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UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest

UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image UMS Concert Program, January 08-10, 2016 - UMS Song Remix: A Biennial Songfest image
Day
8
Month
January
Year
2016
Rights Held By
University Musical Society
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P R O G R A M

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W I N T E R

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UNIVERSITY OF MICHIGAN | ANN ARBOR

P R O G R A M

B O O K

W I N T E R

2 0 1 6

1

BE PRESENT

Be
Present
WINTER 2016

UMS unleashes the power of the performing arts in
order to engage, educate, transform, and connect individuals
with uncommon experiences. The Winter 2016 season is full of
exceptional, world-class, and truly inspiring performances.

Welcome to the UMS experience. We’re glad you’re present.
Enjoy the performance.

1

When you attend a UMS performance,
you’re part of a larger equation:

ARTS
+ CULTURE
= ECONOMIC
PROSPERITY
nonprofit

in the greater Ann Arbor Area

$100 million annually
Together, we invest in our local community’s vibrancy.

Ann Arbor Area

Community Foundation
aaacf.org

MARK
SCHLISSEL
President,
University of Michigan

KENNETH C.
FISCHER
UMS President

WINTER 2016

delighted that you’re joining us in our 137th season, one
of the most exciting, diverse, and engaging in our history.
In addition to what you’ll see on stage, UMS has a robust
education program serving people of all ages and also
oversees the 175-voice Grammy Award-winning UMS
Choral Union. We invite you to learn more about all of
our programs at ums.org and to become engaged with
UMS, whether it’s by making a gift to our campaign,
joining us at the Ann Arbor Y for a community dance
class with a visiting dance company, or buying a ticket
to a performance. We’re always eager to hear from you,
too! Join the conversation and share your thoughts after a
performance at umslobby.org. If you have any comments,
questions, or concerns, please be in touch with UMS
President Ken Fischer at 734.647.1174 or at
kenfisch@umich.edu. We hope to see you again soon.

BE PRESENT

Welcome to this UMS performance. We’re

STEPHEN R.
FORREST
Chair,
UMS Board of Directors

3

For those who leave Michigan, but for whom Michigan never leaves.

This is where you belong. Join today at umalumni.com

BE PRESENT

To reveal the age
you feel,
stay on
your toes.

Table of
Contents
7
Winter 2016
Season Calendar
8
Education
11
History

14
Corporate Champions

WINTER 2016

12
Leadership Donors

20
Foundation,
Government, &
University Support
23
People
Paul Izenberg, MD | David Hing, MD
Richard Beil, MD | Daniel Sherick, MD
Rachel Streu, MD

Art and medicine
performing in concert

31
Generous Donors
40
Ad Index

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5

Dentistry as
a Fine Art
Unparalleled Attention to Detail

Photography © Kirk Donaldson

We blend creativity and expertise to
create beautiful, natural-looking smiles.

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BE PRESENT

Winter 2016
Season Calendar
JANUARY
1/8

What’s in a Song?
A song recital evening
curated by Martin Katz
1/10

Jamie Barton,
mezzo-soprano
1/11

Royal Philharmonic
Orchestra
Pinchas Zukerman,
conductor and violin
1/17

1/20

Jazz at Lincoln Center
Orchestra with
Wynton Marsalis
1 / 2 1 -2 3

Young Jean Lee’s
Theater Company
Untitled Feminist Show &
Straight White Men
1/22

Chamber Music Society
of Lincoln Center
1/24

NT Live: Charlotte
Brontë’s Jane Eyre
1/27

Ms. Lisa Fischer and
Grand Baton

FEBRUARY
2/2

Tanya Tagaq in concert
with Nanook of the North

3/19

Taylor Mac
A 24-Decade History
of Popular Music:
1960s–1980s

Montreal Symphony
Kent Nagano, conductor
Daniil Trifonov, piano

2/6

Gil Shaham, violin
with original films by
David Michalek
Bach Six Solos

Igor Levit, piano
2/13

Camille A. Brown &
Dancers
2/14

UMS Choral Union and
Organ
Love is Strong as Death
Scott Hanoian, conductor
2 / 1 6 -2 0

Sir András Schiff, piano
The Last Sonatas
of Haydn, Mozart,
Beethoven, and Schubert
2/19

The Triplets of Belleville
Benoît Charest,
composer-conductor
2/24

NT Live: Christopher
Hampton’s Les Liaisons
Dangereuses

MARCH
3/5

The Chieftains
3/11-12

Nufonia Must Fall
Kid Koala, DJ, producer,
and graphic novelist
3/15

Apollo’s Fire & Apollo’s
Singers
Bach’s St. John Passion

3/26

3/31-4/3

American Ballet Theatre
The Sleeping Beauty

APRIL
4/1

Mariachi Vargas de
Tecalitlán
4/3

NT Live: Shakespeare’s
As You Like It

WINTER 2016

NT Live: Shakespeare’s
Hamlet

2/5

4/8

Jerusalem String Quartet
4/14

Mnozil Brass
4/15

Zafir: Musical Winds
from North Africa to
Andalucía
Simon Shaheen, music
director
4/16

Bavarian Radio Orchestra
Mariss Jansons, conductor
Leonidas Kavakos, violin
4/23

The Bad Plus
Joshua Redman

7

Education
EDUCATIONAL
EXPERIENCES
FOR
EVERYONE

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 invite you
to participate in events inside and outside of the theater.

UMS.ORG/LEARN

8

Mondays 1/18–2/15, 7–8:30 pm
(U-M Alumni Center, 200 Fletcher St.)

BE PRESENT

UMS Night School: Constructing Identity

In our ongoing Night School series, UMS explores the dynamic quality
of how human and social identities are constructed and explored in this
season’s artistic program. How do artists’ personal identities inform their
work? Do audiences’ own identities shape what they see on the stage?
UMS Night School invites participants to discover the intersections of
performance and identity in music, theater, and dance, and to meet others
who share a similar interest. The Night School curriculum will include
attendance at and discussion of Young Jean Lee’s Theater Company’s
Untitled Feminist Show & Straight White Men, Tanya Tagaq, Taylor
Mac, and Camille A. Brown & Dancers Black Girl—Linguistic Play. These
90-minute classes combine conversation, interactive exercises, and lectures
with genre experts to draw you into the themes related to identity and
performance. Drop in to just one session, or attend them all. Events are free,
and no pre-registration is required.
WINTER 2016

Monday, 1/25
“Acting and Dancing Identity”
(Young Jean Lee’s Theater
Company, Tanya Tagaq, Taylor Mac)
Monday, 2/1
“Constructing Identity Onstage:
An Interview with Taylor Mac and
Tanya Tagaq”
(Tanya Tagaq, Taylor Mac)

Taylor Mac by Kevin Yatarola

Monday, 1/18
“Thinking about Identity and
Performance”
(Young Jean Lee’s Theater
Company)

Monday, 2/8
“Constructing Identity Together:
Artists and Audiences”
(Camille A. Brown & Dancers)
Monday, 2/15
“Reflection & Graduation”

9

Bravo!
The law firm of Dykema
applauds the University
Musical Society for bringing
the spirit of harmony to our
community with one sound
performance after another.

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Daniil Trifonov, 2014 Gilmore Keyboard Festival © Chris McGuire

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Pedal
to the
metal.

APRIL 29 TO MAY 14, 2016
THEGILMORE.ORG

BE PRESENT

Tradition
Builds
the
Future

WINTER 2016

In our 137th 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 Handel’s 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 now presents the
very best from a wide spectrum of the performing arts: internationally
renowned recitalists and orchestras, dance and chamber ensembles, jazz
and global music performers, and contemporary stagework and classical
theater. Through educational programming, the commissioning of new
works, youth programs, artist residencies, and collaborative projects, we
continue to strengthen our reputation for artistic distinction and innovation.
Photo: Hill Auditorium in 1928.

11

Leadership
Donors
We recognize the donors who have made or completed multi-year
campaign commitments of $100,000 or more during the last year. In
addition, we recognize the individuals who have committed $50,000 or
more in support of the 2015–16 season.
B E RT R A M A S K W I T H ( 1 9 1 1 -2 0 1 5 )
PATTI ASK WI TH K EN N ER
“The arts have made a significant difference in my life and
my daughter’s 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 — Bert’s Ticket — to introduce them to
a cultural experience at Michigan.”

E M I LY B AN DE RA
“One of the delights of living in Ann Arbor is the opportunity
to attend the many and varied programs brought to us by
UMS. We don't need to travel world-wide to experience these
'big city' events. I feel honored to help make this possible.”

DAL L AS AN D SH ARON DORT
“It could almost be said that we chose to move to Ann Arbor
post-career because of UMS. Who wouldn’t want to live in a
city that can attract such talent, and fill a 3,500-seat hall with
so many enthusiastic audiences? Now, we enjoy each season
all the more because, as donors, we’re an active part of UMS.
What a privilege!”

STE VE AN D ROS FORREST
“As students, we benefited from low-cost student tickets,
fostering a lifelong love of the performing arts. Our donation
will help to ensure that affordable tickets will be available to
today's students.”

12

BE PRESENT

I L E N E FORSY TH
“I 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.”

M AXI N E AN D STUART F RANKE L
“We are delighted to partner with UMS for the fifth
year of the Renegade Series. Supporting Renegade
programming allows UMS to provide experiences for
the curious, adventurous, and experimental audience
member — allowing us to challenge our existing beliefs
and push our own boundaries.”

“We 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.”

WINTER 2016

E U GE N E AN D E M I LY GRAN T

RI C H ARD AN D SU SAN GU TOW
"We enjoy classical and contemporary music, theater,
and dance, and feel privileged to add our endowment
to that of others to help ensure that UMS continues to
present adventuresome performances to the university
and Southeast Michigan communities."

PH I L AN D K ATH Y POW E R
"Thousands and thousands of lives have been made
richer and more profoundly aware through the music,
theater, and dance offerings of UMS. It’s hard to imagine
another institution that has had such an enormous
impact on so many over such a long time. UMS’s work
is enormously valuable and deserves generous support
from anybody who believes in the liberating power of the
performing arts."
13

Corporate
Champions
We thank the following businesses for their commitments of $5,000 or more
for the 2015–16 season.
AL I C I A M . TO R R ES
Senior Vice President & Chief Financial Officer, Altarum Institute
“The Arts stimulate the mind and inspire creativity. Hence, we at
Altarum are thrilled to support UMS and provide inspiring and
enjoyable cultural opportunities for our team and our community.
Altarum Institute serves the public good by solving complex
systems problems to improve human health through objective
research, technology, analysis, and consulting leadership skills.”

DOU GL ASS R. FOX
President, Ann Arbor Automotive
“We at Ann Arbor Automotive are pleased to support the artistic
variety and program excellence given to us by UMS.”

TIM OT H Y G . M A R S H A L L
President and CEO, Bank of Ann Arbor
“We take seriously our role as a community bank. 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. We are firm believers that the arts are
vital to the vibrancy of our cities, both culturally and economically.”

LA R RY B RYA N T
Ann Arbor Region President, Comerica Bank
“As a company with a long-standing commitment to diversity
and our community, Comerica is proud to continue its support of
UMS. We salute UMS on its efforts to enrich our community by
showcasing the talents of performing artists from around the world.
Congratulations to the leader and best in the performing arts.”

14

“Conlin Travel has been a proud supporter of UMS for over
50 years. I will never forget attending one of my first UMS
concerts in 1975, listening to Vladimir Horowitz perform
Chopin, Rachmaninoff, Schumann, and others. UMS makes
Ann Arbor the most vibrant cultural community in Michigan
today.”

BE PRESENT

CH R I S CO N L I N
President, Conlin Travel, Inc.

FAY E A L E X A N D E R N E L S O N
President, DTE Energy Foundation
“The DTE Energy Foundation is pleased to support exemplary
organizations like UMS that inspire the soul, instruct the mind,
and enrich the community.”

N AN C Y AN D RAN DAL L FAB E R
Founders, Faber Piano Institute
WINTER 2016

“We are proud to support UMS in its tradition of program
excellence and outreach that enriches our thoughts, our
families, and our community.”

JAM ES G . V E L L A
President, Ford Motor Company Fund
“Experiencing the world through music and the arts makes
us better as individuals while bringing us together as a
community. We are proud to support UMS and the important
role it plays in enriching our lives.”
CMYK Form (preferred)

DAV I D N . PA R S I G I A N
Ann Arbor Office Managing Partner, Honigman Miller
Schwartz and Cohn LLP

Black and White Form

Ford Fund Master
6/2003

File Format: CMYK.EPS
BW.EPS

Ford Oval: CMYK
Black

“In our firm’s 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.”
Text: Black
Black

15

MO H AM AD I SSA
Director, Issa Foundation
“The Issa Foundation is sponsored by the Issa family, which has
been established in Ann Arbor for the last 30 years, and is involved
in local property management as well as area 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.”
K I RK AL B E RT
Michigan Market President, KeyBank
“KeyBank 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.”

MIC H AE L CON L I N
Director of Business Development, Level X Talent
“Level X Talent enjoys supporting UMS and its ongoing success
bringing world-class artistic talent to the community. Please join
us in congratulating UMS. As with the arts, consistently finding
and attracting exceptional talent in Advanced Technology can
be difficult. Level X Talent partners with our clients to meet that
challenge.”

KE I T H A L L M A N
President and Chief Executive Officer, Masco
“Masco is proud to support UMS and salutes its commitment to
providing excellent and diverse programs that spark a lifelong
passion for creativity. Thank you, UMS, for allowing all of us to
experience the transformative power of the performing arts!”

ALB E RT M . B E RRI Z
CEO, McKinley, Inc.
“The 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.”

16

“A Michigan-Ohio State football ticket is still the best ticket in
all of sport. However, a UMS ticket always provides the best in
educational and artistic entertainment.”

BE PRESENT

TH OM AS B . M C M U L L E N
President and CEO, McMullen Properties

DE N N I S SE RRAS
Owner, Mainstreet Ventures, Inc.
“As 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.”

