UMS Concert Program, April 19-26, 2015: Artemis Quartet; Cinderella, Lyon Opera Ballet; Richard Goode

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UMS PROGRAM BOOK
WINTER 2015

UNIVERSITY OF MICHIGAN | ANN ARBOR

BE A

VICTOR FOR
THE ARTS.

AND INSPIRE A LIFETIME OF
CREATIVE DISCOVERY

Invest in the future of our community
by supporting UMS today.
Please send your gift to:
UMS Development
Burton Memorial Tower
881 North University Avenue
Ann Arbor, MI 48109-1011
or call 734.764.8489 or go to ums.org/support

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12

Be
Present.
UMS unleashes the power of the performing arts in
order to engage, educate, transform, and connect individuals with uncommon experiences. The
Winter 2015 Season is full of exceptional, world-class,
and truly inspiring performances.
WELCOME TO THE UMS EXPERIENCE.
WEÕRE GLAD YOUÕRE PRESENT.
ENJOY THE PERFORMANCE.

WELCOME.

ÒOne of the many treasures of the University of Michigan that my wife, Monica, and I greatly enjoy 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 traditionÓ
MARK SCHLISSEL
President, University of Michigan

ÒThank you for joining us at this performance. One of the most exciting features of UMS is our deepened engagement with U-M students and faculty through new programs like our Engaging Performance course, Mellon Faculty Institute, UMS in the Curriculum, 21st Century Artist Internships, and other initiatives. You can learn more about these programs at ums.org/learn. On our site you can also learn about our Emmy Award-winning documentary on Hill Auditorium, discover Night School, link to our amazing online archive UMS Rewind, and share your views about todayÕs performance. You can also see the list of the other performances and events awaiting you this winter season on page 7. If I can ever be of assistance, please get in touch with me at kenfisch@umich.edu or at 734.647.1174Ó
KENNETH C. FISCHER
UMS President

ÒUMS is in its 136th season as an arts presenter, the oldest university-based arts presenting organization in the US. I am extremely honored to be serving in 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, UMS can continue to be, as Wynton Marsalis has written, Ôour countryÕs finest presenting organizationÉand the standard bearers of excellenceÕ. Ó
STEPHEN G. PALMS
Chair, UMS Board of Directors

CONNECTING
AUDIENCES & ARTISTS
IN UNCOMMON & ENGAGING EXPERIENCES.

We want you to use this guide as a resource. Dig deeper. Get to know the artists. Figure out how it all comes together. We believe that the performing arts are extraordinary on their own, but we encourage you to explore, gain perspective, and understand the depth behind the experience. This book is designed to help you learn more about UMS, the community, and the artists on stage.

WINTER 2015 SEASON CALENDAR.
EDUCATION.
HISTORY.

BE PRESENT.

7
8
10

UMS LEADERSHIP DONORS.
UMS CORPORATE CHAMPIONS.
FOUNDATION, GOVERNMENT, AND UNIVERSITY SUPPORT.

LEADERSHIP.

12
14
19

21

THE EVENT PROGRAM.

THE EXPERIENCE.
THE PERFORMANCES.

LEADERSHIP.
SUPPORT.

PEOPLE.
GENEROUS UMS DONORS.

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33

GENERAL INFO.

HOW TO BUY TICKETS.
POLICIES.
GETTING INVOLVED.

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49

51

JOIN THE
CONVERSATION.
Like the performance?
Want to learn more?
Care to give feedback?
Want to connect with others?

JUST VISIT
UMSLOBBY.ORG.

BE PRESENT

WINTER 2015 SEASON CALENDAR.

7-11 Helen & Edgar
17 eighth blackbird
18 National Theatre Live: JOHN
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 50th Anniversary Celebration:
The Campbell Brothers perform John ColtraneÕs A Love Supreme
21-22 Trisha Brown Dance Company
22 National Theatre Live: Treasure Island

8 Stratford Festival in HD: King Lear
1 2-13 A Bill Frisell Americana Celebration
1 3-14 Kyle Abraham
Abraham.In.Motion
15 RSC Live in HD: Love's Labour's Lost
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 Chick Corea and Herbie Hancock
17 Oliver Mtukudzi and the Black Spirits
19 Artemis Quartet
22 RSC Live in HD: Much Ado About Nothing (aka Love's Labour's Won)
23 Seoul Philharmonic Orchestra
Myung-Whun Chung, conductor
Sunwook Kim, piano
24-26 Lyon Opera Ballet
Cinderella
26 Richard Goode, piano

JAN

FEB

WINTER 2015 SEASON CALENDAR.

MAR

APR

Artists, programs, and dates are subject to change.
Please visit www.ums.org for an up-to-date season calendar.
To learn more, see video previews, get in-depth performance descriptions,
and buy tickets, visit www.ums.org.

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UMS

IMMERSE YOURSELF.

WINTER 2015

UMS EDUCATION
EXPERIENCES.
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 to expand your comfort zone. If you want to experience something new, different, highly engaging, and eye-opening, we encourage you to be present. Just look for the "Learn" icon.

EDUCATION.

UMS.ORG/LEARN

Photo: Timothy Krohn, orchestra director for Ann Arbor Huron High School, conducts during a school visit by ApolloÕs Fire, November 2014; photographer: Peter Smith Photography.

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UMS EDUCATIONAL &
COMMUNITY ENGAGEMENT EVENTS

NIGHT SCHOOL:
CURIOUS ABOUT DANCE
Mondays, 7-8:30 pm
February 2-March 16, 2015 (no class on March 2)
U-M Alumni Center FounderÕs Room
(200 Fletcher Street, Ann Arbor)
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 seasonÕs popular UMS Night School: Bodies in Motion series, this yearÕs edition of Night School continues to explore dance. Both newcomers and dance aficionados alike are invited to build knowledge about dance and meet others who share an interest in the art form.
Hosted by Clare Croft, assistant professor of dance at the University of Michigan, these 90-minute ÒclassesÓ combine conversation, interactive exercises, and ÒlecturesÓ to draw you into the themes related to dance. Drop in to just one session, or attend them all. Events are free, and no pre-registration is required. Complete details available at www.ums.org/learn.

FEBRUARY
Words for Dance
Adapting Stories
Body Experiments
Dancing Scholarship

MARCH
Dancing Social Justice
Graduation and Reflection

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9
16
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6

Photo: Trisha Brown Dance Company; photographer: Julieta Cervantes

UMS.ORG/LEARN

UMS

CAN
TRADITION
BUILD
THE
FUTURE?

WINTER 2015

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.

HISTORY.

Photo: Hill Auditorium in 1928.

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Leadership.
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.

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UMS

UMS LEADERSHIP DONORS.
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.

BERTRAM ASKWITH
PATTI ASKWITH KENNER
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

WINTER 2015

ILENE FORSYTH
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

EUGENE AND EMILY GRANT
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

LEADERSHIP.

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BE PRESENT

MAXINE AND STUART FRANKEL
FOUNDATION
Maxine and Stuart Frankel
ÒWe are delighted to partner with UMS for the fourth year of 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

WALLIS CHERNIACK KLEIN
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

WINTER 2015

CANDIS AND HELMUT STERN
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

ANN AND CLAYTON WILHITE
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

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UMS

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

DOUGLASS R. FOX
President, Ann Arbor Automotive
ÒWe at Ann Arbor Automotive are pleased to support the artistic variety and program excellence given to us by UMS.Ó

TIMOTHY G. MARSHALL
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

WINTER 2015

JAMES LOFIEGO
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

LEADERSHIP.

FAYE ALEXANDER NELSON
President, DTE Energy Foundation
ÒThe DTE Energy Foundation is pleased to support exemplary organizations like UMS that inspire the soul, instruct the mind, and enrich the community.Ó

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BE PRESENT

NANCY AND RANDALL FABER
Founders, Faber Piano Institute
ÒWe are proud to support UMS in its tradition of program excellence and outreach that enriches our thoughts, our families, and our community.Ó

JAMES G. VELLA
President, Ford Motor Company Fund
ÒThrough music and the arts, we are inspired to broaden our horizons, bridge differences among cultures, and set our spirits free. We are proud to support UMS and acknowledge the important role it plays in our community.Ó

WINTER 2015

DAVID N. PARSIGIAN
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

MOHAMAD ISSA
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

KIRK ALBERT
Michigan Market President, KeyBank
ÒKeyBank remains a committed supporter of the performing arts in Ann Arbor and we commend UMS for bringing another season of great performances to the community. Thank you, UMS, for continuing the tradition.Ó

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UMS

ALBERT M. BERRIZ
CEO, McKinley, Inc.
ÒThe success of UMS is based on a commitment to present a diverse mix of quality cultural performances. McKinley is proud to support this tradition of excellence, which enhances and strengthens our community.Ó

THOMAS B. MCMULLEN
President and CEO, McMullen Properties
ÒI used to feel that a U-M-Ohio State football ticket was the best ticket in Ann Arbor. Not anymore. UMS provides the best in educational and artistic entertainment.Ó

WINTER 2015

DENNIS SERRAS
Owner, Mainstreet Ventures, Inc.
ÒAs restaurant and catering service owners, we consider ourselves fortunate that our business provides so many opportunities for supporting UMS and its continuing success in bringing internationally acclaimed talent to the Ann Arbor community.Ó

SHARON J. ROTHWELL
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

LEADERSHIP.

MICHAEL SPRAGUE
Executive Vice President, Sales and Marketing, Kia Motors America
ÒKia Motors recognizes the tremendous role that UMS plays in
our community through its enriching programs and we are pleased to help bring exceptional cultural and educational experiences to Michigan.Ó

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BE PRESENT

SCOTT MERZ
CEO, Michigan Critical Care Consultants, Inc. (MC3)
ÒMC3 is proud to support UMS in recognition of its success in creating a center of cultural richness in Michigan.Ó

STEPHEN G. PALMS
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 arts to our community.Ó

WINTER 2015

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

TODD KEPHART
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

SAVA LELCAJ
Chief Executive Officer, Savco: Hospitality
ÒAt Savco Hospitality, we are delighted to support UMS, a wonderful cultural asset that inspires and challenges all of
us, and delivers the very best in performing arts season
after season.Ó

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UMS

JOE SESI
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

JOHN W. STOUT
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

WINTER 2015

OSAMU ÒSIMONÓ NAGATA
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

TIFFANY FORD
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

LEADERSHIP.

MARK SCHLISSEL
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

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BE PRESENT

FOUNDATION, GOVERNMENT, AND UNIVERSITY SUPPORT.
UMS gratefully acknowledges the support of the following private foundations, government agencies, and University of Michigan units:

$500,000 AND ABOVE
The Andrew W. Mellon Foundation

WINTER 2015

$20,000-$499,000
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

$5,000-$19,999
The Seattle Foundation
University of Michigan Third Century Initiative

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UMS WINTER
PRELUDE DINNERS.

Park early, dine with fellow patrons, and enjoy a delicious meal while learning more about the evening's concert from our guest speakers at UMS Prelude Dinners. $75 per person. For further information and reservations, please call Esther Barrett at 734.764.8489.

Rotterdam Philharmonic Orchestra
Thursday, February 19, 5:30 pm
Rackham Building
Academy of St. Martin in the Fields
Wednesday, March 25, 5:30 pm
Rackham Building
Seoul Philharmonic Orchestra
Thursday, April 23, 5:30 pm
Rackham Building

THE
EXPERIENCE.

