele Soncin Giuseppe Tripodi Roberto Zoppi
Cecilia Bacci¡ Marco Polidori¡ Tomoka Osakabe Bartolomeo Angelillo Silvana Balocco Paola Bettella Maurizio Dore Anna Rita Ercolini Silvio Gasparella Roberto Lirelli Anselma Martellono Ivana Nicoletta
Armando Barilli¡ Enrico Carraro¡ * Alessandro Cipolletta Gustavo Fioravanti Andrea Arcelli Rita Bracci Claudio Cavalletti Alma Mandolesi Franco Mori Claudio Vignetta
Relja Lukic¡ Jacopo Di Tonno¡ Giulio Arpinati Amedeo Fenoglio Alfredo Giarbella Armando Matacena Luisa Miroglio Paola Perardi
Davide Botto¡ Davide Ghio¡ Atos Canestrelli Fulvio Caccialupi Michele Lipani Stefano Schiavolin
Roberto Baiocco
Andrea Manco¡ Maria Siracusa
Luigi Finetto¡ Stefano Simondi
Alessandro Cammilli
Luigi Picatto¡ Luciano Meola
Andrea Azzi¡ Orazio Lodin
Ugo Favaro¡ Evandro Merisio Fabrizio Dindo Eros Tondella
Ivano Buat¡ Marco Rigoletti
Vincent Lepape¡ Enrico Avico Marco Tempesta
Ranieri Paluselli¡
Lavinio Carminati Massimiliano Francese Fiorenzo Sordini
Elena Corni¡
Natalino Ricciardo¡ Pierluigi Filagna
Franco Chiapino Maurizio Lusci
Gabriele Sosso
¡ Principal
* Chair supported by the Fondazione Zegna
With special thanks to the Fondazione Pro Canale of Milan for lending its instruments to the following musicians: Sergey Galaktionov (violin by Giovanni Battista Guadagnini; Turin, 1772); Stefano Vagnarelli (violin by Francesco Ruggieri; Cremona, 1686); Marina Bertolo (violin by Carlo Ferdinando Landolfi; Milan, 1751); Cecilia Bacci (violin by Santo Serafino; Venice, 1725); Enrico Carraro (viola by Giovanni Paolo Maggini, c1600).


Claudio Fenoglio,
Chorus Master
Sabrina Am Nicoletta Ba Chiara Bongiovanni Anna Maria Borri Caterina Borruso Sabrina Boscarato Eugenia Braynova Serafina Cannillo Cristina Cogno Cristiana Cordero Eugenia Degregori Alessandra Di Paolo Manuela Giacomini Rita La Vecchia Laura Lanfranchi Paola Isabella Lopopolo Maria de Lourdes Martins Pierina Trivero Giovanna Zerilli
Angelica Buzzolan Shiow-hwa Chang Ivana Cravero Corallina Demaria Maria Di Mauro Roberta Garelli Rossana Gariboldi Elena Induni Antonella Martin Raffaella Riello Myriam Rossignol Marina Sandberg Teresa Uda Daniela Valdenassi Tiziana Valvo Barbara Vivian
Pierangelo AimŽ Janos Buhalla Marino Capettini Gian Luigi Cara Antonio Coretti Diego Cossu Luis Odilon Dos Santos Alejandro Escobar Giancarlo Fabbri Sabino Gaita Mauro Ginestrone Roberto Guenno Leopoldo Lo Sciuto Vito Martino Matteo Mugavero Matteo Pavlica Dario Prola Sandro Tonino Franco Traverso Valerio Varetto
Leonardo Baldi Mauro Barra Lorenzo Battagion Enrico Bava Giuseppe Capoferri Massimo Di Stefano Umberto Ginanni Vladimir Jurlin Desaret Lika Luca Ludovici Riccardo Mattiotto Davide Motta FrŽ Gheorghe Valentin Nistor Mirko Quarello Franco Rizzo Enrico Speroni Marco Sportelli Marco Tognozzi Vincenzo Vigo
Mauro Ponzio
Carlo Caputo
Tour Direction
R. Douglas Sheldon, Senior Vice President
Tour Coordinator
Karen Kloster
Managerial Assistant
Marcus Lalli
Tour Manager
Ann Woodruff
Special thanks to Lawrence Perelman of Semantix Creative Group.


For the last several years, weÕve been digitizing all of the
information from our rich 136-year history. Performance records,
program books, photos, and much more are now available online.
WeÕre proud to announce the launch of our online archives.
We encourage you to explore.