STE PH E N G. PAL M S
Principal, Miller, Canfield, Paddock and Stone, P.L.C.
WINTER 2016

“Miller Canfield proudly supports UMS for enhancing our
quality of life by bringing the unfiltered immediacy of live
performing arts to our community.”

TO DD C L ARK
Regional President, Old National Bank
“At Old National Bank, we’re committed to community
partnership. That’s why, last year alone, we funded over $5
million in grants and sponsorships and our associates donated
almost 100,000 volunteer hours. It’s also the reason we’re
pleased to once again support UMS as a corporate sponsor
for the 2015–16 season.”

RI C H ARD L . DE VORE
Detroit and Southeast Michigan Regional President,
PNC Bank
“PNC Bank is proud to support the efforts of UMS and the Ann
Arbor community.”

17

BROC K H ASTI E
Managing Partner, Retirement Income Solutions, Inc.
“With strong roots in the community for more than 30 years,
our team of investment advisors is proud to support UMS. We
recognize and appreciate UMS’s successful history and applaud
the organization’s ongoing commitment to presenting authentic,
world-renowned artists to the Ann Arbor community.”

SAVA L E LC AJ
Chief Executive Officer, Savco: Hospitality
“One of Ann Arbor’s greatest assets is UMS, which brings amazing,
best-in-class performances to our city season after season.
Savco Hospitality is honored to support UMS and its mission of
engaging, educating, transforming, and connecting the arts to our
community.”

JOE SESI
President, Sesi Lincoln Volvo Mazda
“UMS is an important cultural asset for our community. The Sesi Lincoln
Volvo Mazda team is delighted to sponsor such a fine organization.”

SesiMotors.com

JOHN W. STOU T
President, Stout Systems
“Supporting UMS is really a labor of love — 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.”

TO M TH O M PSO N
Owner, Tom Thompson Flowers
“Judy and I are enthusiastic participants in the UMS family. We
appreciate how our lives have been elevated by this relationship.”

18

BE PRESENT

OSAMU “SI MON” N AGATA
President, Toyota Motor Engineering & Manufacturing
North America, Inc.
“Toyota Technical Center is proud to support UMS, an
organization with a long and rich history of serving diverse
audiences through a wide variety of arts programming.”

TI F FAN Y FORD
President, University of Michigan Credit Union
“Thank 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.”

MARK SC H L I SSE L
President, University of Michigan
WINTER 2016

“The University of Michigan is proud to support UMS as
a natural extension of our academic enterprise. UMS’s
outstanding performances and educational programs add
tremendous value for our students, faculty, alumni, and
regional community.”

MARSC H AL L RU N GE
Executive Vice President for Medical Affairs, University of
Michigan, and CEO, University of Michigan Health System
We are proud to partner with UMS for its 2015–16 season.
Music improves the quality of life for all of us, and,
increasingly, is recognized as an important ingredient for
better health.”

19

Foundation, Government,
& 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

$20,000-$499,000
Anonymous
Charles H. Gershenson Trust

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

20

SUPPORTING
THE ARTS
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UMS Board of Directors

E X- O F F I C I O
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Photo: Shara Worden performs with My Brightest Diamond at the UMS Season Opening Celebration at Downtown
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MLive and The Ann Arbor News.

23

UMS Senate
The UMS Senate is composed of former members of the Board of Directors
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commitment and gracious support of UMS are greatly appreciated.
Wadad Abed
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24

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Karen Wolff

UMS Song
Remix
A B I E N N I A L S O N G F E ST

January 8 and 10, 2016
Lydia Mendelssohn Theatre
Ann Arbor

CONTENT
What’s in a Song?
Friday, January 8, 8:00 pm

3

Jamie Barton
Martin Katz
Sunday, January 10, 4:00 pm

13

Artists

24

What’s in a Song?
Martin Katz / Piano and Curator
Jesse Blumberg / Baritone
Janai Brugger / Soprano
David Daniels / Countertenor
William Ferguson / Tenor
Frederica von Stade / Mezzo-soprano
Friday Evening, January 8, 2016 at 8:00
Lydia Mendelssohn Theatre
Ann Arbor

52nd Performance of the 137th Annual Season
Song Remix: A Biennial Songfest
3

This evening’s performance is supported by Maurice and Linda Binkow, whose Charitable Remainder
Unitrust will establish the Maurice and Linda Binkow Endowed Vocal and Chamber Arts Endowment
Fund to support two performances on the UMS Biennial Songfest in perpetuity.
Special thanks to Stephen West and the U-M School of Music, Theatre & Dance Department of Voice for
their participation in events surrounding this evening’s concert.
Special thanks to Trevor Chartrand for providing the translations and surtitles for this evening’s
performance.
Ms. Brugger appears by arrangement with Rayfield Allied, London, UK.
Ms. von Stade and Mr. Daniels appear by arrangement with IMG Artists, New York, NY.
Mr. Ferguson appears by arrangement with Encompass Arts, New York, NY.
Mr. Blumberg appears by arrangement with ADA Artists Management, New York, NY.

PROGRAM
I William Ferguson, tenor
John Dowland
Come again, sweet love doth now invite
Text by unidentified author, 17th Century
Franz Schubert
Ständchen from Schwanengesang (Serenade)
Text by Ludwig Rellstab
Reynaldo Hahn
L’heure exquise from Chansons grises (The exquisite hour)
Text by Paul Verlaine
Leonard Bernstein
Rabbit at top speed from La bonne cuisine
Text by Emile Dumont
John Musto
Litany from Shadow of the Blues
Text by Langston Hughes

II Janai Brugger, soprano
Fernando Obradors
Del cabello mas sutil (Of the softest hair)
Popular song text
André Previn
As imperceptibly as grief
Text by Emily Dickinson
Hugo Wolf
Erstes Liebeslied eines Mädchens (A Girl’s first love song)
Text by Eduard Mörike
Camille Saint-Saëns
Le bonheur est chose légère (Happiness is a light thing)
Text by (Henri) Auguste Barbier
Javier Orman, violin
Richard Strauss
Frühlingsfeier, Op. 56 (Spring Festival)
Text by Heinrich Heine
5

III Jesse Blumberg, baritone
Samuel Barber
A green lowland of pianos, Op. 45, No. 2
Text by Czesław Miłosz
Piotr Ilyich Tchaikovsky
In the midst of the ball, Op. 38
Text by Mikhail Lermontov
Robert Schumann
Schöne Wiege meine Leiden, Op. 24, No. 5 from Liederkreis, Op. 24
(Pretty cradle of my sorrows)
Text by Heinrich Heine
Gerald Finzi
To Lizbie Browne, Op. 15, No. 7 from Earth and Air and Rain
Text by Thomas Hardy
Wolf
Abschied (Farewell)
Text by Eduard Mörike

IV David Daniels, countertenor
Ralph Vaughan-Williams
Orpheus with his lute
Text by William Shakespeare
Francisco de la Torre, Arr. Arne Dørumsgaard
Pampano verde (Green branch)
Text by Anonymous
Ludwig van Beethoven
Adelaïde, Op. 46
Text by Friedrich von Matthisson
Gabriel Fauré
Clair de lune, Op. 46, No. 2 from Fêtes galantes (Moonlight)
Text by Paul Verlaine
Francis Poulenc
La belle jeunesse from Chansons gaillardes (Wonderful youth)
Text by unidentified author, 17th Century
6

Intermission

V Frederica von Stade, mezzo-soprano
Schubert
An Sylvia, D. 891
Text by Eduard von Bauernfeld after William Shakespeare
Strauss
Die erwachte Rose, WoO. 66 (The Rose’s Awakening)
Text by Friedrich von Sallet
Poulenc
À sa guitarre (To His Guitar)
Text by Pierre de Ronsard
Poulenc
Les gars qui vont à la fête from Chansons villageoises (The lads who go to the fair)
Text by Maurice Alphonse Jacques Fombeure
Giacomo Puccini
E l’uccellino (And the little bird)
Text by Renato Fucini
William Bolcom
Amor from Cabaret Songs, Vol. 1
Text by Arnold Weinstein

VI Coda: Surprises and favorites

Additional program selections will be announced by the artists from the stage.

7

WE NEED SONG!
I am personally so grateful that UMS
has sensed the need to recreate this
song series. No town should be without
the opportunity to appreciate and reappreciate this amazing repertoire,
particularly not the home of a great
university. The song repertoire is
beyond immense. There is something
for everyone — every performer, every
listener. With the typical song recital,
there may be two or three dozen
soundbites of atmospheres, stories,
and feelings. In the program notes that
follow, I use the word “missionaries,”
referring to those of us who insist on
keeping song alive. We dare not allow
this repertoire to become a fossil in a
musical museum. It needs your help and
mine.
Thank you for joining us tonight and
throughout this inaugural season of
UMS Song Remix: A Biennial Songfest.
- Martin Katz,
What's in a Song?
curator and pianist

8

WHY SONG?
Before attempting to answer this
somewhat rhetorical question, let’s be
clear about how a song differs from
other genres found in the world of
the vocal repertoire. Unlike an aria
from an opera or oratorio, or unlike a
“number” from a musical:

used to be relaxing activities. All of
this has made life difficult for the poor
song.
If concentration and appreciation
of the unexaggerated were muscles,
they would be dangerously close
to atrophy today. Staying with this
muscle metaphor, these sensitivities
• A song is usually for a single voice
need to be exercised, used, even taxed
and keyboard.
sometimes to maintain their tone and
• The text of most songs is poetry.
our ability to call on them at will. Song,
• The most traditional look of a song
perhaps more than any other musical
recital stage is simplicity itself: no
genre, can work to restore their
sets, no varied lighting, no costumes, health. Song forces us to listen, and
little if anything in the way of
listen well.
staging.
The size of a song bears some
appreciation too. The great Lieder
Sounds fairly plain, doesn’t it?
composer Hugo Wolf can help us in
Probably tedious, if not downright
this regard. His 45 shortest creations
boring. And yet, composers have not
constitute his Italian Songbook, most
ceased to create songs for more than
only two pages long and many only half
four centuries. Poets are usually
of that. As the flagship for this opus, he
thrilled to have their words chosen
placed “Auch kleine Dinge können uns
as inspirations for those composers.
entzücken,” (Even little things) a lovely
Finally, singers and the pianists who
reminder that the smallest things can
partner them delight in the prospect of delight us: pearls, olives, roses, and
preparing and presenting songs; they
of course, by implication…songs. In
are proactive in creating opportunities the musical zoo, songs are the tiniest
to sing songs, often thinking of this as
creatures, but no less dear than the
missionary work these days.
17 hours of Wagner’s Ring. Let us not
We live in an era of constant
forget this.
overstimulating effects. Visual effects
Having listed the potential benefits
are not colorful; they are blinding,
of song for the listener, what does a
dazzling. The decibel levels in theaters, song offer its performers? Comparing
rock concerts, and even restaurants
song to opera makes its advantages
approach to be deafening. Technology
very easy to enumerate:
has made nothing impossible, and
should our concentration lapse even
• There is no operatic role where every
momentarily, rest assured that some
moment fits the vocal and histrionic
extraordinary effect will get us back
talents of any single singer; with
on track within nanoseconds. We are
songs, the choices of repertoire, key,
never unconnected; devices are on
and even performance order are the
duty at all times, even during what
singer’s property.
9

• Even operas scored for chamber
orchestra still pose the problem
of balance and projection of the
voice; a pianist can usually solve
this dilemma and keep this under
control.
• With song, the performers obey
their own artistic choices; there is
no maestro who may or may not see
things similarly; likewise, there is
no director influencing or dictating
how the singer reads or feels a line
of text. Even if the song is composed
so that the piano controls tempo
and volume, the singer has probably
chosen the pianist, so they are
bound to operate as a unified team.
• When a singer performs an operatic
role, he or she is a character in a
play; there is no uncertainty about
who one is, where one is, why one
knocks on a door, or breaks down
into tears. In the world of song
— with a few exceptions (when a
composer chooses a text from a
larger work, for example) all of
these are unknowns. The singer
and pianist imagine the who, the
what, the where,and the why of
everything they perform. There
can be as many “right answers” as
there are singers who choose that
particular song. It’s a veritable
candy store of choices.

different emotions in different
performers. Dare I suggest that a
less imaginative artist can succeed
in an opera; there is so much help
available from the plot, the costumes,
the mis-en-scène. Put that same
performer into an evening of song,
and the success may be less certain,
far harder to guarantee. Conversely,
a performer with fantasy at his or her
disposal, someone with an unlimited
imagination will adore the song
repertoire and shine in it. A song
is a canvas waiting for a painter, a
kitchen waiting for a chef.

These are serious, significant,
and wonderful advantages which the
performers of song enjoy. Nothing
limits the imagination except the
music itself, and even that may invite

Read more from Martin Katz on why we need song at UMSLobby.org.
10

THIS EVENING’S PROGRAM
Because an evening of song requires
so little in the way of props and
scenery, it can evolve, adapt,and
change with very little fuss or
expense. The era of people reading
poetry aloud at home is clearly far
behind us. Likewise the ability of
the average American concertgoer
to understand foreign languages is
not what it was a century ago when
European immigration was at its
height. These two factors have led
us to the decision to adapt and offer
surtitles above the stage for these
first Song Remix recitals. Opera
audiences have become accustomed
to this “perk” for decades now, but
it remains a rarity with concerts of
songs. We hope this adjustment will
enhance your enjoyment, increase
your involvement, and sharpen your
concentration. No need to study texts
beforehand, nor have your eyes in
constant motion as if you were at a
musical tennis match. Let us know
your reactions to this change.
If this inaugural concert of the
Song Remix series does not show
you the depth and variety of song,
nothing ever will. I have invited
five wonderful colleagues to share
the stage with me tonight, and my
hunch is that you know their names
and their credits from other sorts of
musical events, most likely opera or
oratorio. But I assure you that each
of them is passionate about songsinging, and that is why we are all

here. As you see, each of them will
offer you a mixed bouquet of songs; I
doubt that any sentiment will escape
being sung about tonight.
But as a result of this kaleidoscope
of a program, plus the surtitles,
traditional printed notes on the
program might prove cumbersome,
certainly lengthy, and less helpful
than some personal remarks from the
stage. This is another adjustment to
the orthodox song concert to which you
will hopefully react positively. Formal
is good; perhaps in the quest to win
friends for song, less formal is better.
Program notes by Martin Katz.