GETTING THE MOST
OUT OF THE PERFORMANCE
We know that people enjoy the performance experience in different ways, so we encourage you to think about making choices when you enter the venue that allow you to be present, leave the worries of the day outside, and prepare to receive what the experience holds in store.
Be aware of your surroundings. Connect with the artist or ensemble. What they have to share is a very special gift that comes from a lifetime of training. One of the joys of attending live performances is the ability to share our experiences with one another, so revel in your opportunity to socialize, talk to your friends, discuss the performance, or simply say ÒhelloÓ to someone new. Feel the energy that a room full of people creates. Look around and take in the entire picture. What goes on in this venue and in this community is truly unique and special, and we must all cherish and protect it.

Photo: Chris Thile (R) and Edgar Meyer at the Michigan Theater, October 2014; photographer: Jamie Geysbeek Photography.

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BE PRESENT

PLEASE CONSIDER THE FOLLOWING:
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 problem, 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.

WINTER 2015

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PEOPLE.
Those who work to bring you UMS performances each season

Photo: UMS patrons attend San Francisco Symphony at Hill Auditorium, November 2014;
photographer: Peter Smith Photography.

UMS BOARD OF DIRECTORS
The UMS Board of Directors is a group of elected volunteers devoted to the performing arts and to our community. Their hard work ensures that UMS is able to offer outstanding performances year after year.

Stephen G. Palms
Chair
Stephen R. Forrest
Vice Chair
Joel D. Howell
Secretary
David N. Parsigian
Treasurer
Rachel Bendit
Janet Callaway
David Canter
Mark Clague
Lisa D. Cook
Julia Donovan Darlow
Monique Deschaine
Tiffany L. Ford
Katherine Goldberg
Richard F. Gutow
Stephen Henderson
Daniel Herwitz
Christopher Kendall
S. Rani Kotha
Frank Legacki
Jeffrey K. MacKie-Mason
Donald L. Morelock
Agnes Moy-Sarns
Sarah Nicoli
Timothy Petersen
Martha E. Pollack
Sharon Rothwell
Mark S. Schlissel
Linh Song
Cheryl L. Soper
Rick Sperling
Victor J. Strecher
Karen Jones Stutz
Jeanice Kerr Swift
Superintendent, Ann Arbor Public Schools
A. Douglas Rothwell
Chair, Corporate Council
David Herzig
Past Board Chair
Bruce Tuchman
Chair, National Council
Pat Bantle
Chair, Advisory Committee

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UMS

UMS SENATE
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
Michael C. Allemang
Carol L. Amster
Gail Davis-Barnes
Kathleen Benton
Lynda Berg
Richard S. Berger
Maurice S. Binkow
DJ Boehm
Lee C. Bollinger
Charles W. Borgsdorf
Janice Stevens-Botsford
Paul C. Boylan
William M. Broucek
Barbara Everitt Bryant
Robert Buckler
Letitia J. Byrd
Kathleen G. Charla
Mary Sue Coleman
Jill A. Corr
Peter B. Corr
Ronald M. Cresswell
Martha Darling
Hal Davis
Sally Stegeman DiCarlo
Robert F. DiRomualdo
Junia Doan
Al Dodds
James J. Duderstadt
Aaron P. Dworkin
David Featherman
David J. Flowers
George V. Fornero
Maxine J. Frankel
Patricia M. Garcia
Beverley B. Geltner
Christopher Genteel
Anne Glendon
Patricia Green
William S. Hann
Shelia M. Harden
Randy J. Harris
Walter L. Harrison
Norman G. Herbert
Deborah S. Herbert
Carl W. Herstein
David Herzig
Peter N. Heydon
Toni Hoover
Kay Hunt
Alice Davis Irani
Stuart A. Isaac
Thomas E. Kauper
David B. Kennedy
Gloria James Kerry
Thomas C. Kinnear
Marvin Krislov
F. Bruce Kulp
Leo A. Legatski
Melvin A. Lester
Earl Lewis
Patrick B. Long
Helen B. Love
Cynthia MacDonald
Robert C. Macek
Judythe H. Maugh
Rebecca McGowan
Barbara Meadows
Joetta Mial
Lester Monts
Alberto Nacif
Shirley C. Neuman
Jan Barney Newman
Roger Newton
Len Niehoff
Gilbert S. Omenn
Joe E. OÕNeal
Randall Pittman
Phil Power
John D. Psarouthakis
Rossi Ray-Taylor
John W. Reed
Todd Roberts
Richard H. Rogel
Prudence L. Rosenthal
A. Douglas Rothwell
Judy Dow Rumelhart
Maya Savarino
Ann Schriber
Edward R. Schulak
John J.H. Schwarz
Erik H. Serr
Ellie Serras
Joseph A. Sesi
Harold T. Shapiro
George I. Shirley
John O. Simpson
Timothy P. Slottow
Anthony L. Smith
Carol Shalita Smokler
Jorge A. Solis
Peter Sparling
James C. Stanley
Lois U. Stegeman
Edward D. Surovell
James L. Telfer
Susan B. Ullrich
Michael D. VanHermert
Eileen Lappin Weiser
B. Joseph White
Marina v.N. Whitman
Clayton E. Wilhite
Iva M. Wilson
Karen Wolff

WINTER 2015

LEADERSHIP.

26

5

4

THE EVENT
PROGRAM.

SUNDAY, APRIL 19 THROUGH
SUNDAY, APRIL 26, 2015
ARTEMIS QUARTET
Sunday, April 19, 4:00 pm
Rackham Auditorium
CINDERELLA
LYON OPERA BALLET
Friday, April 24, 8:00 pm
Saturday, April 25, 8:00 pm
Sunday, April 26, 2:00 pm
Power Center
RICHARD GOODE
Sunday, April 26, 4:00 pm
Hill Auditorium

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11
17

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.

THIS AFTERNOONÕS VICTORS FOR UMS:
JERRY AND
GLORIA ABRAMS
SUPPORTERS OF THIS AFTERNOONÕS PERFORMANCE
BY THE ARTEMIS QUARTET.

2015-16
SEASON ANNOUNCEMENT!

The 2015Ð16 UMS season is positively brimming with must-see performances. In fact, there are so many incredible options that weÕre announcing the Choral Union and Chamber Arts series early this season, with subscriptions to these packages on sale now. Take a peek, mark your calendars, and plan something special.

53RD ANNUAL CHAMBER ARTS SERIES

9/27
Sphinx Virtuosi with the Catalyst Quartet
and Gabriela Lena Frank
11/6
Danish String Quartet
12/2
Tak‡cs Quartet
1/22
Chamber Music Society of Lincoln Center
2/16 & 2/18
Sir Andr‡s Schiff, piano
4/8
Jerusalem String Quartet

UMS PRESENTS
ARTEMIS QUARTET

Vineta Sareika, Violin
Gregor Sigl, Violin
Friedemann Weigle, Viola
Eckart Runge, Cello

Sunday Afternoon, April 19, 2015 at 4:00
Rackham Auditorium ¥ Ann Arbor

67th Performance of the 136th Annual Season
..52nd Annual Chamber Arts Series
Photo: Artemis Quartet; photographer: Molina Visuals.

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PROGRAM

Anton’n Dvo.‡k
String Quartet in F Major, Op. 96
Allegro man non troppo
Lento
Molto vivace
Finale: Vivace ma non troppo
P.terisÊVasks
String Quartet No. 5
Being present
So distantÉyet so near
INTERMISSION
Pyotr Ilyich Tchaikovsky
String Quartet No. 1 in D Major, Op. 11

Moderato e semplice
Andante cantabile
Scherzo: Allegro non tanto
Finale: Allegro giusto

This afternoonÕs performance is supported by Jerry and Gloria Abrams.
Media partnership is provided by WGTE 91.3 FM.
Special thanks to Kipp Cortez for coordinating the pre-concert music on the Charles Baird Carillon.
Artemis Quartet records for Virgin Classics/EMI.
Artemis Quartet appears by arrangement with Arts Management Group Inc., New York, NY.

WINTER 2015

ARTEMIS QUARTET

NOW THAT YOUÕRE IN YOUR SEATÉ

The two great Slavic composers of the 19th century, Dvorù‡k and Tchaikovsky, born only a year apart, formed something of a mutual admiration society. They first met when Tchaikovsky came to Prague for performances of his Eugene Onegin in 1888, and subsequently invited his Czech colleague to Russia to give some concerts. According to a 1996 study, Dvorù‡kÕs Eighth Symphony may be considered a direct response to TchaikovskyÕs Fifth. Temperamentally quite different, the two composers nevertheless shared a fondness for folksong, and each showed the way how genres like the symphony or the string quartet, until then considered predominantly ÒGermanicÓ art forms, could transcend national boundaries. The two classics are complemented by a work by Peøteris Vasks of Latvia, one of the most highly regarded contemporary composers from Eastern Europe, who, in an interview, credited the tragic history of his part of the world with providing Òa terrific impulse to be creative, to express our emotions.Ó

String Quartet in F Major, Op. 96
(.American.) (1893)
Anton’n Dvorù‡k
Born September 8, 1841 in Nelahozeves,
Czech Republic
Died May 1, 1904 in Prague
UMS premiere: Kneisel Quartette, January 15, 1904 in University Hall.
SNAPSHOTS OF HISTORYÉIN 1893:
Â¥
Thomas Edison finishes construction of the first motion picture studio in West Orange, New Jersey

Â¥
Panic of 1893: A crash on the New York Stock Exchange starts a depression

Â¥
The US Supreme Court legally declares the tomato to be a vegetable

Â¥
New Zealand becomes the first country in the world to grant women the right to vote

Â¥
Brothers Charles and Frank Duryea drive the first gasoline-powered motorcar in America on public roads in Springfield, Massachusetts

Written in 1893, Dvorù‡kÕs ÒAmericanÓ Quartet is the work of a composer who undertakes his most extended voyage at a mature age. A new environment had a direct influence on the evolution of the composerÕs style: Dvorù‡k responded to the new musical idioms he came into contact with.
From 1892Ð1895, Dvorù‡k served as the director of the National Conservatory of Music in New York. He spent the summer vacation of 1893 in Spillville, Iowa, a village that was home to a sizable Czech community. Dvorù‡k obviously went there to be in the company of his own fellow country people, but at the same time he was very interested in whatever he could learn about American traditional music. He felt that his mission in America was to help create a distinctly American style of musical composition and he was convinced that American art music had to be based on the countryÕs folk music. He wanted to get to know Negro spirituals and his student Harry T. Burleigh was of great help in this endeavor. In addition, he attended a performance of Native American songs and dances during his stay in Iowa. Traces of these experiences Ñand others, since the third movement contains the near-quote of a birdsong Dvorù‡k had heard at Spillville Ñmay be found in his ÒAmericanÓ Quartet. The most recognizable folk element is the use of the pentatonic scale, used in all the most important melodies of the work. Yet pentatonicism could also be found in European folk traditions and was present in Dvorù‡kÕs music before the American trip. (As an interesting coincidence, a younger contemporary that Dvorù‡k would never have heard of, a Frenchman by the name of Claude Debussy, wrote his own string quartet [that also famously uses pentatonicism] in the very same year, 1893.)
What makes the ÒAmericanÓ Quartet a masterpiece is the fact that Dvorù‡k was able to express himself perfectly through the use of the pentatonic idiom adopted from outside sources. Although the melodies are fairly simple, they were subjected to some fairly sophisticated thematic development. The accompaniments (whether figurative or contrapuntal) show great care and extreme variety, as does the planning of key changes to avoid the commonplace. In other words, Dvorù‡k assimilated the folk-inspired materials into the art-music idiom he had inherited from Beethoven, Schubert, and Brahms, and in this sense, the ÒAmericanÓ Quartet is a thoroughly ÒEuropeanÓ creation.
Dvorù‡k was one of the last composers to speak with an individual voice while using the conventional forms of the Romantic era. In this sense, his work stands at the end of that Òage of innocenceÓ in music where there was as yet no gulf whatsoever between artists and their audiences.