A story of Savannah told by
Edgar Oliver
Directed by
Catherine Burns
Wednesday Evening, January 7, 2015 at 7:30 Thursday Evening, January 8, 2015 at 7:30 Friday Evening, January 9, 2015 at 8:00 Saturday Afternoon, January 10, 2015 at 2:00 Saturday Evening, January 10, 2015 at 8:00 Sunday Afternoon, January 11, 2015 at 2:00 Sunday Evening, January 11, 2015 at 6:00 Arthur Miller Theatre ¥ Ann Arbor
24th, 25th, 26th, 27th, 28th, 29th, and 30th Performances of the 136th Annual Season International Theater Series
Photo: Helen & Edgar


Producer Graphic Design
George Dawes Green Omnivore
Associate Producer Slides and Projection
Bonnie Blue Edwards Aaron Howard
Production Consultant Promotional Video
Anna Becker Matthew Perry
Paintings and Sketches Featuring music by
Louise Oliver Amerigo Mackeral & the Octave Doktors

Act One, in Three Parts

Act Two, in Two Parts
Helen & Edgar is approximately 80 minutes in duration.

Following Wednesday eveningÕs performance, please feel free to remain in your seats and join us for a post-performance Q&A with members of the company.
These performances are sponsored by the University of Michigan Health System.
These performances are supported by Emily W. Bandera.
Media partnership is provided by WDET 101.9 FM.
Helen & Edgar appears by arrangement with 2Luck Concepts,


DGAR OLIVER is a playwright, poet, and performer. He is a mem ber of the Axis Theatre Company, which is under the direction of Randy Sharp and which is located at 1 Sheridan Square in Manhattan. His last one-man show, East 10th Street: Self-Portrait with Empty House ( produced by Axis and directed by Randy Sharp ) , was the recipient of a Fringe First award at the 2009 Edinburgh Fringe Festival.
Three collections of his poems are available from Oilcan Press: A Portrait of New York by a Wanderer There, Summer, and The Brooklyn Public Library ( His novel, The Man Who Loved Plants, is available from Panther Books ( Mr. Oliver is one of the most beloved storytellers of The Moth.
artistic director of The Moth and
a frequent host of the Peabody A ward- winning The Mo th Radio Hour. Prior to The Moth, she directed and produced independent films and television, interviewing such diverse talent as Ozzy Osbourne, Martha Stewart, and Howard Stern. An accomplished fire performer, she also directed the New York City-portion of the Burning Man FestivalÕs Fire Conclave for three years, coordinating a 70-person fire-dancing show performed in front of 50,000 people. Born and raised in Alabama, she now lives in Brooklyn with her husband and two-year-old son.
GEORGE DAWES GREEN (producer) created The Moth in 1997. He is the author of three highly acclaimed novels: The CavemanÕs Valentine, which won an Edgar award for Best First Mystery, and was made into a motion picture starring Samuel L.
Jackson; The Juror, which sold nearly three million copies worldwide and was the basis for a film starring Alec Baldwin and Demi Moore; and Ravens, which was featured on many ÒBest Novel of the YearÓ lists for 2009, including PublisherÕs Weekly, the UKÕs Daily Mirror, and Entertainment Weekly.
Recently Mr. Green started a new organization, Unchained, which sends busloads of raconteurs and musicians to venues all over the south, in celebration of independent bookstores.
Since the premiere of Helen & Edgar during October 2012, BONNIE BLUE EDWARDS (associate producer) has had the opportunity to participate in a variety of artistic projects. Soon after the production, she went on the road in the Deep South with the Unchained tour, produced The Night of the Telephone Ñ a sold-out run of avant.garde plays, and worked alongside Emmy Award-winning actors at NYCÕs historic Century Club. Ms. Edwards has also been an assistant to the director and casting coordinator on two independent feature films with Oscar-winning talent, both slated for release in 2015. Currently, she is the director/producer of the documentary Out in Alabama, about LGBT rights in her home state.
Love and gratitude to Helen Oliver Adelson
Grateful thanks to Jonathan Ames, Romy Ashby, Axis Theatre Company, Seth Barrish, Mike Birbiglia, Joan Juliet Buck, Megan Burnham, Sandi Carroll, Andy ChristieÕs The Liar Show, Travis DeMello, Neil Gaiman, Naomi Gold, Robert M. Green III, Lorry Kikta, Katie Manion, Sarah Moskowitz, Joshua Polenberg, Primary Stages, Paul Ruest at Argot Studios, Alexander Roy, Brooke Sabonis at Leftfield Pictures, Tiffany Steffens at Monotone, Ben Swank at Third Man Records, Billy Thompson, Adam Wade, Kimberly Faith Waid, Sherry Weaver, and everyone at The Moth, especially Meg Bowles, Maggie Cino, Brandon Echter, Joan D. Firestone, Jenifer Hixson, Sarah Austin Jenness, and Robin Wachsberger.