For biographies of the artists featured in this evening’s concert, please
refer to page 24.
11

UMS ARCHIVES
The singing of songs has always played an important part in the annals of UMS
history. Indeed, songs were sung on many of the earliest concert programs
produced by UMS. On December 12, 1879, during the year of UMS’s founding,
Mrs. Emma Thurston stepped forward to sing a song called “The Message” by
one I. Blumenthal. Many of the songs on tonight’s program have illustrious
performance histories on our Ann Arbor stages. Here are just a few of the
notables who have sung tonight’s songs on UMS programs over the decades:
Franz Schubert: “Ständchen” – Beniamino Gigli, January 1939
Fernando Obradors: “Del cabello mas sutil” – Martina Arroyo, November 1973
Hugo Wolf: “Erstes Liebeslied eines Mädchens” – Felicity Lott, April 2005
Hugo Wolf: “Abschied” – Hermann Prey, February 1966
Ludwig van Beethoven: “Adelaïde” – Jussi Björling, December 1939
Gabriel Fauré: “Clair de lune” – Dame Janet Baker, January 1969
Franz Schubert: “An Sylvia” – Elisabeth Schwarzkopf, July 1977
12

Jamie Barton
Martin Katz
Jamie Barton / Mezzo-soprano
Martin Katz / Piano
Sunday Afternoon, January 10, 2016 at 4:00
Lydia Mendelssohn Theatre
Ann Arbor

53rd Performance of the 137th Annual Season
Song Remix: A Biennial Songfest
13

This afternoon’s recital is hosted by Joel Howell and Linda Samuelson.
Media partnership provided by WRCJ 90.9 FM.
Special thanks to Stephen West and the U-M School of Music, Theatre & Dance Department of Voice for
their participation in events surrounding this afternoon’s concert.
Special thanks to Trevor Chartrand for providing the translations and surtitles for this afternoon’s
recital.
Ms. Barton appears by arrangement with Columbia Artists Management, LLC., New York, NY.

PROGRAM

I
Joaquín Turina
Homenaje a Lope de Vega (Homage to Lope Vega)
Text by Lope Felix de Vega Carpio
Cuando tan hermosa os miro (If I look upon your beauty)
Si con mis deseos (If my desire)
Al val de Fuente Ovejuna (To the Fuente Ovejuna valley)

II
Ernest Chausson
Le colibri Op. 2, No. 7 (The hummingbird)
Text by Charles-Marie-René Leconte de Lisle
Hébé, Op. 2, No. 6 (Hebe)
Text by Louise-Victorine Ackermann
Les temps des lilas (The time of lilacs)
Text by Maurice Bouchor

III
Franz Schubert
Der König in Thule, D.367 (There was a King of Thule)
Gretchen am Spinnrade, D.118 (Gretchen at the spinning wheel)
Schäfers Klaglied, D.121b (The shepherd’s lament)
Rastlose Liebe, D.138 (Restless love)
Texts by Johann Wolfgang von Goethe

15

Intermission

IV
Antonín Dvořák
Cigánské melodie, Op. 55 (Gypsy Songs)
Texts by Adolf Heyduk
Má píseň zas mi láskou zní (My song resounds with love)
Aj! Kterak trojhranec můj přerozkošně zvoní (Ah! Why is my three-cornered
bell ringing?)
A les je tichý kolem kol (The forest is quiet all around)
Když mne stará matka zpívat, zpívat učívala (When my old mother taught
me to sing)
Struna naladěna, hochu, toč se v kole (The string is taut)
Široké rukávy a široké gatě (Wide sleeves)
Dejte klec jestřábu ze zlata ryzého (Given a cage of gold)

V
Sergei Rachmaninoff
Spring waters, Op. 14, No. 11
Text by Fyodor Ivanovich Tyutchev
I wait for thee, Op. 14, No. 1
Text by Maria Avgustovna Davidova
Glory to God (All things wish to sing), Op. 38
Text by Fyodor Sologub

Please withhold applause until the end of each set of songs throughout this
afternoon’s program.

16

N O W T H AT Y O U ' R E
I N Y O U R S E AT. . .
This afternoon’s opulent program
features music spanning a century
and including texts in no less than
five languages. This span of a hundred
years may not be the widest we
might encounter in a single concert
for voice and piano, but in exchange,
the repertoire which Ms. Barton has
selected offers an extraordinary
diversity of styles. And as we continue
our journey with Song Remix, we
are compelled to notice again, for
the second time in as many days, the
kaleidoscopic variety that this genre
can offer us.
Turina and Rachmaninoff form the
“bookends” for the program. The two
composers lived during the same years,
although as we will see later in these
notes that Turina’s songs were written
considerably later than his Russian
counterpart’s. It is impossible to think
of these two composers without
immediately noting the brilliance of
the writing for piano — both men had
virtuoso techniques — along with the
sensuously extrovert writing for the
voice. It is rare to find these composers
in a modest frame of mind.
The other obvious pairing in
this afternoon’s offerings, at least
chronologically speaking, is that of
Dvořák and Chausson. But the calendar
is all these two composers have in
common. It is next to impossible to find
even a small quotient of folk music
anywhere in French vocal music; it is
equally rare to hear anything by Dvořák
without an abundance of it. How
different these two groups of songs are
from first note to last!

This leaves us with the man who
fashioned and developed art song as
we know it today, a man whose very
name is song: Franz Schubert, whose
settings of Goethe texts occupy the
center of today’s recital. The poet
and novelist was already 50 years old
and internationally celebrated when
Schubert was born, but clearly the
composer was not to be intimidated
by this titan of German literature;
Goethe’s texts outnumber all others in
the Schubert song catalogue.
— Martin Katz

17

I
HOMENAJE A LOPE DE VEGA (HOMAGE TO LOPE VEGA) (1935)
Joaquín Turina
Born December 9, 1882 in Seville, Spain
Died January 14, 1949 in Madrid
It is not at all unusual for song
composers to reach well back in time
for texts to inspire and motivate
them. Finzi and Shakespeare,
Milhaud and Ronsard, Dallapiccola
and Tasso…the list could fill many
pages. Joaquin Turina usually selected
poems of his contemporaries, but in
1935 he decided to pay homage to his
country’s prolific poet and playwright,
Félix Lope de Vega, on the 300th
anniversary of the writer’s death.
Along with Cervantes and the painter
El Greco, Lope de Vega formed the
third pillar of Spain’s justly celebrated
“Golden Century.” It would not be out
of place to call him the Shakespeare
of Spain, for he elevated Spanish
poetry — sonnets in particular — to
a place still unsurpassed today. In
addition, he has left us hundreds of
plays, and in his case this amazing
quantity is not accompanied by any
loss of quality.
Turina and his great friend
and colleague Manuel de Falla
followed much the same steps in
their development and their rise
to prominence. Both composers
felt obliged to leave Spain to find
their voices, and spent most of their
formative years in Paris. There was
established precedent for this, as
Albéniz and Granados had done
similarly a decade or two earlier.
Turina studied with D’Indy, but stated
he was even more influenced by
Debussy, although this is not always
18

evident to the listener.
Both Falla and Turina were advised
time and time again by their French
teachers to use Spanish folk song as
their touchstone of inspiration, and
clearly this counsel bore fruit, for
this influence is immediately audible
in all their works. But when it comes
to importing their native tunes and
dances into the concert hall, the two
composers part company. Whereas
Falla insisted on preserving the pure,
unelaborated, and specific qualities
of his culture's folk elements, Turina
had wider goals.
Turina began with local flavors,
but his desire to put his country’s
musical idiom on the world’s stages
led him to create a more generalized,
homogenized sound, something
certainly recognizable as Spanish,
but not necessarily completely true
to its unsophisticated and humble
origins. One might call Turina’s music
Euro-Spanish or even world-Spanish.
The Moorish tunes are present as are
the Flamenco rhythms, but Turina
has inflated and expanded these
elements and created sets, costumes,
and lighting for them befitting a
symphonic or even cinematic world.
The writing for the piano throughout
this three-song cycle offers an
effusive rhapsody, and the treatment
of the voice is almost operatic. We
are very far from simple tunes with
guitar accompaniment here.

II
L E C O L I B R I , O P. 2 , N O . 7 ( T H E H U M M I N G B I R D ) ( 1 8 8 2 )
H É B É , O P. 2 , N O . 6 ( H E B E ) ( 1 8 8 2 )
LES TEMPS DES LILAS (THE TIME OF LILACS) (1882)
Ernest Chausson
Born January 20, 1885 in Paris, France
Died June 10, 1899 in Limay
Chausson’s name may not be familiar
to all concertgoers. His brief life — only
44 years — allowed him to create only
a modest amount of music, and most of
it is for the salon rather than a grand
concert venue. True, the masterpiece
Poème for violin and orchestra and
his opera King Arthur do appear now
and then, but the real Chausson is to be
found in chamber music and song, his
preferred genres.
Chausson’s songs number just
slightly more than 50, and this
afternoon’s program features three
from the same year, 1882, when
the composer was only 27. Rather
than create an exclusively French
atmosphere, Chausson helped himself
to the sounds of the Belgian César
Franck and even more so those of
Wagner. Other composers denied
any Wagnerian influence, but clearly
fell under its spell. Chausson openly
embraced the Teutonic giant’s
harmonic world, thus setting him
apart from his contemporaries Fauré
and Debussy, and giving him much
in common with Duparc, another
luminary of French song. He even took
his new bride to a performance of
Parsifal on their honeymoon!
The trio of songs we hear today
could not be more different from one
another. The green hummingbird
of Lecomte de Lisle’s lovely poem is
an excellent example of the French

predilection of giving an example
first and then appropriating it for a
personal situation. Dying of too much
nectar or too many kisses — not a bad
way to depart this world — this song
is a perfect valentine in music. The
cupbearer to the Olympian gods is
the subject of the second song. Here,
Chausson eschews his traditional
western sounds and instead uses the
Dorian mode, plus a very amorphous
rhythmic treatment in order to suggest
the world of ancient Greece; we are
very close to unmeasured chant in this
mélodie.
The final song is actually the finale of
a large vocal tone poem, first composed
in 1882, but finished and orchestrated
four years later. Here Chausson is at
his most Wagnerian, for throughout
the large work, he uses a unifying
leitmotif for the couple’s infatuation
and eventual deep love. Then somewhat
later, as affection cools and finally
vanishes, the leitmotif is changed from
major to minor, from flowing to much
slower. We only experience the death of
love this afternoon, but try to imagine
15 minutes of joy preceding this tragic
ending. Another Wagnerian trait
quite apparent here is the autonomy
of the accompaniment — not really an
accompaniment at all. The pianist plays
long melodic phrases, while the voice
often participates in only a portion
of them.
19

III
DER KÖNIG IN THULE, D.367 (THERE WAS A KING OF THULE) (1816)
GRETCHEN AM SPINNRADE, D.118 (GRETCHEN AT THE SPINNING
WHEEL) (1814)
SCHÄFERS KLAGLIED, D.121B (THE SHEPHERD’S LAMENT) (1814)
RASTLOSE LIEBE, D.138 (RESTLESS LOVE) (1821)
Franz Schubert
Born January 31, 1797 in Alsergrund, Vienna, Austria
Died November 19, 1828 in Vienna
If numerous sources can be believed,
Goethe had no use for Schubert’s
musical settings of his poems. So
great was his disdain for the young
songwriter’s work that he had an
entire folio of 34 Lieder returned to
the composer…unopened. In that
volume were three of the four songs
we hear this afternoon. There can be
no accounting for one creative genius
scorning the work of another: Berlioz
detested Mozart, and Verdi refused to
even utter the name Puccini. Perhaps
the immense ego Goethe is said to
have possessed made any “co-star”
unthinkable. The literary master
preferred settings of his words by
composers who have become little
more than footnotes or at best, lesser
lights in the world of German song
today. Goethe could not have known
that Schubert was hard at work
composing nearly 700 songs in his
brief life of only 31 years. Just the
act of writing the music down would
constitute a formidable feat, not to
mention finding the inspiration to
blaze a trail and create a whole new
art form.
Schubert’s treasure trove of
accompaniment figurations is
truly inexhaustible. Before him,
one learned of horseback riding, of
ripples in a brook, of Death’s stealthy
20

entrance into a sickroom, but with
Schubert’s creations one actually
heard these things for the first time
in the keyboard’s contributions.
We take this very much for granted
nowadays, with two centuries of facile
hindsight, but imagine sitting in the
audience and hearing a spinning
wheel for the very first time as the
singer bewailed her fate.
The first two songs are from
Goethe’s Faust, but Schubert
composed them in the opposite order
of how they appear in the novel. At
the tender age of 17, “Gretchen am
Spinnrade” (Gretchen at the spinning
wheel) was composed and became
Schubert’s first published song. Its
perfection may have been equaled
as the composer’s career continued,
but it was certainly never surpassed.
Schubert has gotten under the
emotional skin of the hapless heroine,
and his gift to pianists is beyond
praise. We hear the wheel and the
treadle; we hear the spinning go awry
and finally stop; we participate in
Gretchen’s three attempts to restart
her wheel. Is it any wonder that all
Lieder composers after Schubert
avoided setting this poem to music?
Who would be so foolish as to try?
The first song in Ms. Barton’s
Schubert quartet is actually how

Gretchen is introduced to the reader
of the novel. Written two years after
the spinning masterpiece, Schubert
confines himself here to the simplest
form possible: the purely strophic
song. While the story of the King
and his golden goblet is a theatrical
one, its function in Faust is not, and
Schubert respects its seemingly
colorless position in the novel.
A different sort of simplicity
is needed for Goethe’s lovelorn
shepherd in the third song. Bereft
and abandoned, he gives up gathering
flowers when no beloved is present,
and wonders if even doing his job is
to be continued. Schubert employs
an interesting form with different
piano textures here, but at no time
does our blue-collar worker become
sophisticated.
For a finale, we hear one of
Schubert’s most joyfully agitated
songs. Goethe is said to have written
the brief poem during a raging

snowstorm, and the text could have
been the model for our own postal
service’s motto: “neither snow, nor
rain, nor gloom of night” can deter (in
this case) Love.