String Quartet No. 5 (2004)
PeøterisÊVasks
Born April 16, 1946 in Aizpute, Latvia
UMS premiere: Quartet No. 5 has never been performed on a UMS concert.
SNAPSHOTS OF HISTORYÉIN 2004:
Â¥
North Korea bans mobile phones

Â¥
Preliminary hearings begin in Iraq in the trial of former president Saddam Hussein for war crimes and crimes against humanity

Â¥
Vatican City gains full membership rights in the United Nations except voting

Â¥
US presidential election, 2004: Republican incumbent President George W. Bush is declared the winner over his Democratic challenger, US Senator John F. Kerry, following a disputed recount in the state of Ohio

Â¥
Facebook launches

The score of Peøteris VasksÕ Quartet
No. 5 contains the following introduction by the composer (as translated from the Latvian by Dace Aperane):
I worked on the Fifth String Quartet, or more precisely, lived with this work for almost all of 2003. The final corrections and details were completed in the spring of 2004.
In this composition I wished to communicate how we are each a part of the world and a world unto ourselves, of the existence and necessity of idealism and the love around us and in us.
I was involved in the creative process not as an observer on the sidelines, but as a present and committed participant.
The Fifth Quartet consists of two contrasting movements. The first movement [ÒklaøtbuøtneÓ (Being present)] immediately ushers in an atmosphere of emotional high tension. The dominant musical atmospheric elements are dramatic and turbulent. They replace one another kaleidoscopically. In contrast, a second theme is intoned three times Ñ an invitation, a reminder of the existence of some other world. A lighthouse illuminating the twilight in which we so often live.
The second movement [Òtaølu prom...tik tuvuÓ (So distant...yet so near)]: the quartetÕs quiet, unhurried passage of singing; a forgiving, love-filled gaze upon a world tormented by pain and contradictions.
Gradually the singing becomes more personal, emotional, and dramatic. The funeral marchÕs rhythmic figure in the second movementÕs reprise: a gesture concerning a certain loss; the quartet dies away in a mood of light-filled sorrow.
One cycle has ended. We continue
to live.
The Fifth Quartet is dedicated to the musicians of the Kronos Quartet Ñ my friends and like-minded colleagues.
We believe: music can change us for the better and make us happier.
String Quartet No. 1 in D Major,
Op. 11 (1871)
Pyotr Ilyich Tchaikovsky
Born May 7, 1840 in Votkinsk, Russia
Died November 6, 1893 in St. Petersburg
UMS premiere: Flonzaley Quartette, November 25, 1912 in University Hall.
SNAPSHOTS OF HISTORYÉIN 1871:
Â¥
The member states of the North German Confederation and the south German states unite into a single nation state known as the German Empire

Â¥
US President Ulysses S. Grant signs the Civil Rights Act

Â¥
The University Tests Act removes restrictions limiting access to Oxford, Cambridge, and Durham universities to members of the Church of England

Â¥
The Royal Albert Hall in London is opened by
Queen Victoria

Â¥
The first Major League Baseball home run is hit by Ezra Sutton of the Cleveland Forest Citys

Tchaikovsky is essentially a composer best known for large musical forces and grand dramatic gestures: orchestral music, opera, and ballet. He had no strong personal affinity for chamber music though his output was not negligible: three string quartets, a piano trio, a string sextet, and miscellaneous works for violin and piano. Despite many wonderful moments, his chamber music as a whole is not held in high esteem by many of the cognoscenti for various reasons: weakness of form, unbalanced texture, inconsistency, and tendency to exceed the constraints of chamber music with grand, dramatic gestures best designed for large musical forces. There is one unequivocal exception: TchaikovskyÕs String Quartet in D Major, Op. 11. Even the stalwart critics acknowledge that it is a fine work, if not startlingly so, given that it was TchaikovskyÕs first chamber composition and it showed a complete technical mastery that he was unable to match again. Consistently appreciated since its debut, the quartet enjoys significant fame: it is the first noteworthy work of Russian chamber music, (the first great string quartet before Borodin), it contains one of Classical musicÕs greatest hits, and, according to TchaikovskyÕs own diary, it moved Tolstoy to tears.
The quartet begins with a well-crafted sonata with several noteworthy features. The opening theme is played by the quartet, softly, in unison, syncopated within the unusual meter of 9/8. (Just try counting it!) Melvin Berger indicates that these opening chords gave rise to an apt nickname for the quartet, ÒThe Accordion.Ó Next, the unity of the quartet divides into a multiplicity of flowing, contrapuntal lines with shorter, quicker notes in an exciting departure into greater complexity. The ensemble joins together again to sing the second theme in simple unity only to split again into a luxurious flurry of ornamentation. The development gives full flight to the contrapuntal lines, bringing them to the foreground against the background of the original syncopated theme sped up as a pulsating accompaniment. A wonderfully dense but crystal clear texture reaches a climax before the return of opening material. A brilliant coda maximizes the long line of acceleration culminating with an extended sequence of rapid D-Major chords, the original syncopated rhythm pushed as fast as the music allows.
With the poignant second movement ÒAndante cantabile,Ó Tchaikovsky penned the first of his many greatest hits, the particular part of the quartet that so moved Tolstoy. The main theme is based on a folksong that Tchaikovsky heard a gardener sing while visiting his sister in the Ukraine two years earlier. The music alternates between the folk theme and a contrasting section of TchaikovskyÕs own inspiration that is instantly recognizable as within the vein of his most characteristic style. This lovely little dream has been transcribed for numerous instrumental combinations as a separate, standalone piece including a version Tchaikovsky arranged for cello and orchestra. The .Scherzo. matches the heartfelt folk song of the slow movement with a vigorous peasant dance. It is heavy with unison playing, sharp rhythmic accents, strong dynamics, and the stout severity of a minor key. The trio is a curious combination of frivolity and ponderous chromaticism that, in standard form, returns to the animated .Scherzo.. With both movements, Tchaikovsky displays a nationalistic bent contrary to the view held by later Russian composers who disdained him as too cosmopolitan.
The .Finale. is a combination of sonata and rondo form full of bristling vigor, wonderful quartet textures, unmistakable touches of TchaikovskyÕs lyrical drama, and tinged, in parts, with a distinctly Russian cast. It is one of the finest chamber music movements he wrote. With its poise, balance, and concision, it is utterly classical in the true sense of the word. In fact, it is oddly reminiscent. Despite the definite mark of TchaikovskyÕs personality, it bears a striking and detailed resemblance to the string quartet music of TchaikovskyÕs greatest musical idol: Mozart. Writing such a piece in 1871, Tchaikovsky could well be considered one of the first neoclassicists, though, in place of any modernist irony, Tchaikovsky expresses only affectionate sincerity.
Program notes by Peter Laki.

WINTER 2015

WINTER 2015

ARTEMIS QUARTET

WINTER 2015

WINTER 2015

ARTISTS

The Berlin-based ARTEMIS QUARTET was founded in 1989 at the Musikhochschule LŸbeck, and is recognized today as one of the foremost quartets in the world. Its mentors include Walter Levin, Alfred Brendel, the Alban Berg Quartet, the Juilliard Quartet, and the Emerson Quartet. Since its successful debut at the Berlin Philharmonie in 1999, the quartet has performed consistently in great music centers and at international festivals in Europe, the US, Japan, South America, and Australia.
Since 2004, the Artemis Quartet has been programming its own critically renowned series in the Berlin Philharmonie. It was named Quartet-in-Residence at the Vienna Konzerthaus in 2011.
In 2009, celebrating its 20th anniversary, along with its affinity for BeethovenÕs music, the Quartet embarked on a Beethoven cycle which was performed over two seasons in many major capitols of Europe. The project culminated in a recording of the complete quartets with Virgin Classics/EMI. The Beethoven Complete project was awarded the prestigious French Grand Prix de lÕAcadŽmie Charles Cros.
Collaborations with other musicians have always been an important source of inspiration for the ensemble. The quartet has toured with such personalities as Sabine Meyer, Elisabeth Leonskaya, Juliane Banse, and Jšrg Widmann. Some collaborations have been documented on CDs, such as the Brahms and Schubert piano quintets with Leif Ove Andsnes, the Schubert quintet with Truls M¿rk, and SchoenbergÕs VerklŠrte Nacht with Thomas Kakuska and Valentin Erben of the Alban Berg Quartet.
The Artemis Quartet has had an exclusive recording contract with Virgin Classics/EMI since 2005, and they can boast of an extensive discography. Their recordings have been recognized with the prestigious Gramophone Award, the Diapason dÕOr, and the ECHO-Klassik, twice.
A focus on contemporary music is an important part of the ensembleÕs work, in part because they wish to keep developing an eye for new elements in already well-established music. Composers such as Mauricio Sotelo, Jšrg Widmann, and Thomas Larcher have written pieces for the Artemis Quartet within the last 10 years. Recently, they premiered a concerto for quartet and orchestra by Daniel Schnyder in 2014.
In addition to their concert careers, the four musicians are professors at the UniversitŠt der KŸnste in Berlin and at the Chapelle Musicale Reine Elisabeth in Brussels.

ARTEMIS QUARTET

WINTER 2015

Scan for context! UMS Lobby regular contributor Garrett Schumann takes a look at perspectives on melody in Dvo.‡k, Tchaikovsky, and Vasks.
Download a free QR code reader app on your smart phone, point your camera at the code, and scan to see multimedia content; or visit www.umslobby.org to find these stories.

UMS ARCHIVES

This afternoonÕs performance marks the second UMS appearance by the Artemis Quartet. The Quartet made its UMS debut in March 2013 at Rackham Auditorium.

THIS WEEKENDÕS VICTOR FOR UMS:
OLD NATIONAL
BANK
SUPPORTER OF SATURDAY EVENINGÕS PERFORMANCE
BY THE LYON OPERA BALLET.

BE A VICTOR
FOR UMS.

Building our endowment is critical to the long-term financial security of UMS. You can help us protect the future of this important organization by including UMS in your estate plan. Together, we can ensure that the wonderful experiences of seeing world-class performing arts that we have so enjoyed will continue for generations to come.

For information about making a planned gift to UMS, please contact Margaret McKinley at 734.647.1177 or margiem@umich.edu.

UMS PRESENTS
CINDERELLA

A production of
Lyon Opera Ballet
Artistic Director
Yorgos Loukos
General Director
Serge Dorny
Friday Evening, April 24, 2015 at 8:00
Saturday Evening, April 25, 2015 at 8:00
Sunday Afternoon, April 26, 2015 at 2:00
Power Center ¥ Ann Arbor

69th, 70th, and 71st Performances of the 136th Annual Season
24th Annual Dance Series
Photo: Cinderella; photographer: Jaime Roque de la Cruz.