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. OÕNeal
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

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

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

Students in our volunteer internship and work-study program gain valuable experience in all areas of arts management while contributing greatly to
UMSÕs 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:

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610 Hilton Blvd|Ann Arbor, MI 48108

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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

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

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.
Pat Bantle
Louise Taylor
Vice Chair
Connie Rizzolo Brown
Jane Holland
Gail Ferguson Stout
Past Chair
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

The UMS Staff works hard to inspire individuals and enrich communities by connecting audiences and artists in uncommon and engaging experiences.
Kenneth C. Fischer
John B. Kennard, Jr.
Director of Administration
Kathy Brown
Executive Assistant
Jenny Graf
Tessitura Systems Administrator
Patricia Hayes
Financial Manager
John Peckham
Information Systems Manager
Margaret McKinley
Director of Development
Susan Bozell Craig
Associate Director of Development, Corporate Partnerships & Major Gifts
Rachelle Lesko
Development Coordinator
Lisa Michiko Murray
Senior Manager of Foundation & Government Relations
Marnie Reid
Associate Director of Development, Major Gifts
Cindy Straub
Manager of Volunteers & Special Events
James P. Leija
Director of Education & Community Engagement
Shannon Fitzsimons
Campus Engagement Specialist
Mary Roeder
Associate Manager of Community Engagement
Sara Billmann
Director of Marketing & Communications
Jesse Meria
Video Production Specialist
Annick Odom
Marketing Coordinator
Anna Prushinskaya
Manager of New Media & Online Initiatives
Truly Render
Press & Marketing Manager
Michael J. Kondziolka
Director of Programming
Jeffrey Beyersdorf
Production Director
Anne Grove
Artist Services Manager
Mark Jacobson
Senior Programming Manager
Katie Lantz
Production Coordinator
Liz Stover
Associate Programming Manager
Christina Bellows
Ticket Services Manager
Kate Gorman
Front-of-House Manager
Ellen Miller
Ticket Office/Front-of-House Assistant
Casey Schmidt
Sales & Promotions Coordinator
Anna Simmons
Ticket Services Coordinator
Dennis Carter, Bruce Oshaben, Brian Roddy
Head Ushers
Jerry Blackstone
Conductor & Music Director
Arianne Abela
Assistant Conductor
Kathleen Operhall
Chorus Manager
Nancy Heaton
Chorus Librarian
Jean Schneider
Scott VanOrnum

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.

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 or call Margaret McKinley at 734.647.1177.

Great performances should stir emotion. Retirement planning should not.

Our clients sleep well at night, trusting that we are diligently and proactively caring for all of their familyÕs financial affairs.
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.

© 2014 Retirement Income Solutions is an Independent Investment Advisor.

Celebrating 136 Successful Seasons

proud supporter of

P: 734.222.4776 ¥ F: 734.222.4769

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
Student Experiences
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
FALL 2014
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 OÕDell 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

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University Musical Society.

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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 Ð JULY 1, 2013 Ð 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 $1Ð$249 will be included in the online list at
. indicates the donor made a contribution to a UMS Endowment Fund
FALL 2014
Ilene H. Forsyth. Candis J. and Helmut F. Stern.
DIRECTORS ($100,000Ð$499,999)
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
SOLOISTS ($50,000Ð$99,999)
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
MAESTROS ($20,000Ð$49,999)
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
Montague Foundation.
Roger and Coco Newton.
PNC Foundation
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
VIRTUOSOS ($10,000Ð$19,999)
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

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
CONCERTMASTERS ($5,000Ð$9,999)
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 SavaÕs Restaurant John W. and Gail Ferguson Stout Stout Systems Karen and David Stutz. Bruce G. Tuchman United Way of Washtenaw County Dody Viola
LEADERS ($2,500Ð$4,999)
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 OÕMeara 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 Adle 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
PATRONS ($1,000Ð$2,499)
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!

ÒMaryanneÕs 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!Ó Kevin and Liz
Ò example of what a good honest realtor should be...truly a class act!Ó Steve and Janet
cell e-mail
Ò...her tenacity, experience and knowledge of the market were instrumental...refreshing straightforwardness...superb sounding-board...Ó Ryan and Stephanie
ÒWe 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!Ó Tony and Chrissie

734.6 45.3065

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
Bill Zimmerman
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


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
($500Ð$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 RenŽe 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 Blšndal 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 JŸrgen 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
ASSOCIATES ($250Ð$499)
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 DÕAmato 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
FALL 2014
Mrs. Patricia Chapman Michael Halpern Richard and Susan Nisbett

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 Blšndal 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

General Info.
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.


UMS Ticket Office Michigan League 911 North University Avenue MonÐFri: 9 amÐ5 pm Sat: 10 amÐ1 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
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 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.
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.

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 HandelÕs 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.

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 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 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


For more detailed information on how to get involved with UMS, please visit
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
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
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 as sessions are scheduled. For more information, contact Kate Gorman at 734.615.9398 or
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 or 734.763.8997.
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 or 734.647.8009.


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
36 Dykema
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
28 Knight's
22 Mainstreet Ventures 8 Mark Gjukich Photography
39 Maryanne Telese, Realtor
34 Michigan Psychoanalytic Institute
and Society
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

cafŽ w
fresh food á coffee á beer and wine

r e pl e n i sh

market w beer á wine á essential groceries
619 East University @ Zaragon Place 734-332-3366 .

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