UMS ARCHIVES
Some songs just stand out as true mini-masterpieces of the art song form
— Schubert’s “Gretchen am Spinnrade” is such a song. In a mere three-and-ahalf-minutes, it distills the entire psychological world of Faust’s maiden — her
seduction (rape?), her fantasy, and ultimately, her devastation. Performances
of this song over the past UMS century are noteworthy:
Marcella Sembrich, October 1908
Ernestine Schumann-Heink, October 1909
Irmgard Seefried, October 1959
Birgit Nilsson, November 1968
Dame Janet Baker, January 1969
Elisabeth Schwarzkopf, July 1977
Arleen Auger, October 1991
Renée Fleming, January 1999
21

IV
C I G Á N S K É M E L O D I E , O P. 5 5 ( G Y P S Y S O N G S ) ( 1 8 8 0 )
Antonín Dvořák
Born September 8, 1841 in Nelahozeves, Czech Republic
Died May 1, 1904 in Prague
With the second half of the program
we turn to the world of Slavic song,
Czech and Russian, respectively.
Dvořák and Rachmaninoff, however,
have almost nothing in common
except Eastern European origins.
Dvořák’s name is almost
synonymous with all things Czech
and indeed with nationalism itself.
Even his untexted scores are redolent
of folk song influence and rhythmic
figures which are unique to the
inflection of the Czech language.
Dvořák did not methodically collect
folk tunes as Bartók and Kodály did,
but rather borrowed folksy texts
haphazardly from diverse sources,
and composed his own melodies,
eschewing altogether the tunes
known to be gypsy in origin. During
two centuries of political upheaval
and royal ambition, these “people
without a country” had wandered
throughout Eastern Europe,
celebrating their independence
and the freedom to be themselves,
beholden to no one. For this
immensely popular cycle of seven
songs, Dvořák crafted melodies that
could have been sung by the gypsies,
but were, in fact, artificially created
folk songs. He was not alone in doing
so; Brahms and Mahler were creating
“authentic” German and Austrian folk
songs too, but many would say Dvořák
did it better.
These seven portraits of gypsy
culture, composed and premiered in
22

1880, have had a prominent place
in the actively performed vocal
repertoire ever since. They have been
performed in three different English
translations, in Russian, but today
they are most often heard in Czech,
despite the fact that a singer’s illness
necessitated their world premiere in
German. Instruments central to the
gypsy’s life are suggested by Dvořák
in the keyboard part: the triangle,
the tambourine, the drum, and of
course, the ever-present cimbalom, a
rudimentary sort of zither or dulcimer.

V
S P R I N G W AT E R S , O P. 1 4 , N O . 1 1 ( 1 8 9 6 )
I W A I T F O R T H E E , O P. 1 4 , N O . 1 ( 1 8 9 4 )
G L O R Y T O G O D ( A L L T H I N G S W I S H T O S I N G ) , O P. 3 8 ( 1 9 1 5 )
Sergei Rachmaninoff
Born April 1, 1873 in Starorussky Uyezd, Russia
Died March 28, 1942 in Beverly Hills, California
This recital closes with a trio of
Rachmaninoff songs, which tests
the technical mettle of any singer or
pianist, and at the same time showers
any audience with a musical flood
of sounds and unreserved emotions.
Whereas Dvořák worked diligently
to paint his country’s eastern
sounds with western instruments,
Rachmaninoff rarely looks to the
east when he is writing secular music,
particularly not in his 75 songs.
The first song of this group is a
popular favorite, using a rather high
range for the voice, soaring over a
hyper-brilliant accompaniment, a true
second protagonist. Tyutchev’s poem
rejoices over the beginning of spring,
much as Mörike’s “Er ist’s!” does so for
Austria and Browning’s “The year’s
at the spring” for England; but as
Russia is more to the north, winter
is longer, colder, and spring’s arrival
must be trumpeted loudly throughout
the land. Earlier in the same opus we
find “I wait for thee.” Unusual for its
brevity and for its poet being female,
here we encounter a more modest
Rachmaninoff. Two stanzas of semipatient waiting are followed by an
explosive third stanza of torment and
despair.
Rachmaninoff left Russia in 1916,
never to return. His outpouring of
six songs, Op. 38, written 20 years
after the first two heard today, were

thought to be his last compositions in
the genre. Although he lived almost
30 more years, he said he left the
soul of song behind in his homeland
and could not find it elsewhere. We
are definitely the poorer for his
having abandoned songwriting.
But discoveries occur every day,
and this song of jubilant praise, a
definite rarity on concert programs,
is one of a spiritual pair of songs
originally intended to be included
in his last opus but curiously absent.
The reasons for their not being
published with the others are obscure
and sources do not agree as to their
history. No matter. For all we know,
we might be hearing the composer’s
very last song.

23

ARTISTS
“Martin Katz (pianist) must surely be
considered the dean of collaborative
pianists,” said the Los Angeles Times, and
Musical America magazine created an
award expressly for him: “Accompanist
of the Year.” One of the world’s busiest
collaborators, he has been in constant
demand by the world’s most celebrated
vocal soloists for more than four decades.
He has appeared and recorded regularly
with Marilyn Horne, Frederica von
Stade, Karita Mattila, David Daniels, Jose
Carreras, Cecilia Bartoli, Kiri Te Kanawa,
Kathleen Battle, Piotr Beczala, Joseph
Calleja, and Sylvia McNair, to name just
a few. Season after season, the world’s
musical capitals figure prominently in
his schedule. Throughout his long career
he has been fortunate to partner some of
the world’s most beloved voices: Renata
Tebaldi, Cesare Siepi, Katia Ricciarelli,
Tatiana Troyanos, Victoria de los Angeles,
Teresa Berganza, Nicolai Gedda, Regine
Crespin, Grace Bumbry, and Monserrat
Caballe have all asked for him at the piano.
Mr. Katz is a native of Los Angeles, where
he began piano studies at the age of five.
He attended the University of Southern
California and studied the specialized field
of accompanying with its pioneer teacher,
Gwendolyn Koldofsky. While yet a student,
he was given the unique opportunity of
accompanying the classes and lessons
of such luminaries as Lotte Lehmann,
Jascha Heifetz, Pierre Bernac, and Gregor
Piatigorsky. Following his formal education,
he held the position of pianist for the US
Army Chorus in Washington, DC for three
years, before moving to New York where
his international career began in earnest
in 1969.
Conducting is a more recent addition
to Mr. Katz’s activities. He has conducted
24

many of his singing partners in orchestral
evenings from Tokyo’s NHK to Padova’s
Solisti Veneti. Staged operatic productions
for San Francisco’s Merola Program as well
as here at home for U-M’s Opera Theatre
are inevitably a highlight of any season.
Finally, the professional profile of Martin
Katz is completed with his commitment to
teaching. For three decades, the University
of Michigan has been his home, where he
has been happy to chair the School of Music,
Theatre & Dance’s program in collaborative
piano, and play an active part in operatic
productions. He has been a pivotal figure in
the training of countless young artists, both
singers and pianists, who are now working
all over the world. U-M has recognized
this important work, making him the first
Arthur Schnabel Professor of Music. In
addition to his work at his home school,
he is a regular guest teacher at Helsinki’s
Sibelius Academy, Songfest, Chicago College
of Performing Arts, Canadian Operatic Arts
Academy, and the New National Theatre of
Tokyo. Mr. Katz’s comprehensive guide for
accompanists, The Complete Collaborator,
published by Oxford Press, is widely seen as
the standard for textbooks on this subject.
The winner of the 2015 Richard Tucker
Award, the winner of both the Main and
the Song Prizes at the 2013 BBC Cardiff
Singer of the World Competition, a winner
of the 2007 Metropolitan Opera National
Council Auditions and a Grammy Award
nominee, Jamie Barton (mezzo-soprano) has
been described by The Guardian as “a great
artist, no question, with an imperturbable
steadiness of tone, and a nobility of
utterance that invites comparison not so
much with her contemporaries as with
mid-20th-century greats such as Kirsten
Flagstad.”

This season, Ms. Barton brings her
celebrated Giovanna Seymour (Anna
Bolena) to The Metropolitan Opera
alongside an impressive set of company
debuts: Adalgisa (Norma) at Los Angeles
Opera, Cornelia (Giulio Cesare) at Oper
Frankfurt, Waltraute and 2nd Norn
(Götterdämmerung) at Washington
National Opera, Elizabeth Proctor (The
Crucible) at Glimmerglass Opera, and
Fenena (Nabucco) at both Seattle Opera
and the Royal Opera House Covent Garden.
Ms. Barton’s concert season includes
her BBC Proms debut in the Brahms Alto
Rhapsody with Marin Alsop and the
Orchestra of the Age of Enlightenment, a
work she will also perform in her return
to the Iceland Symphony Orchestra. Other
highlights include her Russian debut with
the Moscow Philharmonic Orchestra and
recitals with San Francisco Performances,
Ann Arbor’s University Musical Society,
Vocal Arts DC, and the Tucson Desert Song
Festival.
Recent triumphs include a critically
acclaimed debut as Adalgisa (Norma) at
The Metropolitan Opera and San Francisco
Opera, followed by her noted debut as
Fricka (Das Rheingold, Die Walküre) for
Houston Grand Opera, which marked
her homecoming as an alumna of HGO’s
Opera Studio. Other recent highlights have
included Giovanna Seymour (Anna Bolena)
and Magdalene (Die Meistersinger von
Nürnberg) at the Lyric Opera of Chicago and
Azucena (Il trovatore) with Cincinnati Opera.
Concert highlights have included
the world premiere of Jake Heggie’s
The Work at Hand with the Pittsburgh
Symphony, Britten’s Spring Symphony
with the Cleveland Orchestra and Franz
Welser-Möst, and the Verdi Requiem with
the Toronto Symphony and Melbourne
Symphony, both under Sir Andrew Davis.
An outstanding recitalist, Ms. Barton has

appeared as part of the 80th birthday
celebrations for both Marilyn Horne and
Sherrill Milnes, and has given solo recitals
at Carnegie Hall and the Kennedy Center,
the latter as the 2014 recipient of the
Marian Anderson Award.
Future projects include a debut at the
Deutsche Oper Berlin, as well as returns
to Houston Grand Opera, San Francisco
Opera, and the Lyric Opera of Chicago. In
a recent feature on Ms. Barton in the New
York Times, Metropolitan Opera General
Manager Peter Gelb confirmed that she
will appear at the Met as Jezibaba in a new
production of Dvořák’s Rusalka, Fenena
(Nabucco), and Adalgisa (Norma), and as
Fricka when Wagner’s Ring Cycle returns
to the Met in 2018–19.
Jesse Blumberg (baritone) is equally
at home on opera, concert, and recital
stages, performing repertoire from the
Renaissance and Baroque to the 20th and
21st centuries. His performances have
included the world premiere of The Grapes
of Wrath at Minnesota Opera, Niobe,
Regina di Tebe with Boston Early Music
Festival, Bernstein’s Mass at London’s
Royal Festival Hall, and appearances with
Atlanta Opera, Pittsburgh Opera, Utah
Opera, and Boston Lyric Opera. Recital
highlights include appearances with the
Marilyn Horne Foundation and New York
Festival of Song, and performances of Die
schöne Müllerin and Winterreise with
pianist Martin Katz. He has performed
major works with American Bach Soloists,
Los Angeles Master Chorale, Boston
Baroque, Oratorio Society of New York,
Apollo’s Fire, Charlotte Symphony, TENET/
Green Mountain Project, and on Lincoln
Center’s American Songbook series.
His 2014–15 season included a
European concert tour with Boston Early
Music Festival, a US concert tour with
25

Apollo’s Fire, and debuts with Atlanta
Opera and Hawaii Opera Theatre. In 2013–
14 he debuted with Kentucky Opera and
Opera Omnia, and returned to Minnesota
Opera as Papageno in The Magic Flute. Mr.
Blumberg has given the world premieres
of Ricky Ian Gordon’s Green Sneakers, Lisa
Bielawa’s The Lay of the Love and Death,
Conrad Cummings’ Positions 1956, and
Tom Cipullo’s Excelsior. He also works
closely with several other renowned
composers as a member of the Mirror
Visions Ensemble.
Mr. Blumberg has been featured
on a dozen commercial recordings,
including the 2014 Grammy Awardwinning Charpentier Chamber Operas
with Boston Early Music Festival. He has
been recognized in several competitions,
and was awarded third prize at the
2008 International Robert Schumann
Competition in Zwickau, becoming its first
American prizewinner in over 30 years.
He received a master’s degree in music
from the University of Cincinnati CollegeConservatory of Music, and received
undergraduate degrees in history and
music from the University of Michigan.
Mr. Blumberg is also the founder and artistic
director of Five Boroughs Music Festival,
which brings chamber music of many genres
to every corner of New York City.
A former winner in 2012 of Placido
Domingo’s prestigious Operalia
competition and of the Metropolitan Opera
National Council Auditions, Janai Brugger
(soprano) begins the 2015–16 season
as Michaela in Carmen at Washington
National Opera, and sings the role again
later in the season at Lyric Opera of
Kansas.
Identified by Opera News as one of their
top 25 “brilliant young artists” in October
2015, Ms. Brugger joins the Metropolitan
26

Opera for their Rising Stars concert series
and makes several US concert appearances
during the season, along with various
recital performances. She makes her
debut as Norina in Don Pasquale at Palm
Beach Opera, and returns to Los Angeles
Opera to revive the role of Musetta
in La Bohème which she sings under
the baton of Gustavo Dudamel. Recent
highlights include the role of Pamina
in Die Zauberflöte in which she made
her UK debut at the Royal Opera House
Covent Garden to great acclaim, and Liu
in Turandot at the Metropolitan Opera of
New York where she also sang the role of
Helena in The Enchanted Island.
In previous seasons, Ms. Brugger made
her debut as Michaela in Carmen with
Opera Colorado; she sang High Priestess
in Aida at the Hollywood Bowl with Los
Angeles Philharmonic; Juliette in Roméo
et Juliette at Palm Beach Opera; and, as a
member of the Domingo-Thornton Young
Artist Program, her Los Angeles Opera
appearances include Barbarina in Le
Nozze di Figaro under the baton of Placido
Domingo, Page in Rigoletto with James
Conlon, and Musetta in La Bohème with
Patrick Summers.
Ms. Brugger appears frequently
in concert and in recital, including
appearances at the Peter Dvorsky
Festival in the Czech Republic; with the
Cincinnati Symphony Orchestra during
the May Festival with James Conlon; at
the Ravinia Festival with the Chicago
Symphony Orchestra as First Lady in Die
Zauberflöte with James Conlon; at Grant
Park Festival’s Fourth of July open-air
concert before 10,000 people; and with the
Philadelphia Orchestra in their 2013 gala
concert performance. Additionally, she
appeared in New York’s Festival of Song,
and with David Daniels for performances
of Handel’s Messiah at UMS in Ann Arbor.