11

UMS

CREATIVE TEAM

Choreographer
Maguy Marin
Scenic Design
Maguy Marin

Music
Serge Prokofiev, Cendrillon
Additional musical sequences by Jean Schwartz

DŽcor
Montserrat Casanova

Costumes
Montserrat Casanova

Masks
Monique Luyton

Lighting
John Spradbery
Cinderella was premiered by the Lyon Opera Ballet at the Lyon Opera House on November 29, 1985.

PROGRAM

Cinderella is approximately 90 minutes in duration and will be performed without intermission.

Following Friday eveningÕs performance, please feel free to remain in your seats and join us for a post-performance Q&A with members of the company.

Saturday eveningÕs performance is sponsored by Old National Bank.
Media partnership provided by Michigan Radio 91.7 FM.
Special thanks to Grace Lehman and the Ann Arbor Y and Clare Croft for their participation in events surrounding this residency by Lyon Opera Ballet.
This tour of Cinderella is made possible with the support of the Onassis Cultural Center NY.
Cinderella appears by arrangement with IMG Artists, New York, NY.

WINTER 2015

CINDERELLA

12

BE PRESENT

CAST

Cinderella
Caelyn Knight (Friday, Sunday)
AurŽlie Gaillard (Saturday)
Prince
Adrien DelŽpine (Friday, Sunday)
Mathieu Rouvire (Saturday)
StepmotherÊ
Ashley Wright
Two Sisters
Amandine Roque de la Cruz
DorothŽe Delabie
FatherÊ
Franck Laizet (Friday, Sunday)
Pavel Trush (Saturday)
Three Ballerinas
Elsa Raymond
Elsa Monguillot de Mirman
Annabelle Peintre
FairyÊ
Ins Pereira De Almeida
The Servants
Raœl Serrano Nœ.ez
Julian Nicosia
Marco Merenda
The Four Musical Animals
Tadayoshi Kokeguchi
Alexis Bourbeau
Simon Galvani
Petros Chrkhoyan
Aristocrats
Ashley Wright
Amandine Roque de la Cruz
DorothŽe Delabie
Kristina Bentz
Franck Laizet
Carlos Lainez
Florian Danel
Roylan Ramos
Andalusian
Chiara Paperini
Easterner
ClŽmence Chevillotte

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13

CINDERELLA, which received its world premiere at the OpŽra of Lyon in 1985, was first seen in the US in 1987 when the Lyon Opera Ballet made its American debut at City Center in New York City. The ballet, which presents a radical retelling of the classic fairy tale, is set in a dollhouse and performed by dancers whose bodies are disguised to resemble dolls and whose faces are hidden behind doll-like masks. It is a world seen through the innocent eyes and incandescent imagination of a child. MarinÕs stunning and magical transformation of the ballet into an undefined time in the future, or perhaps past, universalizes the underlying themes of cruelty, sibling rivalry, jealousy, romantic and familial love, and compassion, giving them new wit and an enduring sense of timelessness.
Prokofiev began composing Cinderella in 1940 but the war intervened. Later the ballet was put aside in the interests of his opera, War and Peace. He did not take it up again until 1943, during a six-month sojourn in the Urals in the company of the Kirov artists who had been evacuated from Leningrad. Completed in 1944, the work was first performed in 1945 at the Bolshoi in Moscow. Cinderella is an entire evening ballet-spectacle in the fashion of Romeo and Juliette.
At the heart of the extravaganza lie ProkofievÕs original and unique contributions. The fairiesÕ four seasons sequences are musically very individualized: indestructible spring, the hot fullness of summer, the thorny aggressiveness of autumn, and the rhythmic balance and melodic undulation of winter.
The composer also sought simplicity and clarity to render the ballet accessible to the broadest possible appeal. The music responds, at the highest level, to the needs of dance in the manner of TchaikovskyÕs ballets.

WINTER 2015

ARTISTS

Born in Athens, YORGOS LOUKOS (artistic director) studied in Paris with Igor Foska, Boris Kniaseff, and Raymond Franchetti. He also studied philosophy at the University in Aix-en-Provence. Between 1972Ð1980 he danced successively at the ThŽ‰tre du Silence, the Zurich Opera, and the Ballet national de Marseille where he became, in 1980, Assistant to Roland Petit (reviving Carmen for the American Ballet Theatre and LÕArlŽsienne for the London Festival Ballet).
After a period at the Metropolitan Opera of New York, he joined the Lyon Opera Ballet at the invitation of Franoise Adret, first as ballet master (1985) before becoming co-director (1988), and finally artistic director when Franoise Adret left in 1991.
The Lyon Opera Ballet has received numerous choreographers both directing world creations and adding others to the CompanyÕs repertoire.
With numerous tours both in France and abroad, the company has become the city of LyonÕs worldwide ambassador.
Mr. Loukos was the curator of France Moves, the French dance festival in New York, held in May 2001 in collaboration with many of New York CityÕs theaters, and he then led a similar event in London in Fall 2005. He has also been director of the Festival of Dance in Cannes (1992Ð2009), and has been the director of the Athens and Epidaurus Festival since 2006.
Founded in 1969, LYON OPERA BALLET is known for its experimental and adventurous repertoire. Under the leadership of Yorgos Loukos, the company has commissioned works from young choreographers and performed productions of great classics, among them new versions of Cinderella and CoppŽlia by Maguy Marin and a new interpretation of Romeo and Juliet by Angelin Preljocaj. The classically trained dance company also presents works by highly regarded American choreographers such as Trisha Brown, Lucinda Childs, John Jasperse, Bill T. Jones, Stephen Petronio, Ralph Lemon, and Susan Marshall. The company has continued to tour worldwide since 1987 with ongoing success.

MAGUY MARIN was born in Toulouse, the daughter of Spanish immigrants. She began her dance studies at the age of eight at the Toulouse Conservatory. At 16, after winning the ConservatoryÕs highest honor, she studied in Paris for a year with the ballerina Nina Vyroubova. From 1969Ð72, she was member of the Strasbourg Opera, dancing as a soloist in such classical ballets as Swan Lake and Giselle. In 1972, Ms. Marin enrolled at Maurice BŽjartÕs Mudra, the Brussels- based dance and theater school, where she became a founding member of the group named Chandra, directed by Micha Van Hoecke.
After years spent at the Centre ChorŽgraphique National in Rillieux-la-Pape, the need arose for a fresh step, in the form of an independent company. Permanent working space for a company arose in Sainte-Foy-ls-Lyon in 2015 which will allow Ms. Marin to foster and trigger the deployment of a new, ambitious project in cooperation with her current artistic team, named ramdam.
In her recent shows, Maguy Marin has been staging daily life, dramatizing the everyday gestures of people without stories, while uniquely reflecting the human condition.

CINDERELLA

WINTER 2015

Lyon Opera Ballet
The OpŽra National de Lyon is generously supported by the Ministry of Culture and Communication, the
City of Lyon, the Conseil RŽgional Rh™ne-Alpes, and the Conseil GŽnŽral du Rh™ne.
With special thanks to the Rolex Institute.

UMS ARCHIVES

This weekend marks the Lyon Opera BalletÕs ninth, 10th, and 11th performances under UMS auspices. The company staged Cinderella at the Power Center in 2002 presented under UMS auspices. The company made its UMS debut in October 1999.

THIS AFTERNOONÕS VICTORS FOR UMS:
NATALIE MATOVINOVI.
.Ñ
MR. AND MRS.
DONALD L. MORELOCK
SUPPORTERS OF THIS AFTERNOONÕS PERFORMANCE
BY RICHARD GOODE.

BE A

VICTOR FOR
INSPIRATION

Support the community's creative future by
supporting UMS today.

Make your gift today at
ums.org/support

UMS PRESENTS
RICHARD GOODE

Sunday Afternoon, April 26, 2015 at 4:00
Hill Auditorium ¥ Ann Arbor

72nd Performance of the 136th Annual Season
136th Annual Choral Union Series
Photo: Richard Goode; photographer: Steve Riskind.

17

UMS

PROGRAM

Wolfgang Amadeus Mozart
Adagio in b minor, K. 540
Ludwig van Beethoven
Sonata No. 24 in F-sharp Major, Op. 78
Adagio cantabile Ñ Allegro ma non troppo
Allegro vivace
Johannes Brahms
8 KlavierstŸcke, Op. 76
Capriccio: Un poco agitato
Capriccio: Allegretto non troppo
Intermezzo: Grazioso
Intermezzo: Allegretto grazioso
Capriccio: Agitato, ma non troppo Presto
Intermezzo: Andante con moto
Intermezzo: Moderato semplice
Capriccio: Grazioso ed un poco vivace
INTERMISSION
Claude Debussy
ChildrenÕs Corner
Doctor Gradus ad Parnassum
JimboÕs Lullaby
Serenade for the Doll
The Snow Is Dancing
The Little Shepherd
GolliwogÕs Cake-walk
Robert Schumann
Humoreske, Op. 20

This afternoonÕs performance is supported by Natalie Matovinovi. and by Mr. and Mrs. Donald L. Morelock.
Media partnership is provided by WGTE 91.3 FM.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of floral art for this afternoonÕs recital.
Special thanks to Kipp Cortez for coordinating the pre-concert music on the Charles Baird Carillon.
Mr. Goode records for Nonesuch.
ÒLikeÓ Mr. Goode on Facebook and keep up with his latest news, recordings, and events.
Mr. Goode appears by arrangement with Frank Salomon Associates, New York, NY

WINTER 2015

RICHARD GOODE

18

BE PRESENT

NOW THAT YOUÕRE IN YOUR SEATÉ

Mozart, Beethoven, Schumann, Brahms, and Debussy Ñ all five were trained as pianists, even if SchumannÕs performing career was destroyed by a hand injury early in life. Yet they all had an extremely intimate relationship with the keyboard. Not only did they compose prolifically for the piano, they also contributed significantly to the evolution of piano technique. For this afternoonÕs program, Richard Goode selected works highlighting the lyrical side of these masters: in each work, the piano is made to sing, and Ñ in spite of more dynamic or more dance-like moments, especially in Debussy and Schumann Ñ gentle or contemplative moods prevail over more turbulent or dramatic ones. Spanning 120 years of musical history, the five works also speak volumes about the myriad ways the piano can sing or express lyrical emotions.

Adagio in b minor, K. 540 (1788)
Wolfgang Amadeus Mozart
Born January 27, 1756, in Salzburg, Austria
Died December 5, 1791 in Vienna
UMS premiere: Tina Lerner, February 28, 1913 in University Hall.
SNAPSHOTS OF HISTORYÉIN 1788:
Â¥
The first edition ofÊThe Times, previouslyÊThe Daily Universal Register, is published in London

Â¥
Isaac Briggs and William Longstreet patent a steamboat

Â¥
American pioneers establish the town of Marietta (in modern-day Ohio), the first permanent American settlement outside the original 13 Colonies

Â¥
New York ratifies the US Constitution and becomes the 11th US state

Â¥
Wolfgang Amadeus Mozart, in Vienna, completes his penultimate symphony, now called Symphony No. 40 in g minor

The first chord in the b-minor Adagio is a diminished seventh, the harshest dissonance classical music allows. That ominous opening ushers in one of MozartÕs most harmonically adventurous and emotionally profound works. In spite of the presence of regular sonata form, the work sounds more like a fantasy, as Hermann Abert noted in his two-volume Mozart monograph almost 100 years ago. The numerous hand-crossings enhance the unfolding drama through an additional visual element. It is interesting that this is also the only self-standing work Mozart ever composed in the key of b minor, a tonality he usually avoided. (HaydnÕs few extant works in that key indicate that b minor was considered to be a particularly sensitive key in the 18th century.)
Program note by Peter Laki.