A native of Chicago, she obtained a
master’s degree from the University of
Michigan, where she studied with the
late Shirley Verrett, and her bachelor’s
degree from DePaul University where she
studied with Elsa Charlston. In 2010, Ms.
Brugger participated in the Merola Opera
Program at San Francisco Opera, and went
onto become a young artist at Los Angeles
Opera for two seasons.
David Daniels (countertenor) is known for
his superlative artistry, magnetic stage
presence, and a voice of singular warmth
and surpassing beauty, which have
helped him redefine his voice category
for the modern public. The American
countertenor has appeared with the
world’s major opera companies and on its
main concert and recital stages. He made
history as the first countertenor to give
a solo recital in the main auditorium of
Carnegie Hall. The Chicago Tribune has
called Mr. Daniels “today’s gold standard
among countertenors.” Gramophone
magazine acknowledged his contribution
to recorded excellence as well as his
expansion of the repertoire for his voice
type by naming him one of the “Top 10
Trailblazers” in classical music today.
During the 2015–16 season, Mr. Daniels
has made his debut at the Bolshoi Theatre
in Moscow as Bertarido in Rodelinda,
conducted by Christopher Moulds; and
returned to the Wiener Staatsoper in
the Robert Lepage production of The
Tempest as Trinculo, conducted by the
composer, Thomas Adès. Recital work
includes appearances with the University
of Texas Austin, Vocals Arts DC, as well as
with the University Musical Society and
Martin Katz. Concert work includes Bach’s
Saint Matthew’s Passion with the Royal
Concertgebouw Orchestra in Amsterdam,
conducted by Ivor Bolton. Mr. Daniels also

joins the voice faculty at the University of
Michigan as a professor of music.
The 2014–15 season saw Mr. Daniels
in the title role of Theodore Morrison’s
Oscar, based on the life of Oscar Wilde, in
a company debut and East coast premiere
with Opera Philadelphia. He also returned
to San Francisco Opera to sing the role
of Arsace in Paretenope, directed by
Chrisopher Alden. Concert performances
included the Bach Mass in b minor with
the American Classical Orchestra at Alice
Tully Hall, Handel’s Messiah with the
University Musical Society in Ann Arbor,
and a gala performance with soprano
Laura Claycomb and Mercury Houston.
Additional appearances included a recital
with Martin Katz at the Converse College
with the Friends of Petrie School of Music
in his home town of Spartanburg, South
Carolina.
Mr. Daniels was born in Spartanburg,
South Carolina, the son of two singing
teachers. He began to sing as a boy
soprano, moving to tenor as his voice
matured, and earned an undergraduate
degree from the Cincinnati CollegeConservatory of Music. Mr. Daniels made
the daring switch to the countertenor range
during graduate studies at the University of
Michigan with tenor George Shirley.
A native of Richmond, Virginia, William
Ferguson (tenor) appeared with the
Santa Fe Opera as Caliban in the North
American premiere of Thomas Adès’
The Tempest, and bowed in Sydney with
Opera Australia singing Truffaldino in
a new production of The Love for Three
Oranges — a performance which has since
been released on compact disc on the
Chandos label. In New York, Mr. Ferguson
has performed Beppe in I Pagliacci at The
Metropolitan Opera as well as the title
role in Candide, Nanki-Poo in The Mikado,
27

the Funeral Director in A Quiet Place,
Hérisson de Porc-Épic in L’Étoile, and The
Electrician in Powder Her Face at New
York City Opera. Additional credits include
appearances at Central City Opera, The
Dallas Opera, Opera Theatre of St. Louis,
Opéra Festival de Quebec, Opera Festival
of New Jersey, Opera Memphis, Opera
Omaha, Virginia Opera, Gotham Chamber
Opera, and Opera Philadelphia. He holds
both bachelor’s and master’s degrees in
music from The Juilliard School.
A passionate concert and recital
performer, Mr. Ferguson has appeared
with The American Symphony Orchestra,
BBC Orchestra (London), Boston Symphony
Orchestra, City of Birmingham Symphony
Orchestra (England), Handel and Haydn
Society, Houston Symphony, Los Angeles
Philharmonic, Mostly Mozart Festival
Orchestra, Musica Sacra New York,
National Symphony Orchestra, New
Jersey Symphony Orchestra, New York
Philharmonic, Oratorio Society of New
York, Orchestra of St. Luke’s, Pittsburgh
Symphony Orchestra (in a fully staged
production of Handel’s Messiah), and
Radio Filharmonisch Orkest (Netherlands);
as well as the local symphony orchestras of
Bellingham, New Haven, Norwalk, Omaha,
Quad Cities, Richmond, Santa Barbara,
Waterbury, Wheeling, and Winston-Salem.
Furthermore, he has performed for
the 92nd Street Y, Bard Music Festival,
Marlboro Music Festival, Young Concert
Artists, The Marilyn Horne Foundation,
New York Festival of Song, and Five
Borough Music Festival, and appears as
Brian on the recording and DVD of Not
The Messiah, an oratorio based on Monty
Python’s Life of Brian recorded live at the
Royal Albert Hall.
Mr. Ferguson has been the recipient of
several awards and honors including first
place in the Oratorio Society of New York
28

Solo Competition, The Elihu Hyndman
Career Grant from Opera Theatre of St.
Louis, The Judges’ Award in the Opera
Index Competition, a Bagby Foundation
Career Grant, and The Alan Weiler Award
for Excellence presented by Opera
Orchestra of New York. In 2003 he was
awarded the Alice Tully Vocal Arts Debut
Recital Award granting him a New York
recital debut in Alice Tully Hall.
Described by the New York Times as “one
of America’s finest artists and singers,”
Frederica von Stade (mezzo-soprano)
continues to be extolled as one of the
music world’s most beloved figures.
Known to family, friends, and fans by her
nickname “Flicka,” the mezzo-soprano has
enriched the world of classical music for
four and a half decades.
Ms. von Stade’s career has taken her
to the stages of the world’s great opera
houses and concert halls. She began at the
top, when she received a contract from
Sir Rudolf Bing during the Metropolitan
Opera auditions, and since her debut in
1970 she has sung nearly all of her great
roles with that company. In addition, Ms.
von Stade has appeared with every leading
American opera company, including San
Francisco Opera, Lyric Opera of Chicago,
and Los Angeles Opera. Her career in
Europe has been no less spectacular,
with new productions mounted for her
at Teatro alla Scala, Royal Opera Covent
Garden, the Vienna State Opera, and the
Paris Opera. She is invited regularly by the
finest conductors, among them Claudio
Abbado, Charles Dutoit, James Levine, Kurt
Masur, Riccardo Muti, Seiji Ozawa, André
Previn, Leonard Slatkin, and Michael
Tilson Thomas, to appear in concert with
the world’s leading orchestras, including
the Boston Symphony Orchestra, Chicago
Symphony, Cleveland Orchestra, New York

Philharmonic, Philadelphia Orchestra, San
Francisco Symphony, London Symphony
Orchestra, Washington’s National
Symphony, and the Orchestra of La Scala.
Though she retired from full-time
performances in 2010, Ms. von Stade still
enjoys close collaborations with several
contemporary composers, including Jake
Heggie, Ricky Ian Gordon, and Dominick
Argento, among others. She created
the roles of Tina in The Dallas Opera’s
world premiere production of Dominick
Argento’s The Aspern Papers (a work
written for her); Madame de Merteuil in
Conrad Susa’s Dangerous Liaisons and
Mrs. Patrick De Rocher in Jake Heggie’s
Dead Man Walking, both for San Francisco
Opera; Myrtle Bledsoe in the world
premiere of Ricky Ian Gordon’s A Coffin
in Egypt at Houston Grand Opera, a role
she later reprised at Opera Philadelphia,
The Wallis Annenberg Center for the
Performing Arts in Beverly Hills, and
with the Chicago Opera Theater; and
Mrs. Edward “Winnie” Flato in the world
premiere of Jake Heggie and Terrence
McNally’s Great Scott, with performances
at The Dallas Opera and San Diego Opera.

29

UMS ARCHIVES
This weekend’s performances mark Martin Katz’s 38th and 39th appearances
under UMS auspices, following his UMS debut in November 1976 in recital
with bass-baritone Justino Diaz in Hill Auditorium. He has appeared on UMS
stages over the past four decades with singers including Cecilia Bartoli,
Kathleen Battle, Dame Kiri Te Kanawa, Marilyn Horne, Karita Mattila,
Lawrence Brownlee, David Daniels, and Frederica von Stade. He most recently
appeared under UMS auspices with the Berlin Philharmonic Woodwind
Quintet in February 2013 at Rackham Auditorium in a performance of
Poulenc’s Sextet for Piano and Woodwind Quintet.
UMS is pleased to welcome U-M alumni Janai Brugger, David Daniels,
and Jesse Blumberg to the Lydia Mendelssohn Theatre for Friday evening’s
performances. Each artist made their UMS debuts as soloists in productions
of Handel’s Messiah at Hill Auditorium in 2014, 1994, and 2010, respectively.
Friday evening marks Mr. Daniels’ 15th UMS performance, following his
most recent UMS appearance in December 2014 at Hill Auditorium in
performances of Messiah. Mr. Blumberg makes his fourth UMS appearance
on Friday following his most recent UMS appearance in November 2014
with Apollo’s Fire & Apollo’s Singers at St. Francis of Assisi Catholic Church
in a performance of Monteverdi’s Vespers. (He returns in March 2016 for
a performance of Bach’s St. John Passion with Apollo’s Fire.) Frederica von
Stade makes her third UMS appearance Friday evening, following her UMS
debut in recital with Martin Katz in November 1994 at Hill Auditorium. She
most recently appeared in recital with Mr. Katz in April 2000 at the Lydia
Mendelssohn Theatre. UMS welcomes William Ferguson and Jamie Barton as
they make their UMS debuts this weekend.
30

THIS WEEK IN ANN ARBOR...
During their time in Ann Arbor this week, each artist engaged with students
from the U-M School of Music, Theatre & Dance (SMTD) in many activities
that were also open to the public. On Wednesday afternoon, all of the artists
participated in a Q&A and panel discussion with students from the voice and
collaborative piano departments. On Thursday, Will Ferguson, Jamie Barton,
Jesse Blumberg, and Frederica von Stade taught public master classes on
American/crossover, international, German, and French song repertoire. On
Friday, Janai Brugger worked with students in two different choral classes
at Ann Arbor’s Pioneer High School. On Saturday morning, David Daniels and
Frederica von Stade joined Martin Katz’s collaborative piano studio class to
teach together.
UMS Song Remix: A Biennial Songfest continues in February with Taylor
Mac’s 24-Decade History of American Popular Music: 1960s–1980s at the
Lydia Mendelssohn Theatre.

M AY W E A L S O R E C O M M E N D . . .
2/6
2/14
3/15

Taylor Mac: A 24-Decade History of American Popular Music
(1960s–1980s)
UMS Choral Union: Love is Strong as Death
Apollo’s Fire & Apollo’s Singers: Bach’s St. John Passion

Tickets available at www.ums.org.
O N T H E E D U C AT I O N H O R I Z O N . . .
1/18–2/15 UMS Night School: Constructing Identity
(U-M Alumni Center, 200 Fletcher St., Mondays, 7–8:30 pm
Educational events are free and open to the public unless otherwise noted.
31

F R I D AY E V E N I N G ' S V I C T O R S F O R U M S

Maurice and Linda Binkow

whose Charitable Remainder Unitrust will establish the
Maurice and Linda Binkow Endowed Vocal and Chamber Arts
Endowment Fund to support two performances on the UMS
Biennial Songfest in perpetuity.

S U N D AY A F T E R N O O N ' S V I C T O R S F O R U M S

Joel Howell and Linda Samuelson

Supporters of Sunday afternoon’s recital by Jamie Barton and
Martin Katz.

The UMS National Council is comprised of U-M alumni and performing
arts enthusiasts across the country committed to supporting, promoting,
and advocating for UMS with a focus on ensuring that the performing
arts are an integral part of the student experience.
Bruce Tuchman
Chair
Andrew Bernstein
Kathleen G. Charla
Jacqueline Davis
Marylene DelbourgDelphis
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
David Leichtman and
Laura McGinn

BE PRESENT

UMS National Council

Zarin Mehta
Jordan Morgan
Caroline Nussbaum
James A. Read
Herbert Ruben
James and Nancy Stanley
Christian Vesper
Ann and Clayton Wilhite
Stephen R. Forrest
Ex-Officio

UMS Corporate Council

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

WINTER 2016

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.

Stephen R. Forrest
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 UMS’s continued success.
Maryam Ahmed
Andrew Bader
Genan Bakri
Madisen Bathish
Meredith Bobber*
Sophia Brichta
Mysti Byrnes
Abigail Choi
Tahmid Chowdhury
Catherine Cypert
Kathryn DeBartolomeis
Sophia Deery
Taylor Fulton

Trevor Hoffman
Annie Jacobson
Olivia Johnson
Garret Jones
Ayantu Kebede
Meredith Kelly
Emily Kloska
Caitlyn Koester
Bridget Kojima
Jakob Lenhardt
Robert Luzynski
Manami Maxted
Christina Maxwell*

Shenell McCray
Westley Montgomery
Tsukumo Niwa*
Katie Patrick
Evan Saddler*
Heather Shen
Brice Smith
Rachel Stopchinski
Edward Sundra
Joey Velez
Justin Wong
*21st Century Artist Interns
25

Organic.
Holistic.
No Artificial Ingredients.

Psychoanalysis helps--mind, body, and soul.
Ask one of our psychoanalysts how you, or someone you love, can
work on achieving a fuller, richer life.

Michigan
Psychoanalytic
INSTITUTE
&
SOCIETY

Carol Barbour, PhD
Alex Barends, PhD
Ronald Benson, MD
Meryl Berlin, PhD
Robert Cohen, PhD
Susan Cutler, PhD
Sara Dumas, MD
Joshua Ehrlich, PhD
Harvey Falit, MD
Richard Hertel, PhD
Erika Homann, PhD
Howard Lerner, PhD
Barry Miller, MD
Christina Mueller, MD
Jack Novick, PhD
Kerry Kelly Novick
Jean-Paul Pegeron, MD
Dwarakanath Rao, MD
Ivan Sherick, PhD
Merton Shill, PhD
Michael Shulman, PhD
Michael Singer, PhD
Jonathan Sugar, MD
Dushyant Trivedi, MD
Jeffrey Urist, PhD
Gail van Langen, PhD
David Votruba, PhD
Margaret Walsh, PhD
Elisabeth Weinstein, MD
Mark Ziegler, PhD

For change that lasts.
Learn more about us. www.mpi-mps.org

Celebrating
137 Successful Seasons
proud supporter of

Join us for
cocktails and
dinner at our
two Ann Arbor
restaurants for
a spectacular
meal after the
performance.
Serving steaks cut in our own
market, Knight’s famous prime rib,
falling-off-the-bone ribs, burgers,
seafood, salads, daily specials,
“home-baked” bread and desserts.

Knight’s Steakhouse

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P: 734.222.4776 • F: 734.222.4769

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2324 Dexter Avenue • 734/665-8644

Open Daily 11 a.m. to Midnight - Liberty St.
Preferred Seating Available
www.Knightsrestaurants.com

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
Gillian Eaton

Linda Gregerson
Marjorie Horton
Joel Howell
Martha S. Jones

Daniel Klionsky
Lawrence
La FountainStokes

BE PRESENT

UMS Faculty Insight Group

Lester Monts
Melody Racine
Sidonie Smith
Emily Wilcox

UMS K-12 Think Tank
Through an annual think tank, UMS brings together K-12 educators and
administrators to help us stay aware of trends, changing resources,
and new opportunities for learning in the K-12 classroom. The following
individuals participated in May 2015:
Janet Callaway
Kathy Churchill
Colleen Conway
Amy Deller
Tia Farrell
Dayna Lang

Katie Mann
Naomi Norman
Michelle Peet
Yael Rothfeld
Sarena Shivers
Laura Wayne

Terra Webster
Amy Willacker

WINTER 2016

Robin Bailey
Ann Marie Borders
Deb Brzoska
Jennifer Burton
Rose Marie
Callahan

UMS Ambassadors
UMS Ambassadors advance the goals of UMS, champion the UMS
mission through community engagement, provide and secure financial
support, and assist in countless other ways.
Louise Taylor
Chair
William Shell
Vice Chair
Karen Bantel
Secretary
Wendy K. Zellers
Treasurer
Pat Bantle
Past Chair
Sassa Akervall
Arlene Barnes
Astrid Beck
Gail Bendit
Corry Berkooz
Connie Rizzolo
Brown
Richard Chang

Judy Cohen
Jon Desenberg
Susan DiStefano
Annemarie Kilburn
Dolan
Sharon Peterson
Dort
Gloria J. Edwards
Christina Ferris
Zita Gillis
Joan Grissing
Stephanie Hale
Jane Holland
Allison Jordon
Carol Kaplan
Nancy Karp
Barbara Kaye
Kendra Kerr
Freddi Kilburn
Ye Na Kim
Russell Larson

Michael Lee
Gloria Lewis
Laura Machida
Katie Malicke
Rita Malone
Valerie
Roedenbeck
Maloof
Patti McCloud
Terry Meerkov
Barbara Mulay
Magda Munteanu
Jane Nyman
Marjorie Oliver
Betty Palms
Karen Pancost
Ruth Petit
Julie Picknell
Susan Pollans
Anne Preston
Jeff Reece

Kathy Rich
Nan Richter
Audrey
Schwimmer
Carol Senneff
Arlene P. Shy
Elena Snyder
Ren Snyder
Susan Snyder
Linda Spector
Pam Tabbaa
Elaine Tetreault
Janet Torno
Martha Williams
Sarajane
Winkelman

27

millercanfield.com

The UMS Staff works hard to inspire individuals and enrich communities by
connecting audiences and artists in uncommon and engaging experiences.
A D M I N I S T R AT I O N &
FINANCE

E D U C AT I O N &
COMMUNITY
ENGAGEMENT

Saba Keramati
Programming &
Production Assistant

James P. Leija
Director of Education &
Community Engagement

Liz Stover Rosenthal
Programming Manager

Kathy Brown
Executive Assistant

Shannon Fitzsimons
Campus Engagement
Specialist

Christina Bellows
Ticket Services Manager

Jenny Graf
Tessitura Systems
Administrator

Teresa C. Park
Education Coordinator

Patricia Hayes
Financial Manager

Mary Roeder
Community Programs
Manager

John Peckham
Information Systems
Manager

MARKETING &
C O M M U N I C AT I O N S

Kenneth C. Fischer
President
John B. Kennard, Jr.
Director of Administration

Marnie Reid
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
Associate Director of
Development, Foundation
& Government Relations
Cindy Straub
Manager of Volunteers &
Special Events
Mary A. Walker
Campaign Director and
Associate Director of
Development, Major Gifts

Sara Billmann
Director of Marketing &
Communications
Jesse Meria
Video Production
Specialist
Annick Odom
Marketing Coordinator
Anna Prushinskaya
Senior Manager of Digital
Media
Mallory Schirr
Marketing & Media
Relations Coordinator
PROGRAMMING &
PRODUCTION
Michael J. Kondziolka
Director of Programming
Jeffrey Beyersdorf
Production Director
Alex Gay
Production Coordinator
Anne Grove
Artist Services Manager
Mark Jacobson
Senior Programming
Manager

TICKET OFFICE

Megan Boczar
Ticket Office Assistant
Katherine McBride
Group Sales &
Promotions Coordinator
Ellen Miller
Ticket Office/Front-ofHouse Assistant
Anné Renforth
Ticket Services
Coordinator
Anna Simmons
Assistant Ticket Services
Manager

WINTER 2016

DEVELOPMENT

BE PRESENT

UMS Staff

Willie Sullivan
Front-of-House
Coordinator
Dennis Carter, Bruce
Oshaben, Brian Roddy
Head Ushers
UMS CHORAL
UNION
Scott Hanoian
Music Director &
Conductor
Arianne Abela
Assistant Conductor
Kathleen Operhall
Chorus Manager
Nancy Heaton
Chorus Librarian
Jean Schneider
Accompanist
Scott VanOrnum
Accompanist
29

Trusted financial advisors
to Ann Arbor and the
university community for
more than 30 years.

Ann Arbor | 734-769-7727 | risadvisory.com
© 2015 Retirement Income Solutions is an Independent Investment Advisor

Volunteer
for
UMS is recruiting new
volunteers! If you are
passionate about the arts
and looking for ways to
be an advocate for UMS,
we hope you’ll consider
joining us.
To learn more, please
contact Cindy Straub at
734.647.8009 or
straub@umich.edu.

BE PRESENT

Generous
Donors
Campaign Gifts and Multi-Year Pledges
To help ensure the future of UMS, the following donors have made gifts
to the Victors for Michigan campaign. We are grateful to these donors for
their commitments.
$50,0 0 0 –$74,999

Maxine Frankel and
James Stanley

Essel and Menakka Bailey
Daniel and Barbara Balbach
Penny and Ken Fischer
Beverley and Gerson Geltner
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
Tim and Sally Petersen
Phil and Kathy Power
Sharon and Doug Rothwell
Linda Samuelson and Joel
Howell
Jane and Edward Schulak
Dennis and Ellie Serras
Glenn E. Watkins
Marina and Bob Whitman
Gerald B. Zelenock

$ 5 00,0 0 0 O R MO R E

Carl Cohen
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
The Wallace Foundation
$ 1 00,00 0 –$ 4 99,9 9 9

Anonymous
Bert Askwith and Patti
Askwith Kenner
Emily W. Bandera
Dennis Dahlmann
Sharon and Dallas Dort
Stephen and Rosamund
Forrest
Susan and Richard Gutow
Wallis Cherniack Klein
David Leichtman and Laura
A. McGinn
Norma and Dick Sarns
Ron and Eileen Weiser
Max Wicha and Sheila
Crowley
Ann and Clayton Wilhite
$ 7 5 ,000 –$ 99,9 9 9

David and Phyllis Herzig
Nancy and James Stanley

$25,0 0 0 –$49,999

Carol Amster
Cheryl Cassidy
Junia Doan
John R. Edman and Betty B.
Edman
Barbara H. Garavaglia
Charles H. Gershenson Trust
Anne and Paul Glendon
Norman and Debbie Herbert
Carl and Charlene Herstein
Jerry and Dale Kolins

Jeffrey MacKie-Mason and
Janet Netz
Martin Family Foundation
M. Haskell and Jan Barney
Newman
Dan and Sarah Nicoli
Lois Stegeman
Stout Systems
John W. and Gail Ferguson
Stout
Karen and David Stutz
Dody Viola
$15,000– $ 24 , 999

Michael and Suzan
Alexander
Linda and Ronald Benson
Valerie and David Canter
Sara and Michael Frank
Wendy and Ted Lawrence
Virginia and Gordon Nordby
Eleanor Pollack

WINTER 2016

C AM PAI G N CO - C H A I R S

$5,000– $ 14 , 999

Barbara Anderson and John
Romani
John and Lillian Back
Karen Bantel and Steve
Geiringer
Suzanne A. and Frederick J.
Beutler
Conlin Travel, Inc.
Tim and Robin Damschroder
Michele Derr
Ann Martin and Russ Larson
Steve and Betty Palms
Eric and Ines Storhok

31

Classical
Music

&

Listen online at
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NPR News

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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:

The Zell Visiting Writers
Series offers regular
readings by some of the
finest global voices in
contemporary literature.

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
Dallas and Sharon Dort Endowment Fund
Doris Duke Charitable Foundation Endowment
Fund
John R. and Betty B. Edman Endowment Fund
Epstein Endowment Fund
Stephen and Rosamund Forrest Student Ticket
Endowment Fund
Ilene H. Forsyth Endowment Funds for Choral
Union, Chamber Arts, and Theater
James Garavaglia Theater Endowment Fund
Anne and Paul Glendon Endowment Fund
Susan and Richard Gutow Renegade Ventures
Endowment Fund
George N. and Katharine 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 Matovinović 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

Bringing the world of
literature to Ann Arbor

Details at:
lsa.umich.edu/writers
All events are free and open to the public.

WINTER 2016

ZELL VISITING
WRITERS SERIES
2016

BE PRESENT

Endowed Funds

33

SEASON

15
16

BEETHOVEN FESTIVAL with
GARRICK OHLSSON
September 19
Hill Auditorium

ROMANTIC
TCHAIKOVSKY
October 24
Michigan Theater

HOLIDAY POPS
December 11
Hill Auditorium

HARP MAGIC
March 12
Michigan Theater

MENDELSSOHN
“ITALIAN”
November 7
Michigan Theater

MOZART
BIRTHDAY BASH
January 16
Michigan Theater

THE PLANETS
April 9
Michigan Theater

Ann Arbor Symphony Orchestra
­ÇÎ{®Ê™™{‡{nä£ÊÊUÊÊ>2so.com

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.
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
Griff and Pat McDonald
Joanna McNamara
M. Haskell and Jan Barney Newman
Len Niehoff
Dr. and Mrs. Frederick O’Dell
David Parsigian
Irena Politano
Eleanor Pollack
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
Eric and Ines Storhok
Louise Taylor
Roy and JoAn Wetzel
Ann and Clayton Wilhite
Max Wicha and Sheila Crowley
Marion Wirick
Mr. and Mrs. Ronald G. Zollar

WINTER 2016

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
Carl Cohen
Alan and Bette Cotzin
Mary C. Crichton
Dallas and Sharon Dort
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
Thea and Elliot Glicksman
Debbie and Norman Herbert
David and Phyllis Herzig
Rita and Peter Heydon
John and Martha Hicks

BE PRESENT

Planned Gifts/Bequests

How to Make a Gift
UMS excites the imagination, sparks creativity, sharpens collaboration,
inspires new ways of thinking, and connects us in ways that only the
arts can. Your gift of any size will enable UMS to deliver world-class
performances and create outstanding educational opportunities for our
community.
Please send gift to:
UMS Development
881 N. University Ave
Ann Arbor, MI 48109-1011
For more information, please call 734.764.8489 or visit ums.org/support.