Sonata No. 24 in F-sharp Major,
Op. 78 (1809)
Ludwig van Beethoven
Born December 15, 1770 in Bonn, Germany
Died March 26, 1827 in Vienna
UMS premiere: Alec Templeton,
February 25, 1943 in Hill Auditorium.
SNAPSHOTS OF HISTORYÉIN 1809:
Â¥
A new theater to hold the Royal Opera House opens in London to replace the first, burnt down in a fire in 1808. The price increases lead to the Old Price Riots which last for 64 days

Â¥
Jean-Baptiste Lamarck publishes Philosophie Zoologique, outlining a (wrong) concept of evolution by acquisition or loss of inherited characteristics through use or disuse

Â¥
Charles Darwin, British naturalist, is born

Â¥
Wearing masks at balls is forbidden in Boston, Massachusetts

Â¥
Abraham Lincoln, 16th President of the US, is born

Op. 78 was one of BeethovenÕs special favorites, perhaps because in its subtlety and modest dimensions it was easily overlooked, much as he explained the lesser popularity of Symphony No. 8 compared to Symphony No. 7 by saying that it was because Symphony No. 8 was so much better. Another reason was its dedication to and association with Therese von Brunsvik, a woman of whom Beethoven was deeply fond and who greatly valued him as man and artist. Beethoven composed Op. 78 in 1809, the year of the Emperor Concerto; the String Quartet in E-flat, Op. 74; and of two more amazingly divergent piano sonatas, the little Sonata in G Major, Op. 79; and the famous Farewell, Op. 81a. It was written while NapoleonÕs armies were attempting to take over Vienna. Beethoven found refuge in his brotherÕs cellar, after which he slipped into a depression, but he was able to work through his emotional turmoil with this composition.
Op. 78, a two-movement work that takes less than 10 minutes to play, is an example of an originality that is breathtaking, and the more so for seeming so off-hand. The Beethoven who reveled in gigantic dimensions gives us an ÒAdagioÓ introduction that is just four bars long. But how these few seconds of utterly simple music bare the soul, and how mercilessly they reveal what the pianist has Ñ or lacks Ñ in spirituality and singing tone! The gentle ÒAllegroÓ that follows is no less compact. At the same time it is full of adventure, and BeethovenÕs sweet dismemberment of the main theme in the coda produces mysteries of the kind we associate with the music of his last years. The finale is quick, capricious, virtuosic, and witty.
Program note by Michael Steinberg.
8 KlavierstŸcke (Eight Piano
Pieces), Op. 76 (1871/1879)
Johannes Brahms
Born May 7, 1833 in Hamburg, Germany
Died April 3, 1897 in Vienna, Austria
UMS premiere: 8 KlavierstŸcke has never been performed on a UMS recital.
SNAPSHOTS OF HISTORYÉIN 1879:
Â¥
The current constitution of the State of California in the US is ratified

Â¥
Russia and the United Kingdom sign the Treaty of Gandamak, establishing an Afghan state

Â¥
Henry George self-publishes his major work, Progress and Poverty

Â¥
Gilbert and SullivanÕs comic opera The Pirates of Penzance is first performed in Paignton, Devon, England

Â¥
New York CityÕs GilmoreÕs Garden is renamed
Madison Square Garden by William Henry Vanderbilt

These pieces are, perhaps, not quite as well known than the later works from
Opp. 116Ð119, yet what is commonly called BrahmsÕs late piano style, famous for its intimacy and delicate feeling, was actually born here. The Op. 76 set was published in 1879, falling between such extroverted, monumental masterworks as the Violin Concerto (1878) or the Piano Concerto
No. 2 (1881). But the individual pieces may in fact have been written several years earlier. There is a manuscript of the first capriccio, inscribed to Clara Schumann on September 12, 1871 (the 31st anniversary of Robert and Clara SchumannÕs wedding; ClaraÕs 52nd birthday fell on the following day). The a-minor intermezzo (No. 7) is connected to another of BrahmsÕs friends, the pianist Elisabet von Herzogenberg, who heard Brahms play it before the set was published, notated it rather accurately from memory, and sent it back to the composer, adding some words to it as if it were a song. The words read: ÒHave pity on poor me and send me the longed-for intermezzi....Ó

It was in the Op. 76 set that Brahms first established the alternation of intermezzos and capriccios to which he was to return a dozen years later, during the final years of his life. It was here, in fact, that first articulated his answer to the short character pieces of Schumann and Chopin: these are his first piano works that are neither monumental sonatas, variation sets, nor dramatic ballads.
Four of the eight pieces are intermezzos and the other four capriccios Ñ the former being, as a rule, more lyrical and fluid while the latter contain more rhythmic activity and are, in general, more virtuosic in style. The playful second capriccio (in b minor) stands out as one of the most memorable in the cycle; the fifth piece (Capriccio in c-sharp minor) is the weightiest of the pieces, the center of gravity of the entire opus, as it were. Each of the intermezzos is based on a certain type of rhythmic motion maintained throughout the piece. Although most of the pieces are cast in A-B-A form, the ÒBÓ sections do not contrast sharply with the ÒAÓ materials as they do, for instance, in many Chopin nocturnes; instead, they evolve naturally from the earlier sections, developing the same musical ideas in new ways rather than introducing entirely new ones.
Upon completing the eight pieces, Brahms showed them to one of his closest friends, Theodor Billroth, a famous surgeon and amateur musician who declared: ÒThese are magnificent pieces, beautiful and interesting to play. They lie so well under the hand for those who are a little used to SchumannÕs and ChopinÕs technique that it is a pleasure to practice them.Ó
Program note by Peter Laki.
ChildrenÕs Corner (1906Ð08)
Claude Debussy
Born August 22, 1862 in Saint-Germain-en
Laye, nr. Paris, France
Died March 25, 1918 in Paris
UMS premiere: Alfred Cortot, January 28, 1925 in Hill Auditorium.
SNAPSHOTS OF HISTORYÉIN 1908:
Â¥
A long-distance radio message is sent from the Eiffel Tower for the first time

Â¥
The Hoover Company of Canton, Ohio, acquires manufacturing rights to the upright portable vacuum cleaner just invented by James M. Spangler

Â¥
ƒmile Cohl makes the first fully animated film, Fantasmagorie

Â¥
Henry Ford produces his first Model T automobile

Â¥
Simone de Beauvoir, French feminist writer, is born

One of the greatest compositions ever inspired by a child, the six-movement piano suite ChildrenÕs Corner was DebussyÕs gift to his young daughter Claude-Emma, affectionately known as Chouchou. It was published in 1908, the year when DebussyÕs family situation, at the time seen as highly unconventional, was finally normalized; he finally married ChouchouÕs mother, Emma Bardac, that same year, after their respective divorces were completed.
Like many French children of the middle class, Chouchou had an English governess to introduce her to the language Ñ hence the playful English-language titles used by her doting father in the music specifically intended for her ears. Debussy looked at the world of the child with grown-up eyes, yet produced musical images that a child can immediately relate to Ñ maybe not at the age of three but certainly by five or six, when the child is old enough to start studying the piano but still young enough to play with dolls.
The first piece addresses itself to the young piano student tormented by the healthy but somewhat tedious etudes of Muzio Clementi or Carl Czerny, both of whom wrote collections of piano studies under the title Gradus ad Parnassum (Steps to Mt. Parnassus). That would make ÒDoctor Gradus ad ParnassumÓ the stern professor enforcing the strict technical regimen set forth in those books Ñ here with an impish smile, however, as the steady 16th-note passages take some rather unexpected harmonic turns and becomes an exercise that is far from tedious, though it is still healthy for the young pianistÕs fingers.
Jimbo the elephant and the little doll were toys little Chouchou played with. They come alive in the next two movements of DebussyÕs suite: ÒJimboÕs Lullaby,Ó where the melody is appropriately in the bass register of the piano; and the ÒSerenade for the Doll,Ó a tender dance movement with occasional jazz inflections, written two years before the rest of the cycle in 1906.
Of the fourth movement, ÒThe Snow is Dancing,Ó E. Robert Schmitz, a French pianist who had known Debussy personally, wrote: ÒIn this exquisitely fashioned piece Debussy reflects more than the snow, or the astonishment of the child at this wonder of nature; he places his craftsmanship at the disposal of his own deep understanding of both nature and childhood.Ó The staccato (short, separated) notes of the piano represent the falling snowflakes, and the Òsoft and sadÓ melodies that unfold over this accompaniment portray the young observer behind the windowpanes.
The unaccompanied opening theme of ÒThe Little ShepherdÓ symbolizes the sound of the shepherdÕs pipe, alternating with a more dance-like idea, complete with some simple but exquisite harmonies. Finally, ÒGolliwoggÕs Cake-walkÓ pays tribute to the American minstrel shows that were all the rage in Paris at the turn of the century. Golliwogg was a black doll created by artist Florence Upton in the 1890s that became wildly popular; it inspired Debussy to write a brilliant send-up of ragtime music, with a rather amusing, and wonderfully incongruous, quote of WagnerÕs ÒPreludeÓ to Tristan and Isolde in the middle. Debussy must have remembered the Tristan Quadrille (Souvenir de Munich) by an idol of his youth, Emmanuel Chabrier, who had likewise placed this icon of high-brow musical culture in a rather irreverent context.
Program note by Peter Laki.

Humoreske, Op. 20 (1839)
Robert Schumann
Born June 8, 1810 in Zwickau, Saxony
Died July 29, 1856 in Endenich, nr. Bonn, Germany
UMS premiere: Grant Johannesen, as part of the Summer Fare Series, July 18, 1980 in Rackham Auditorium.
SNAPSHOTS OF HISTORYÉIN 1839:
Â¥
First photograph of the Moon taken by photographer Louis Daguerre

Â¥
The Boston Morning Post first records the use of ÒOKÓ (Òoll korrectÓ)

Â¥
John D. Rockefeller is born

Â¥
Giuseppe VerdiÕs first opera, Oberto, conte di San Bonifacio, opens in Milan

Â¥
In the US, the first state law permitting women to own property is passed in Jackson, Mississippi

The word ÒhumorÓ is one whose meaning has changed repeatedly over the centuries. Nowadays, it stands for language or behavior that inspires laughter. Originally, however, the four ÒhumorsÓ of the human body were the four fluids (black bile, yellow bile, phlegm, and blood) whose balance was believed to be responsible for our health. Later on, ÒhumorÓ became a synonym of Òmood,Ó as in being in good or bad humor. Then, in a laudable example of positive thinking, Ògood humorÓ was shortened simply to Òhumor,Ó and since there is nothing like a joke to put you in a good mood, the word became more specifically associated with hilarity.
When Schumann wrote his Humoreske for piano (he actually called it Grosse Humoreske, Ògreat humoresqueÓ), he still had the earlier, broader meaning of the word in mind. To be sure, the work has its share of funny moments: for instance, the first fast section of the work always makes me want to laugh out loud for the way it repeats fragments of its melody at the most unexpected times. But this is only one of this workÕs many moods, and the title refers precisely to the utterly capricious alternation of those moods. And Òhumor,Ó in this instance, was a very serious matter indeed: Schumann got the idea for the piece from a philosophical treatise called Vorschule der €sthetik (School for Aesthetics) by his favorite writer, Jean Paul (1763Ð1825), a master of humor in every sense of the word. In his great Schumann monograph, the late John Daverio identified the passages from Jean Paul that are most directly applicable to Humoreske: an Òinfinity of contrastÓ and a Òsetting of the small world beside the great,Ó resulting in Òa kind of laughter...which contains pain and greatness.Ó In other words, the sharp contrasts may have a comical effect in themselves, but that takes nothing away from the poignancy of the melancholy (the word means Òblack bileÓ) episodes.
The Humoreske, which is nearly half-an-hour long, is one of several extended cyclic works Schumann wrote in the 1830s, from DavidsbŸndlertŠnze to Carnaval to Kreisleriana. It is probably the most complex and ambitious of them all, because of the subtle interplays of the constituent segments, with many internal motivic recalls. It is not even easy to say how many such segments the work contains: Daverio counted 15, but different CD recordings often divide the piece into a different number of tracks. Some of the mood changes are arranged in recurrent A-B-A forms, but the overall shape of the work remains entirely unpredictable. Still, the work is unified by its main tonality (B-flat Major), and with hindsight, one may reconstruct its overall trajectory from a dreamy and lyrical opening to a similarly wistful epilogue (though with a surprisingly tempestuous final gesture tacked on at the very end). In between, it is a kaleidoscope of ever-changing musical images. Those studying the score will find some highly revealing indications. At one point, one finds as an explicit direction for tempo rubato (the left and right hands being slightly out of sync, indicated as Òin tempoÓ and Òout of tempoÓ). Another time Schumann notates an Òinner voiceÓ on a third staff; this line, which is not played, shows the melody emerging from the figurations. For the listener, it is another fascinating dialog between the two aspects of SchumannÕs persona: the gentle Eusebius and the fiery Florestan, each expressing himself with greater eloquence and sophistication than ever before.
Program note by Peter Laki.

WINTER 2015

19

WINTER 2015

RICHARD GOODE

WINTER 2015

WINTER 2015

RICHARD GOODE

WINTER 2015

ARTIST

RICHARD GOODE has been hailed for music-making of tremendous emotional power, depth, and expressiveness, and has been acknowledged worldwide as one of todayÕs leading interpreters of Classical and Romantic music. In performances with major orchestras, recitals in the worldÕs music capitals, and through his extensive and acclaimed recordings, he has won a large and devoted following.
Among the highlights of recent seasons have been recitals in which, for the first time in his career, Mr. Goode performed the last three Beethoven Sonatas in one program, drawing capacity audiences and raves in cities such as New York, London, and Berlin. The New York Times, in reviewing his Carnegie Hall performance,Êhailed his interpretations asÊÒmajestic, profound readingsÉ Mr.ÊGoodeÕs playing throughout was organic and inspired, the noble, introspective themes unfolding with a simplicity that rendered them all the more moving.ÓÊRecent seasons have also included performances with the Metropolitan Opera Orchestra led by Fabio Luisi at Carnegie Hall; with the Los Angeles Philharmonic and Gustavo Dudamel; with Orpheus on tour and at Carnegie Hall playing the Schumann Concerto; and on tour with the Boston Symphony Orchestra.
An exclusive Nonesuch recording artist, Mr. Goode has made more than two dozen recordings over the years, ranging from solo and chamber works to lieder and concertos. His latest recording of the five Beethoven concertos with the Budapest Festival Orchestra and Iv‡n Fischer was released in 2009 to exceptional critical acclaim, described as Òa landmark recordingÓ by the Financial Times and nominated for a Grammy Award. His 10-CD set of the complete Beethoven Sonatas cycle, the first-ever by an American-born pianist, was nominated for another Grammy Award, and is ranked among the most distinguished recordings of this repertoire.
A native of New York, Mr. Goode studied at the Mannes College of Music and the Curtis Institute. His numerous prizes over the years include the Young Concert Artists Award, First Prize in the Clara Haskil Competition, the Avery Fisher Prize, and a Grammy Award for his recording of the Brahms Sonatas with clarinetist Richard Stoltzman.
Mr. Goode served, together with Mitsuko Uchida, as co-artistic director of the Marlboro Music School and Festival in Marlboro, Vermont from 1999Ð2013. Participating initially at the age of 14, at what the New Yorker magazine recently described as Òthe classical worldÕs most coveted retreat,Ó he has made a notable contribution to this unique community over the 28 summers he has spent there. He is married to the violinist Marcia Weinfeld, and when the Goodes are not on tour, they and their collection of some 5,000 volumes live in New York City.

WINTER 2015

RICHARD GOODE

UMS ARCHIVES

This afternoonÕs performance marks Richard GoodeÕs seventh appearance under UMS auspices. Mr. Goode made his UMS debut in February 1969 at Rackham Auditorium. Mr. Goode made his most recent Ann Arbor appearance in a January 2009 recital at Hill Auditorium.

49

BE PRESENT

UMS NATIONAL COUNCIL
The UMS National Council is composed 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
Chair
Andrew Bernstein
Kathleen G. Charla
Jacqueline Davis
Marylene Delbourg-Delphis
John and Betty Edman
Janet Eilber
Barbara Fleischman
Maxine Frankel
Eugene Grant
Charles Hamlen
Katherine D. Hein
David Heleniak
Patti Kenner
Wallis C. Klein
Jerry and Dale Kolins
Zarin Mehta
Jordan Morgan
James A. Read
Herbert Ruben
James and Nancy Stanley
Russell Willis Taylor
Ann and Clayton Wilhite

UMS CORPORATE COUNCIL
The UMS Corporate Council is a group of regional business leaders who serve as advocates and advisors to UMS as we seek to broaden our base of corporate support throughout southeastern Michigan.

WINTER 2015

A. Douglas Rothwell
Chair
Albert Berriz
Bruce Brownlee
Robert Buckler
Robert Casalou
Richard L. DeVore
Nolan Finley
Stephen R. Forrest
Michele Hodges
Mary Kramer
David Parsigian
Vivian Pickard
Sharon Rothwell
Frederick E. Shell
Michael B. Staebler
James G. Vella
Stephen G. Palms,
Ex-Officio

UMS STUDENTS
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
Andrew Bader
Megan Boczar
Rebecca Boelzner
Clare Brennan
Gabrielle Carels
Abigail Choi
Catherine Cypert
Anna Darnell
Kathryn DeBartolomeis
Sophia Deery*
Adam DesJardins
Thomas Erickson
Katrina Fasulo
Mysti Hawkins
Trevor Hoffman
Marina Hogue
Annie Jacobson
Garret Jones
Travis Jones
Ayantu Kebede
Meredith Kelly
Saba Keramati
Scott Kloosterman
Emily Kloska
Caitlyn Koester
Alexandra Koi
Bridget Kojima
Flores Komatsu*
Hillary Kooistra*
Jordan Miller
Gunnar Moll
Claire Pegram
Elias Rodriguez
Nisreen Salka
Elizabeth Seidner*
Marissa Solomon
Priyanka Srivastava
Haylie Stewart
Rachel Stopchinski
Edward Sundra
Jocelyn Weberg
* 21st Century Artist Interns

27

BE PRESENT

UMS FACULTY INSIGHT GROUP
As part of the UMS Mellon Initiative on Arts/Academic Integration, this group advises UMS staff on opportunities to integrate our programming more deeply and systematically into the academic life of the University of Michigan.

Mark Clague
Clare Croft
Philip J. Deloria
Angela Dillard
Gillian Eaton
Linda Gregerson
Marjorie Horton
Joel Howell
Daniel Klionsky
Lawrence La Fountain-
Stokes
Tim McKay
Lester Monts
Melody Racine
Katie Richards-Schuster
Sidonie Smith
Emily Wilcox

UMS TEACHER INSIGHT GROUP
Through UMS Teacher Insight, we stay aware of trends, changing resources, and new opportunities for learning in the K-12 classroom.

WINTER 2015

Robin Bailey
Jennifer Burton
Jeff Gaynor
Neha Shah
Cecelia Sharpe
Karen McDonald
Melissa Poli
Rebeca Pietrzak
Mark Salzer

UMS AMBASSADORS
UMS Ambassadors (formally known as the Advisory Committee) advance the goals of UMS, champion the UMS mission through community engagement, provide and secure financial support, and assist UMS in countless other ways.

Pat Bantle
Chair
Louise Taylor
Vice Chair
Connie Rizzolo Brown
Secretary
Jane Holland
Treasurer
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
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
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

29

UMS

UMS STAFF
The UMS Staff works hard to inspire individuals and enrich communities by connecting audiences and artists in uncommon and engaging experiences.

ADMINISTRATION & FINANCE
Kenneth C. Fischer
President
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
DEVELOPMENT
Margaret McKinley
Director of Development
Esther Barrett
Development Coordinator
Susan Bozell Craig
Associate Director of Development, Corporate Partnerships & Major Gifts
Rachelle Lesko
Annual Fund Manager
Lisa Michiko Murray
Senior Manager of Foundation & Government Relations
Marnie Reid
Associate Director of Development, Major Gifts
Cindy Straub
Manager of Volunteers & Special Events
Mary A. Walker
Associate Director of Development, Major Gifts
EDUCATION & COMMUNITY ENGAGEMENT
James P. Leija
Director of Education & Community Engagement
Shannon Fitzsimons
Campus Engagement Specialist
Teresa C. Park
Education Coordinator
Mary Roeder
Associate Manager of Community Engagement
MARKETING & COMMUNICATIONS
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
PROGRAMMING & PRODUCTION
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 Rosenthal
Associate Programming Manager
TICKET OFFICE
Christina Bellows
Ticket Services Manager
Kate Gorman
Front-of-House Manager
Ellen Miller
Ticket Office/Front-of-House Assistant
AnnŽ Renforth
Ticket Services Coordinator
Anna Simmons
Assistant Ticket Services Manager
Melanie Toney
Ticket Services Assistant
Dennis Carter, Bruce Oshaben, Brian Roddy
Head Ushers
UMS CHORAL UNION
Jerry Blackstone
Conductor & Music Director
Arianne Abela
Assistant Conductor
Kathleen Operhall
Chorus Manager
Nancy Heaton
Chorus Librarian
Jean Schneider
Accompanist
Scott VanOrnum
Accompanist

WINTER 2015

LEADERSHIP.

30

Support.
UMS excites the imagination, sparks creativity, sharpens collaboration, inspires new ways of thinking, and connects us
in ways that only the arts can.

Ticket sales, however, cover less than 40% of the world-class programs that benefit our students and community.

Your gift of any size will enable UMS to deliver bold artistic leadership, to create engaged learning through the arts, and
to provide access and inclusiveness.

NOW IS THE TIME.

Be a Victor for UMS.
Be a Victor for the Arts.
Be a Victor for Michigan.

Please send your gift to:
UMS Development
881 N. University Ave.
Ann Arbor, MI 48109-1011
For more information, please visit www.ums.org/support
or call Margaret McKinley at 734.647.1177.

31

GENEROUS
UMS DONORS.