35

UMS Support – July 1, 2014–December 15, 2015
The following list includes donors who made gifts to UMS between July 1, 2014
and December 15, 2015. Due to space restraints, we can only list in the UMS
program book those who donated $250 or more. Donors of $1-$249 will be
included in the online list at ums.org.
P RO D UC E R S
($5 0 0,0 0 0 OR M O R E )

Max Wicha and Sheila Crowley
Ann and Clayton Wilhite

Ilene H. Forsyth #
Eugene and Emily Grant Family
Foundation
University of Michigan

V IRTUOSOS
( $1 0,000– $1 9, 999)

D I RECTOR S
($1 0 0,0 0 0 –$ 4 9 9, 9 9 9)
Anonymous
Carl and Isabelle Brauer Fund #
Ford Motor Company Fund and
Community Services
Maxine and Stuart Frankel
Foundation
Karl V. Hauser #
The Andrew W. Mellon Foundation
University of Michigan Health System
The Wallace Foundation

S O LO I ST S
($5 0,0 0 0 –$ 9 9, 9 9 9)
Anonymous
Anonymous #
Bert Askwith and Patti Askwith
Kenner
Community Foundation for
Southeast Michigan
Dance/USA
Doris Duke Charitable Foundation
DTE Energy Foundation
Masco Corporation Foundation
National Endowment for the Arts
Linda and Stuart Nelson
in honor of Ken Fischer

MAES T ROS
($20,0 00 –$ 4 9, 9 9 9)
Anonymous
Anonymous #
Emily W. Bandera, M.D.
Noreen and Kenneth Buckfire
Sharon and Dallas Dort #
Stephen and Rosamund Forrest #
Barbara H. Garavaglia #
in memory of Jim Garavaglia
Beverley and Gerson Geltner
Charles H. Gershenson Trust, Maurice
S. Binkow, Trustee
Susan and Richard Gutow #
KeyBank
Jeffrey MacKie-Mason and Janet Netz
Michigan Council for Arts and Cultural
Affairs
Philip and Kathy Power
Norma and Dick Sarns #
Sesi Lincoln
Toyota
Bruce G. Tuchman
U-M Third Century Initiative
Ron and Eileen Weiser

36

Gerald and Gloria Abrams
includes gift in honor of John M.
Nicklas
Altarum Institute
Menakka and Essel Bailey #
Barbara and Daniel Balbach #
Bank of Ann Arbor
Joseph A. Bartush, LS&A, Class of '71
Bendit Foundation
Rachel Bendit and Mark Bernstein
Maurice and Linda Binkow
Carl Cohen
Jim and Patsy Donahey
Penny and Ken Fischer
Anne and Paul Glendon
David and Phyllis Herzig
Joel Howell and Linda Samuelson
The Japan Foundation
Frank Legacki and Alicia Torres
Natalie Matovinović
in memory of Josip Matovinović MD
McKinley Associates, Inc.
Thomas and Deborah McMullen
McMullen Properties
Ann R. Meredith
Miller, Canfield, Paddock and Stone
P.L.C.
Mr. and Mrs. Donald L. Morelock
New England Foundation for the Arts
Old National Bank
Gil Omenn and Martha Darling
Leslee and Michael Perstein
in honor of Margie McKinley
Tim and Sally Petersen #
PNC Foundation
James Read
Retirement Income Solutions
Sharon and Doug Rothwell
Agnes Moy-Sarns and David Sarns
Jane and Edward Schulak
Dennis and Ellie Serras
Gary and Diane Stahle
Nancy and James Stanley
University of Michigan Credit Union
Stanford and Sandra Warshawsky
Robert O. and Darragh H. Weisman
in honor of Jean and Sidney Silber
Robert and Marina Whitman
Fred and Judy Wilpon
Gerald B. (Jay) Zelenock #

CONCERTMASTERS
( $5,000– $9, 999)
Michael Allemang and Janis Bobrin
Carol Amster

# indicates that a donation was made to support a UMS Endowment Fund

Barbara A. Anderson
includes gift in memory of John H.
Romani
Ann Arbor Automotive
Anonymous
Linda and Ronald Benson
Andrew and Lisa Bernstein
Gary Boren
Edward and Mary Cady
Valerie and David Canter
Cheryl Cassidy
Comerica Bank
Anne and Howard Cooper
Junia Doan
Faber Piano Institute
Randall and Nancy Faber
David and Jo-Anna Featherman
Barbara G. Fleischman
George W. Ford
includes gift in memory of Steffi
Reiss
Katherine and Tom Goldberg
Lynn and Martin Halbfinger
Norman and Debbie Herbert #
Carl and Charlene Herstein
Honigman Miller Schwartz and Cohn
LLP
David and Sally Kennedy
in memory of Elizabeth Earhart
Kennedy
Jerry and Dale Kolins #
Samuel and Marilyn Krimm
Level X Talent
Richard and Carolyn Lineback
Benard L. Maas Foundation
Mardi Gras Fund
Martin Family Foundation #
Dan and Sarah Nicoli
THE MOSAIC FOUNDATION (of R. &
P. Heydon)
M. Haskell and Jan Barney Newman
Virginia and Gordon Nordby
Rob and Quincy Northrup
Eleanor Pollack
Frances Quarton
Corliss and Dr. Jerry Rosenberg
in honor of Ken Fischer
Prue and Ami Rosenthal
Lynne Rosenthal
RunSignUp
Savco Hospitality
Lois Stegeman
The Summer Fund of the Charlevoix
County Community Foundation
Stout Systems
John W. and Gail Ferguson Stout
Karen and David Stutz
includes gift in honor of Donald
and Antoinette Morelock
Dody Viola
Dr. Carl Winberg
in honor of Margie McKinley

PATRONS
( $1 ,0 0 0 – $2,499)
Katherine Aldrich
Richard and Mona Alonzo
American Title Company of
Washtenaw
Christiane Anderson
David G. and Joan M. Anderson #
John Anderson and Lyn McHie
Dave and Katie Andrea
Anonymous
Anonymous
in honor of Jean Campbell
Dr. and Mrs. Rudi Ansbacher
Harlene and Henry Appelman
Dr. Frank J. Ascione
Bob and Martha Ause
Elizabeth R. Axelson and Donald
H. Regan
Jonathan Ayers and Teresa
Gallagher
Patricia Bard
Lisa and Jim Baker
Rosalyn, Joshua and Beth Barclay
in memory of Mel L. Barclay, M.D.
John and Ginny Bareham
David and Monika Barera
Anne Beaubien and Phil Berry
Cecilia Benner
in memory of David Lebenbom
Dr. Rosemary R. Berardi and Dr.
Carolyn R. Zaleon
Sara Billmann and Jeffrey Kuras
Joan Binkow
John Blankley and Maureen Foley
Blue Nile Restaurant
Margaret and Howard Bond
Rebecca S. Bonnell
Charles and Linda Borgsdorf
Laurence and Grace Boxer
Dr. and Mrs. Ralph R. Bozell
Dale E. and Nancy M. Briggs
Bill Brinkerhoff and Kathy Sample
David and Sharon Brooks
Robert and Jeannine Buchanan
Lawrence and Valerie Bullen
Joan and Charley 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
Anne Chase
Patricia Chatas
Myung Choi
Brian and Cheryl Clarkson
Ellen and Hubert Cohen
Deborah Keller-Cohen and Evan
Cohen
Connie and Jim Cook

Mac and Nita Cox
Christopher Dahl and Ruth Rowse
in honor of Ken Fischer
Timothy and Robin Damschroder
Charles and Kathleen Davenport
Michele Derr
in memory of Ellwood Derr
Monique Deschaine
Molly Dobson
Jill and Doug Dunn
Peter and Grace Duren
Rosalie Edwards/Vibrant Ann
Arbor Fund of the Ann Arbor Area
Community Foundation
Johanna Epstein and Steven Katz
Harvey and Elly Falit
in honor of Carol and Norman
Schnall
Margaret and John Faulkner
Esther Floyd
Food Art
Dan and Jill Francis
Judy and Paul Freedman
Leon and Marcia Friedman
Bill and Boc Fulton
Zita and Wayne Gillis
Heather and Seth Gladstein
Barbara and Fred Goldberg #
Cozette T. Grabb
Nicki Griffith
Leslie and Mary Ellen Guinn
Kenneth and Margaret Guire #
Marlys Hamill
Jeff Hannah and Nur Akcasu
Randall L. and Nancy Caine
Harbour #
Clifford and Alice Hart
Larry Hastie
Daniel and Jane Hayes
Sivana Heller
Diane S. Hoff #
Robert M. and Joan F. Howe
Eileen and Saul Hymans
IATSE Local 395
Jean Jacobson
Janet and Wallie Jeffries
Timothy and Jo Wiese Johnson
Liz Johnson
Kent and Mary Johnson
in memory of Dr. Mel Barclay
Mark and Madolyn Kaminski
Richard and Sylvia Kaufman
in honor of Ken Fischer
James A. Kelly and Mariam C.
Noland
Carolyn and Jim Knake
Michael J. Kondziolka and MathiasPhilippe Badin
Barbara and Michael Kratchman
Donald and Jeanne Kunz
Ann Martin and Russ Larson
Jerry and Marion Lawrence
John K. Lawrence and Jeanine A.
DeLay
David Leichtman and Laura A.
McGinn
Richard LeSueur
Evie and Allen Lichter
Fran Lyman
John and Cheryl MacKrell
Edwin and Cathy Marcus

WINTER 2016

Jim and Barbara Adams
Michael and Suzan Alexander
Anonymous
Arts Midwest Touring Fund
John and Lillian Back
Karen Bantel and Steve Geiringer
Dr. Carol Barbour and Dr. Sid
Gilman
Robert and Wanda Bartlett
Bradford and Lydia Bates
Kathy Benton and Robert Brown
Suzanne A. and Frederick J.
Beutler #
DJ and Dieter Boehm
includes gift in honor of Sara
Billmann
Carolyn M. Carty and Thomas H.
Haug
Jean and Ken Casey
Conlin Travel, Inc.
Julia Donovan Darlow and John
Corbett O'Meara
Elena and Nicholas Delbanco
Marylene Delbourg-Delphis
Alice Dobson
John Dryden and Diana Raimi
Charles and Julia Eisendrath
Joan and Emil Engel
Sara and Michael Frank
Prof. David M. Gates
Thomas and Barbara Gelehrter
Bill and Ruth Gilkey
John Griffith
Robert and Dannielle Hamilton
Katherine D. Hein
David W. Heleniak #
Connie and Tom Kinnear
Diane Kirkpatrick
Philip and Kathryn Klintworth
Ted and Wendy Lawrence
Leo and Kathy Legatski
Carolyn and Paul Lichter
Lawrence and Rebecca Lohr #
E. Daniel and Kay Long #
Jean E. Long
Ernest and Adèle McCarus
Susan McClanahan and Bill
Zimmerman
includes a gift in honor of
Donald and Antoinette Morelock
Estate of Michael G. McGuire
Paul Morel and Linda Woodworth
Anthony and Vivian Mosellie
William Nolting and Donna
Parmelee
Steve and Betty Palms
Elizabeth and David Parsigian
Judith A. Pavitt
Bertram and Elaine Pitt
Rick and Mary Price
Jim and Bonnie Reece
John W. Reed
in honor of Ken Fischer
Anthony L. Reffells
Nathaniel and Melody Rowe
Herbert and Ernestine Ruben
Frankie and Scott Simonds
in honor of Candis and Helmut
Stern

Victor Strecher and Jeri Rosenberg
Ed and Natalie Surovell
Judy and Lewis Tann
Keturah Thunder Haab
Jim Toy
includes gifts in honor of Ken
Fischer and in memory of Jerry
Fischer
Elise Weisbach

BE PRESENT

L EAD ER S
($2, 5 0 0 –$ 4, 9 9 9)

37

Nancy and Philip Margolis
Betsy Yvonne Mark
W. Harry Marsden
Howard L. Mason
Mary M. Matthews
Jerry A. and Deborah Orr May #
W. Joseph McCune and Georgiana
M. Sanders
Griff and Pat McDonald
James H. McIntosh and Elaine K.
Gazda
Margaret McKinley
Michael and Terrie McLauchlan #
Scott and Julie Merz
Bert and Kathy Moberg
Lester and Jeanne Monts
Virginia Morgan
Moscow Philanthropic Fund
John and Ann Nicklas
Susan and Mark Orringer #
Elisa A. Ostafin
Lisa and John Peterson
Pfizer Foundation
Juliet S. Pierson
Susan Pollans and Alan Levy
Stephen and Bettina Pollock
Jeff Reece
Marnie Reid
Ray and Ginny Reilly
Malverne Reinhart
Richard and Susan Rogel
Huda Karaman Rosen
Craig and Jan Ruff
Karem and Lena Sakallah
Maya and Stephanie Savarino
Erik and Carol Serr
Janet Shatusky
Alyce Sigler
Carl Simon and Bobbi Low
Nancy and Brooks Sitterley
Michael Sivak and Enid Wasserman
Barbara Furin Sloat
Janet Kemink and Rodney Smith, MD
Ren and Susan Snyder
Linh and Dug Song
Cheryl Soper
Michael B. Staebler and Jennifer R.
Poteat
Ted St. Antoine
Virginia E. Stein #
Eric and Ines Storhok
Dalia and Stan Strasius
Charlotte Sundelson
Louise Taylor
Ted and Eileen Thacker
Louise Townley
Jeff and Lisa Tulin-Silver
Susan B. Ullrich #
Jack and Marilyn van der Velde
Douglas and Andrea Van Houweling
Joyce Watson and Marty Warshaw
Harvey and Robin Wax
includes a gift in honor of Penny
Fischer
Lauren and Gareth Williams
Max and Mary Wisgerhof
Charles Witke and Aileen Gatten
The Worsham Family Foundation
Thomas and Karen Zelnik
Thomas and Erin Zurbuchen #