CAMPAIGN GIFTS AND MULTI-YEAR PLEDGES
To help ensure the future of UMS, the following donors have made pledges that 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
Eugene and Emily Grant Family Foundation
The Andrew W. Mellon Foundation
Candis J. and Helmut F. Stern
$100,000Ð$499,999
Anonymous
Bert Askwith and Patti Askwith Kenner
Emily W. Bandera
Dennis Dahlmann
Sharon and Dallas Dort
Susan and Richard Gutow
Wallis Cherniack Klein
Norma and Dick Sarns
Ron and Eileen Weiser
Max Wicha and Sheila Crowley
Ann and Clayton Wilhite
$75,000Ð$99,999
David and Phyllis Herzig
$50,000Ð$74,999
Essel and Menakka Bailey
Penny and Ken Fischer
Mohamad Issa/Issa Foundation
Miller, Canfield, Paddock and Stone, P.L.C.
Mr. and Mrs. 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
$25,000Ð$49,999
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
Martin Family Foundation
Lois Stegeman
Stout Systems
Karen and David Stutz
Dody Viola
$15,000Ð$24,999
Michael and Suzan Alexander
Ronald and Linda Benson
Valerie and David Canter
Sara and Michael Frank
Wendy and Ted Lawrence
M. Haskell and Jan Barney Newman
Eleanor Pollack
$5,000Ð$14,999
Barbara Anderson and John Romani
John and Lillian Back
Suzanne A. and Frederick J. Beutler
Tim and Robin Damschroder
Michele Derr
Ann Martin and Russ Larson
Eric and Ines Storhok

33

ENDOWED FUNDS
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

WINTER 2015

PLANNED GIFTS/BEQUESTS
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
Lou and Janet Callaway
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
Dr. Sid Gilman and Dr. Carol Barbour
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
Irena Politano
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
Richard W. Solt
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

LIFETIME GIVING OF $500,000 OR MORE
The donors listed below have provided significant support to UMS over a number of years. We recognize those whose cumulative giving to UMS totals $500,000 or more.

Anonymous
Linda and Maurice Binkow
Community Foundation for Southeast Michigan
Doris Duke Charitable Foundation
DTE Energy Foundation
Ford Motor Company Fund and Community Services
Forest Health Services
Ilene H. Forsyth
Maxine and Stuart Frankel Foundation
Richard and Lillian Ives Trust
The Andrew W. Mellon Foundation
Michigan Council for Arts and Cultural Affairs
Michigan Economic Development Corporation
National Endowment for the Arts
Pfizer, Inc.
Randall and Mary Pittman
Philip and Kathy Power
Estate of Mary Romig-deYoung
Herbert E. Sloan, Jr. M.D.
Candis J. and Helmut F. Stern
University of Michigan
University of Michigan Health System
The Wallace Foundation

WINTER 2015

UMS SUPPORT Ð JULY 1, 2013 Ð DECEMBER 1, 2014
The following list includes donors who made gifts to UMS between July 1, 2013 and December 1, 2014. Due to space restraints, 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 ums.org.
# indicates the donor made a contribution to a UMS Endowment Fund

PRODUCERS
($500,000 OR MORE)
Ilene H. Forsyth #
Eugene and Emily Grant Family Foundation
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 System
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
Linda and Stuart Nelson
Ann and Clayton Wilhite
MAESTROS
($20,000Ð$49,999)
Ann Arbor Area Community Foundation
Anonymous
Anonymous #
Essel and Menakka Bailey #
Emily W. Bandera
John R. Edman and Betty B. Edman #
Esperance Family Foundation
Charles H. Gershenson Trust
Susan and Richard Gutow #
KeyBank
Masco Corporation Foundation
Montague Foundation #
Roger and Coco Newton #
Philip and Kathy Power
Sharon and Doug Rothwell #
Norma and Dick Sarns
Jane and Edward Schulak
Toyota
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
Joseph A. Bartush, LSA, Class of Ô71
Bell Tower Hotel
Bendit Foundation
The Dahlmann Campus Inn
Alice Dobson
Jim and Patsy Donahey
Penny and Ken Fischer
Stephen and Rosamund Forrest
Anne and Paul Glendon #
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
Thomas and Deborah McMullen
McMullen Properties
Mrs. Robert E. Meredith #
Miller, Canfield, Paddock, and Stone, P.L.C.
Mr. and Mrs. 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
PNC Foundation
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
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
Barbara A. Anderson and John H. Romani
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
Jerry and Dale Kolins #
Samuel and Marilyn Krimm
Linda Langer and Paula McCracken
Ted and Wendy Lawrence #
Richard and Carolyn Lineback
The Mardi Gras Fund
Martin Family Foundation
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
Tim and Sally Petersen
Eleanor Pollack #
Prue and Ami Rosenthal
Herbert and Ernestine Ruben
SavaÕs Restaurant
John W. and Gail Ferguson Stout
Stout Systems
Karen and David Stutz #
The Summer Fund of the Charlevoix County Community Foundation
Bruce G. Tuchman
United Way of Washtenaw County
University of Michigan Third Century Initiative
Dody Viola
LEADERS
($2,500Ð$4,999)
Jim and Barbara Adams
Michael and Suzan Alexander
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
Anne Beaubien and Phil Berry
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 O'Meara
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
Carolyn and Paul Lichter
Lawrence and Rebecca Lohr
E. Daniel and Kay Long #
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
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
Ed and Natalie Surovell
Judy and Lewis Tann
Louise Taylor
Ted and Eileen Thacker
Keturah Thunder-Haab
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
Christiane and William 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
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
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
Mac and Nita Cox
Tim and Robin Damschroder #
Susan T. Darrow
Charles and Kathleen Davenport #
Elena and Nicholas Delbanco
Monique and Dennis Deschaine
Michele Derr
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
Susan Fisher and John Waidley
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
Fred and Barbara Goldberg
Cozette Grabb
Martha and Larry Gray
Leslie and Mary Ellen Guinn
Marlys Hamill
Steven and Sheila Hamp
Jeff Hannah and Nur Akcasu
Randall L. and Nancy Caine Harbour #
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 #
David H. and Gretchen Kennard
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
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
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
James H. McIntosh and Elaine K. Gazda
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
Huda Karaman Rosen
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
Alyce K. Sigler
Carl Simon and Bobbi Low
Nancy and Brooks Sitterley
Michael Sivak and Enid Wasserman
Barbara Furin Sloat
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
DJ and Kate Sullivan
Charlotte B. Sundelson
Elaine and Jim Tetreault
Jeff and Lisa Tulin-Silver
Marianne Udow-Phillips and Bill Phillips
Susan B. Ullrich #
Jack and Marilyn van der Velde
Florence S. Wagner
Bob and Liina Wallin
Shaomeng Wang and Ju-Yun Li #
Joyce Watson and Marty Warshaw
Harvey and Robin Wax
Karl and Karen Weick
Steven Werns MD
W. Scott Westerman, Jr.
Roy and JoAn Wetzel #
Lauren and Gareth Williams
Beth and I. W. Winsten
Max and Mary Wisgerhof
Charles Witke and Aileen Gatten
The Worsham Family Foundation
BENEFACTORS
($500Ð$999)
Jan and Sassa Akervall
Roger Albin and Nili Tannenbaum
Gordon and Carol Allardyce #
Neil P. Anderson
Catherine M. Andrea
Ann Arbor Area Convention and Visitors Bureau
Ann Arbor Optometry
Anonymous
Sandy and Charlie Aquino
Penny and Arthur Ashe
Stephany and Jim Austin
Laurence R. and Barbara K. Baker
Lisa and Jim Baker
Reg and Pat Baker
Barbara and Daniel Balbach
Bank of America Charitable Foundation
Pat Bantle
Nancy Barbas and Jonathan Sugar
Rosalyn, Joshua, and Beth Barclay
David and Monika Barera
Frank and Lindsay Tyas Bateman
Astrid B. Beck
The Benevity Community Impact Fund
Merete Blšndal Bengtsson
Kathleen G. Benua
Helen V. Berg
L. S. Berlin and Jean McPhail
Maria and Terry Bertram
Sara Billmann and Jeffrey Kuras
William and Ilene Birge
John Blankley and Maureen Foley
R.M. Bradley and C.M. Mistretta
David and Sharon Brooks
Pamela Brown
Lawrence and Valerie Bullen
Sean Burton and
Dr. Jennifer Scott-Burton
Susan and Oliver Cameron
Campus Realty
Jack and Susan Carlson
Janet and Bill Cassebaum
Albert C. Cattell
John and Camilla Chiapuris
Alice S. Cohen
Jon Cohn and Daniela Wittmann
Conlin Travel
Connie and Jim Cook
Arnold and Susan Coran
Katherine and Clifford Cox
Clifford and Laura Craig #
John and Mary Curtis
Joseph R. Custer MD
Roderick and Mary Ann Daane
Christopher Dahl and Ruth Rowse
Dennis Dahlmann and Patricia Garcia
David and Nancy Deromedi
Macdonald and Carolin Dick
Linda Dintenfass and Ken Wisinski
Andrzej and Cynthia Dlugosz
Heather and Stuart Dombey
Julie and Bruce Dunlap
Don and Kathy Duquette
Dr. and Mrs. W. Duvernoy
Dykema
Alan S. Eiser
David Engelke and Alexandra Krikos
Ernst & Young Foundation
Etymotic Research,Inc.
Michael and Michaelene Farrell
Margaret and John Faulkner
Kay Felt
Carol Finerman
George W. Ford
David Fox and Paula Bockenstedt
Otto W. and Helga B. Freitag
Philip and RenŽe Woodten Frost
Carol Gagliardi and David Flesher
Luis and April Gago
Janet and Charles Garvin
Bob and Julie Gates
David and Maureen Ginsburg
Meidee Goh and David Fry #
Mr. and Mrs. Charles and Janet Goss #
Marla Gousseff
Christopher and Elaine Graham #
Dr. and Mrs. Robert A. Green
Linda and Roger Grekin
Raymond Grew
Werner H. Grilk
Ken and Margaret Guire
Arthur W. Gulick
Talbot and Jan Hack
Dr. Don P. Haefner and
Dr. Cynthia J. Stewart
Helen C. Hall
Alan Harnik and Professor
Gillian Feeley-Harnik
Dan and Jane Hayes
Katherine D. Hein MD
Diane S. Hoff
Jane and Thomas Holland
Kay Holsinger and Douglas C. Wood
Ronald and Ann Holz
Mabelle Hsueh
Jim and Colleen Hume
Ann D. Hungerman
Isciences, L.L.C.
Debbie Jackson
Elizabeth Jahn
Mattias Jonsson and Johanna Eriksson
Mark and Madolyn Kaminski
Don and Sue Kaul
Christopher Kendall and Susan Schilperoort
John Kennard and Debbi Carmody
Rhea K. Kish
Paul and Dana Kissner
Jean and Arnold Kluge
Regan Knapp and John Scudder
Joseph and Marilynn Kokoszka
Dr. Melvyn Korobkin and Linda Korobkin
Mary L. Kramer #
Paul Krutko and Ellya Jeffries
Ken and Maria Laberteaux
Donald J. Lachowicz
Jane Fryman Laird
David Lampe and Susan Rosegrant
Henry M. Lederman
Derick and Diane Lenters #
Sue Leong
Jennifer Lewis and Marc Bernstein
James and Jean Libs
Rod and Robin Little
Marilyn and Frode Maaseidvaag
Brigitte and Paul Maassen
Melvin and Jean Manis
Betsy Yvonne Mark
Geri and Sheldon Markel
Howard L. Mason
Judythe and Roger Maugh
Olivia Maynard and Olof Karlstrom
Martha Mayo and Irwin Goldstein
Margaret E. McCarthy
Jordan McClellan
Margaret McKinley
Joanna McNamara and Mel Guyer
Bernice and Herman Merte
Lee Meyer
Gene and Lois Miller
Louise Miller
Candice and Andrew Mitchell
Bert and Kathy Moberg
Olga Ann Moir
Lewis and Kara Morgenstern
Drs. Louis and Julie Jaffee Nagel
Erika Nelson and David Wagener
John and Ann Nicklas
Len Niehoff, Lisa Rudgers, and
J.J. Niehoff
Arthur S. Nusbaum
Constance and David Osler
Marysia Ostafin and George Smillie
M. Joseph and Zoe Pearson
Jack and Jean Peirce
Wesen and William Peterson
Joyce Plummer
Diana and Bill Pratt
Wallace and Barbara Prince
Quest Productions
Doug and Nancy Roosa
Nancy Rugani
Mariam Sandweiss
Ashish and Norma Sarkar
David W. Schmidt
Matthew Shapiro and Susan Garetz
George and Gladys Shirley
John Shultz Photography
Bruce M. Siegan
Sandy and Dick Simon
Sue and Don Sinta
JŸrgen Skoppek
Cheryl Soper
Cynthia Sorensen and Henry Rueter
Robbie and Bill Stapleton
Allan and Marcia Stillwagon
Sandy Talbott and Mark Lindley
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
Anonymous
Ralph and Elaine Anthony
Phil and Lorie Arbour
Eric and Nancy Aupperle
Brian and Elizabeth Bachynski
Robert and Mary Baird
Barbara Barclay
Alex and Gloria Barends
Kenneth and Eileen Behmer
Christina Bellows and Joe Alberts
Christy and Barney Bentgen
Rodney and Joan Bentz
Dan Berland and Lisa Jevens
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
Dennis J. Carter
Susie Carter
John and Marsha Chamberlin
Prof. J. Wehrley Chapman and
Mrs. Patricia Chapman
Samuel and Roberta Chappell
Mark and Joan 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
Susie Bozell Craig
Mrs. C. Merle Crawford
Jean Cunningham and Fawwaz Ulaby
Marylee Dalton and Lynn Drickamer
Connie D'Amato
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
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
Kay Felt
James and Flora Ferrara
Jeff Fessler and Sue Cutler
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
Greg Grieco and Sidonie Smith
Milton and Susan Gross
Susan C. Guszynski and
Gregory F. Mazure
Lawrence Hack
George and Mary Haddad
Michael Halpern
Susan R. Harris
Naomi Gottlieb Harrison and Theodore Harrison DDS
Dorothy J. Hastings
Gabrielle Hecht
Wendel and Nancy Heers
Rose and John Henderson
J. Lawrence Henkel and
Jacqueline Stearns
Therese and Alfred Hero
Elaine Hockman
Gideon and Carol Hoffer
Daniel Hoffman
James S. and Wendy Fisher House
Harold L. Ingram #
Joan and John Jackson
Drs. Maha Hussain and Sal Jafar
Hank and Karen Jallos
Mark and Linda Johnson
Paul and Olga Johnson
Janet and Jerry Joseph
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
John and Marcia Knapp
Michael Koen
Rosalie and Ron Koenig
Brenda Krachenberg
Gary and Barbara Krenz
Mary Krieger
Bert and Geraldine Kruse
Lucy and Kenneth Langa
Linda M. Langer
Neal and Anne Laurance
John and Theresa Lee
James Leija and Aric 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
Barbara and Michael Lott
William and Lois Lovejoy
Roger E. Lyons
Dr. Donald and Jane MacQueen
Martin and Jane Maehr
William and Jutta Malm
Tom Marini
Margaret and Harris McClamroch
Bill and Ginny McKeachie
Frances McSparran
Gerlinda Melchiori
Warren and Hilda Merchant
Fei Fei and John Metzler
Robin and Victor Miesel
Jack and Carmen Miller
John and Sally Mitani
Gordon and Kimberly Mobley
Mei-ying Moy
Mark and Lesley Mozola
Trevor Mudge and Janet Van Valkenburg
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
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
Jessica C. Roberts
Carrol K. Robertsen
Jonathan and Anala Rodgers
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
Suzanne Schluederberg
Larry and Bev Seiford
Suzanne Selig
Harriet Selin
Ananda Sen and Mousumi Banerjee
Fred Shapiro
David and Elvera Shappirio
Jamie Sharkey
Patrick and Carol Sherry
Janet and David Shier
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
James and Barbara Varani
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
Mary Ann Whipple
James B. White and Mary F. White
Nancy Wiernik
Nancy P. Williams
Robert J. and Anne Marie Willis
Pat and John Wilson
Robert Winfield and Lynda Chandler
Sarajane Winkelman
Lawrence and Mary Wise
Steven and Helen Woghin
Charlotte A. Wolfe
Drs. Margo and Douglas R. Woll #
Gail and David Zuk

37

VIRTUOSOS (CONTINUED).

UMS

WINTER 2015

SUPPORT.

38

PATRONS (CONTINUED).

39

PATRONS (CONTINUED).

UMS

WINTER 2015

SUPPORT.

40

BENEFACTORS (CONTINUED).

WINTER 2015

41

ASSOCIATES (CONTINUED).

UMS

WINTER 2015

SUPPORT.

42

TRIBUTE GIFTS
Gifts have been given in memory of the following people:

Mel Barclay MD
Erling Blšndal Bengtsson
Al Berland
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
George Killoran
Ian Krieg
Mort Lazar
Barbara Ann Lipinski
Josip Matovinovi. MD
Sharon Anne McAllister
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
Terril Tompkins
Neil Van Riper
Douglas O. Wayland
Angela Welch
Barbara R. Wykes

Gifts have been given in honor of the following people:

The 2013Ð14 UMS Ambassadors Executive Committee
Jeffrey Andonian
Nancy L. Ascione
Rachel Bendit
Sara Billmann
Jean W. Campbell
Beverly Carlisle
Pat Chapman
Judy Cohen
Mary Sue Coleman
Kenneth C. Fischer
Heather Gates
Jenny Graf
Susan and Dick Gutow
Emanuel Joshua
Michael Kondziolka
Katherine Moran
Sharon McAllister
Susan McClanahan
Donald and Antoinette Morelock
Ann Meredith
John M. Nicklas
John Reed
Dianne Widzinski
Ann and Clayton Wilhite
Bai Xianyong

SEARCH

OUR HISTORY.
IN YOUR HANDS.

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.

UMSREWIND.ORG

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.

45

BE PRESENT

HOW TO BUY TICKETS.

ONLINE
www.ums.org
IN PERSON
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.
BY PHONE
734.764.2538
(Outside the 734 area code,
call toll-free 800.221.1229)
BY MAIL
UMS Ticket Office
Burton Memorial Tower
881 North University Avenue
Ann Arbor, MI 48109-1011

WINTER 2015

TICKET DONATIONS/UNUSED TICKETS
If you are unable to use your tickets, please return them to us on or before the performance date (accepted until the published performance time). A receipt will be issued by mail for tax purposes; please consult your tax advisor. Ticket returns count towards UMS giving levels.
ACCESSIBILITY
All UMS venues have barrier-free entrances for persons with disabilities. For information on access at specific UMS venues, call the Ticket Office at 734.764.2538 or visit www.ums.org/about/accessibility. There is no elevator access to Power Center, Michigan Theater, or Lydia Mendelssohn Theatre balconies. Ushers are available for assistance.
LISTENING SYSTEMS
Assistive listening devices are available in Hill Auditorium, Rackham Auditorium, Lydia Mendelssohn Theatre, Arthur Miller Theatre, and the Power Center. Earphones may be obtained upon arrival. Please ask an usher for assistance.
LOST AND FOUND
For items lost at Hill Auditorium, Rackham Auditorium, Power Center, Lydia Mendelssohn Theatre, or Arthur Miller Theatre, please visit the University Productions office in the Michigan League on weekdays from 9 am to 5 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
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.

47

BE PRESENT

PARKING
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. Valet parking is also available for a fee ($20 per car) until 30 minutes prior to the concert, and then subject to availability. Cars may be dropped off in front of Hill Auditorium beginning one hour prior to the performance.
FOR UP-TO-DATE PARKING INFORMATION, PLEASE VISIT
WWW.UMS.ORG/PARKING.
POLICIES.
SMOKE-FREE UNIVERSITY
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.
TICKET EXCHANGES
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 umstix@umich.edu. 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/FAMILIES
Children under the age of three will not be admitted to regular, full-length UMS performances. All children must be able to sit quietly in their own seats throughout the performance. Children unable to do so, along with the adult accompanying them, may be asked by an usher to leave the auditorium. UMS has posted age recommendations for most performances at www.ums.org. Please use discretion in choosing to bring a child. Remember, everyone must have a ticket regardless of age. Learn more about budget-friendly family concertgoing at www.ums.org/kids.
.

WINTER 2015

49

BE PRESENT

GETTING INVOLVED.
For more detailed information on how to get involved with UMS, please visit www.ums.org/volunteer.
STUDENT WORK-STUDY/VOLUNTEER
INTERNSHIP PROGRAM
Internships with UMS provide valuable experiences in all areas of arts management, including performing arts production, education, administration, ticket sales, programming, development, and marketing. For more information about available positions and how to apply, please visit www.ums.org/jobs.
UMS STUDENT COMMITTEE
The UMS Student Committee is an official U-M student organization dedicated to keeping the campus community connected to the performing arts. For more information on how to join, please email umsscboard@umich.edu.
USHERING
Usher orientation sessions are held twice annually for new and returning ushers. You must attend an orientation to be eligible for ushering. Information about upcoming sessions is available at www.ums.org/volunteer as sessions are scheduled. For more information, contact Kate Gorman at 734.615.9398 or fohums@umich.edu.
UMS CHORAL UNION
Open to singers of all ages, the 175-voice UMS Choral Union performs choral music of every genre in presentations throughout the region. Participation in the UMS Choral Union is open to all by audition. Auditions are held in the spring and the fall of each year. To learn more, please contact Kathy Operhall at kio@umich.edu or 734.763.8997.
UMS AMBASSADORS (FORMERLY KNOWN AS UMS ADVISORY COMMITTEE)
If you are passionate about the arts, are looking for ways to spend time volunteering, and have a desire to connect with our organization on a deeper level, the UMS Ambassadors may be a great match for you. To learn more, please contact Cindy Straub at cstraub@umich.edu or 734.647.8009.

WINTER 2015

51

UMS ADVERTISING

50 Ann Arbor Area Community Foundation
8 Ann Arbor Symphony Orchestra
22 Bank of Ann Arbor
2 Center for Plastic and Reconstructive Surgery
32 Charles Reinhart Co. Realtors
48 Community Foundation for Southeast Michigan
36 Donaldson & Guenther Dentistry
36 Dykema
22 Gilmore International Keyboard Festival
4 Honigman Miller Schwartz and Cohn LLP
22 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
50 Mainstreet Ventures
39 Maryanne Telese, Realtor
34 Michigan Psychoanalytic Institute
and Society
6 Michigan Radio
36 Old National Bank
34 Real Estate One
52 Red Hawk and Revive + Replenish
32 Retirement Income Solutions
24 Silver Maples of Chelsea
34 Smith Haughey Rice & Roegge
52 Tom Thompson Flowers
46 U-M Alumni Association
20 UMS Prelude Dinners
IBC WEMU
24 WGTE
28 WKAR
IBC = Inside back cover

ums.org
umslobby.org
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#umslobby

Did you like it? Did it move you? Did it change you?
Did it disappoint? Tell us what you think at umslobby.org
or any of our social media spaces.