38

BEN EFAC TORS
( $500– $999)
Tena Achen
Roger Albin and Nili Tannenbaum
Christine W. Alvey
Neil P. Anderson
Anonymous
Sandy and Charlie Aquino
Penny and Arthur Ashe
Ralph and Barbara Babb
in memory of Jim Garavaglia
Laurence R. and Barbara K. Baker
Reg and Pat Baker
Nancy Barbas and Jonathan Sugar
Astrid B. Beck
Gail M. Bendit
Rodney and Joan Bentz
James K. and Lynda W. Berg
Peggy and Ramon Berguer
in honor of Jim and Nancy Stanley
L. S. Berlin and Jean McPhail
Raymond and Janet Bernreuter
Dr. John E. Billi and Dr. Sheryl Hirsch
William and Ilene Birge
Jerry and Dody Blackstone #
Ron and Mimi Bogdasarian
R.M. Bradley and C.M. Mistretta
Joel Bregman and Elaine Pomeranz
Charles C. Bright and Susan Crowell
Susan and Oliver Cameron
Thomas and Colleen Carey
Brent and Valerie Carey
Jack and Susan Carlson
Barbara Mattison Carr
Andrew Caughey MD and
Shelly Neitzel MD
Tsun and Siu Ying Chang
Samuel and Roberta Chappell
John and Camilla Chiapuris
Reginald and Beverly Ciokajlo
Mark Clague and Laura Jackson
Judy and Malcolm Cohen
Jon Cohn and Daniela Wittmann
Arnold and Susan Coran
Paul Courant and Marta Manildi
Katherine and Clifford Cox
Clifford and Laura Craig #
John and Mary Curtis
Roderick and Mary Ann Daane
Linda Davis and Bob Richter
in honor of Ken Fischer
David Deromedi
in memory of Nancy Deromedi
Andrzej and Cynthia Dlugosz
Karen Yamada and Gary Dolce
Ed and Mary Durfee
James F. Eder
John R. Edman
Gloria Edwards
Barbara and Tony Eichmuller
Alan S. Eiser
Phil and Phyllis Fellin
Carol Finerman
Susan Fisher
Scott and Janet Fogler
David Fox and Paula Bockenstedt
Christopher Friese
in honor of Jerry Blackstone
Carol Gagliardi and David Flesher
Tom Gasloli
Renate Gerulaitis

David and Maureen Ginsburg #
Ken Gottschlich and Martha Pollack
Christopher and Elaine Graham
Martha and Larry Gray
Dr. John and Renee M. Greden
Drs. Patricia and Stephen Green
Raymond Grew
Werner H. Grilk
in memory of Warren L. Hallock
Steven and Sheila Hamp
Alan Harnik and Prof Gillian FeeleyHarnik
Martin D. and Connie D. Harris
Dr. Don P. Haefner and Dr. Cynthia
J. Stewart
Helen C. Hall
Stephen Henderson
Kay Holsinger and Douglas C. Wood
Jim and Colleen Hume
Ann D. Hungerman
Harold Ingram #
Isciences, L.L.C.
John and Gretchen Jackson
Hank and Karen Jallos
Mark and Linda Johnson
Mattias Jonsson and Johanna
Eriksson
Don and Sue Kaul
David H. and Gretchen Kennard
John Kennard and Debbi Carmody
Paul and Dana Kissner
Jean and Arnold Kluge
Barbara and Ronald Kramer
Mary L. Kramer
in honor of Ken Fischer
Gary and Barbara Krenz
Jane Fryman Laird
Joan and Melvyn Levitsky
Jennifer Lewis and Marc Bernstein
James and Jean Libs
Marty and Marilyn Lindenauer
Rod and Robin Little
Joan Lowenstein and Jonathan Trobe
Brigitte Maassen
William and Jutta Malm
Melvin and Jean Manis
Susan Martin
Judythe and Roger Maugh
Martha Mayo and Irwin Goldstein
Margaret and Harris McClamroch
Jordan McClellan
Bill and Ginny McKeachie
Semyon and Terry Meerkov
Bernice and Herman Merte
Fei Fei and John Metzler
Lee Meyer
Dr. James M. Miller and Dr. Rebecca
H. Lehto
Lewis and Kara Morgenstern
Lisa and Steve Morris
Brian and Jacqueline Morton
Drs. Louis and Julie Jaffee Nagel
John and Ann Nicklas
Marylen S. Oberman
Elizabeth Ong
M. Joseph and Zoe Pearson
Jean and Jack Peirce
Wesen and William Peterson
Diana and Bill Pratt
Wallace and Barbara Prince
Cynthia and Cass Radecki

Judith Abrams
Jan and Sassa Akervall
Gordon and Carol Allardyce
James and Catherine Allen
Catherine M. Andrea
Ann Arbor Area Community
Foundation
Anonymous
Bernard and Raquel Agranoff
Dr. Diane M. Agresta
Helen and David Aminoff
Ralph and Elaine Anthony
Lisa and Scott Armstrong
Eric and Nancy Aupperle
Rosemary and John Austgen
Robert and Mary Baird
Pat Bantle
Barbara Barclay

Susan Froelich and Richard Ingram
in memory of Eugene O. Ingram
Philip and Renée Woodten Frost
Enid Galler
Charles and Janet Garvin
Sandra Gast and Greg Kolecki
Bob and Julie Gates
Michael Gatti and Lisa Murray
Prof. Beth Genne and Prof. Allan
Gibbard
Chris Genteel and Dara Moses
J. Martin Gillespie and Tara Gillespie
Thea and Elliot Glicksman
Google Inc.
Mr. and Mrs. Charles and Janet
Goss #
Marla Gousseff
Michael L. Gowing
Jenny Graf
Jerry M. and Mary K. Gray
Richard and Linda Greene
Linda and Roger Grekin
Carl Guldberg
George and Mary Haddad
Drs. Erik and Dina Hanby
Susan R. Harris
J. Lawrence Henkel and Jacqueline
Stearns
Therese and Alfred Hero
Lorna and Mark Hildebrandt
Perry Irish Hodgson
Timothy Hofer and Valerie Kivelson
Daniel Hoffman
Jane and Thomas Holland
James S. and Wendy Fisher House #
Gaye Humphrey
Elizabeth Jahn
Joachim Janecke
Mr. Lawrence and Mrs. Ruth Jones
Janet and Jerry Joseph
Don and Nancy Kaegi
Monica and Fritz Kaenzig
Angela Kane
Mark and Carol Kaplan
E. and M. Katz
Fred and Susan Kellam
Charles Kelly
James and Patricia Kennedy
Nancy Keppelman and Michael
Smerza
Dan and Freddi Kilburn
Laurence King and Robyn FreyKing
Web and Betty Kirksey
Michael Koen
Rosalie and Ron Koenig
Joseph and Marilynn Kokoszka
Dr. and Mrs. Melvyn Korobkin
Bert and Geraldine Kruse
Frank and Kim La Marca
Donald John Lachowicz
Tim and Kathy Laing
Linda Langer
Anne-Marie and Anthony La Rocca
John and Theresa Lee
James Leija and Aric Knuth
Anne and Harvey Leo
John Lesko and Suzanne
Schluederberg
Rachelle Lesko
Gloria Kitto Lewis

WINTER 2016

ASS O CI AT ES
($25 0 – $ 4 9 9)

Frank and Lindsay Tyas Bateman
Kenneth and Eileen Behmer
Christina Bellows and Joe Alberts
Helen V. Berg
Corry and Gahl Berkooz
Dan Berland and Lisa Jevens
Barbara and Sheldon Berry
Maria Beye
Mary E. Black
Judy Bobrow and Jon Desenberg
Mr. Mark D. Bomia
Joel Bregman and Elaine Pomeranz
Les and Bonnie Bricker
Gloria D. Brooks
Morton B. and Raya Brown
Tom and Lori Buiteweg
Jonathan and Trudy Bulkley
Jim and Cyndi Burnstein
Tony and Jane Burton
Jenny and Jim Carpenter
Margaret W. (Peggy) Carroll
Dennis J. Carter
Susan Carter
Albert C. Cattell
Samuel and Roberta Chappell
Joan and Mark Chesler
Laurence Cheung
Hilary Cohen
Wayne and Melinda Colquitt
Dr. Lisa D. Cook
Katharine Cosovich
Margaret Cottrill and Jon Wolfson
Susan Bozell Craig
Jean Cunningham and Fawwaz
Ulaby
Marylee Dalton and Lynn
Drickamer
Connie D'Amato
Sunil and Merial Das
Art and Lyn Powrie Davidge #
in memory of Gwen and
Emerson Powrie
Ed and Ellie Davidson
John Debbink
David L. DeBruyn
Margaret Delaney
Kenneth Wisinski and Linda
Dintenfass
Paul and Annemarie Dolan
Robert Donia
Elizabeth Duell
Don and Kathy Duquette
Swati Dutta
Richard and Myrna Edgar
Morgan and Sally Edwards
Charles and Julie Ellis
Thomas Fabiszewski
Kay Felt
Jeff Fessler and Sue Cutler
Herschel and Adrienne Fink
Harold and Billie Fischer
Martha Fischer and William Lutes
in honor of Kenneth C. Fischer
Norman and Jeanne Fischer
in memory of Gerald B. Fischer
Catherine Fischer
in memory of Gerald B. Fischer
Frederick and Kathleen Fletcher
Peter C. Flintoft
Jessica Fogel and Lawrence Weiner
Lucia and Doug Freeth

BE PRESENT

Peter Railton and Rebecca Scott
Jessica C. Roberts, PhD #
Doug and Nancy Roosa
David Lampe and Susan Rosegrant
Stephanie Rosenbaum
Richard and Edie Rosenfeld
Nancy Rugani
Linda and Leonard Sahn
Mariam Sandweiss
in memory of Leon Cohan
Ashish and Norma Sarkar
Christopher Kendall and Susan
Schilperoort
David Schmidt and Jane Myers
Ann and Tom Schriber
Matthew Shapiro and Susan Garetz
Bruce M. Siegan
Edward and Kathy Silver
Sue and Don Sinta
Cynthia Sorensen and Henry
Rueter
Linda Spector and Peter Jacobson
Gretta Spier and Jonathan Rubin
Leslie Stainton and Steven Whiting
Allan and Marcia Stillwagon
Sandy Talbott and Mark Lindley
Stephanie Teasley and Thomas
Finholt
Doris H. Terwilliger
Claire Turcotte
Joyce Urba and David Kinsella
Erika Nelson and David Wagener
Elizabeth A. and David C. Walker
Arthur and Renata Wasserman
Richard and Madelon Weber #
Deborah Webster and George
Miller
Edward and Colleen Weiss
Lyndon Welch
in memory of Angela Welch
James B. White and Mary F. White
Kathy White #
Iris and Fred Whitehouse
Diane Widzinski
Thomas K. Wilson
Dr. Robert Winfield
Lawrence and Mary Wise
Dr. and Mrs. Robert Wolf
Drs. Margo and Douglas Woll
Mary Jean and John Yablonky
Richard and Kathryn Yarmain

39

Jacqueline Lewis
in honor of Ken Fischer
Barbara Levine
Michael and Debra Lisull
Dr. Len and Betty Lofstrom
Julie M. Loftin
Barbara and Michael Lott
Bruce Loughry
Martin and Jane Maehr
Susan C. Guszynski and Gregory F.
Mazure
Charles McCaghy
Joanna McNamara and Mel Guyer
Frances McSparran
Marilyn Meeker
Gerlinda S. Melchiori
Warren and Hilda Merchant
Dennis J. Merrick and Judith H. Mac
Louise Miller
Gene and Lois Miller
Dr. and Mrs. Josef Miller
John and Sally Mitani
Candy Mitchell
Arnold and Gail Morawa
Trevor Mudge and Janet Van
Valkenburg
Gavin Eadie and Barbara Murphy
Thomas J. Nelson
Gayl and Kay Ness
Marc Neuberger
Richard and Susan Nisbett
Eugene and Beth Nissen
Laura Nitzberg
Christer and Outi Nordman
Arthur S. Nusbaum
Constance Osler
Mohammad and J. Elizabeth Othman
Karen Pancost
William and Hedda Panzer
Donna D. Park
Karen Park and John Beranek
Lisa Payne
Sumer Pek and Mickey Katz-Pek
Melvin and Sharon Peters
Margaret and Jack Petersen
in honor of Jerry Blackstone
Sara Jane Peth
Marianne Udow-Phillips and Bill
Phillips

Donald and Evonne Plantinga
Joyce Plummer
Thomas S. Porter
Nancy Powell
Anne Preston #
Karen and Berislav Primorac
Quest Productions
Floretta Reynolds
Guy and Kathy Rich
Douglas and Robin Richstone
Dr. and Mrs. Jonathan Rodgers
Dr. Stephen Rosenblum and Dr.
Rosalyn Sarver
Rosemarie Haag Rowney
Carol Rugg and Richard
Montmorency
Jay and Sunny Sackett
Eugene Saenger, Jr.
Amy Saldinger and Robert Axelrod
Irv and Trudy Salmeen
in honor of Pat Chapman
Michael and Kimm Sarosi
Albert J. and Jane L. Sayed
Judith Scanlon
Jochen and Helga Schacht
Mark Schlissel
Betina Schlossberg
Regan Knapp and John Scudder
Larry and Bev Seiford
Suzanne Selig
Ms. Harriet Selin
Elvera Shappirio
Laurence Shear
William and Christina Shell
Patrick and Carol Sherry
George and Gladys Shirley
Jean and Thomas Shope
Andrew and Emily Shuman
Nina Silbergleit
Terry M. Silver
Robert and Elaine Sims
Scott and Joan Singer
Loretta Skewes
Carl and Jari Smith #
Dr. and Mrs. Gregory Smith
Robert W. Smith
Greg Grieco and Sidonie Smith
David and Renate Smith
Hanna Song and Peter Toogood

Becki Spangler and Peyton Bland
Doris and Larry Sperling
in memory of David Klein
Jim Spevak
Jeff Spindler
Paul and Judith Spradlin
Daniel and Susan Stepek
James L. Stoddard
Cynthia Straub
Brian and Lee Talbot
May Ling Tang
Carolyn and Frank Tarzia
Eva Taylor
Stephan Taylor and Elizabeth
Stumbo
Denise Thal and David Scobey
Nigel and Jane Thompson
John G. Topliss
Donald Tujaka
Alvan and Katharine Uhle
Karla and Hugo Vandersypen
Michael Van Tassel
James and Barbara Varani
Virginia O. Vass
Brad L. Vincent
Jack Wagoner, M.D.
Mary Walker and David Linden
Charles R. and Barbara H. Wallgren #
Bob and Liina Wallin
Jo Ann Ward
Alan and Jean Weamer
MaryLinda and Larry Webster
Mr. and Mrs. Richard Weiermiller
Jack and Carol Weigel
Lisa and Steve Weiss
Mary Ann Whipple
Nancy P. Williams
in honor of Katie Stebbins
Robert J. and Anne Marie Willis
John and Pat Wilson
Beth and I. W. Winsten
Stuart and Nancy Winston #
Steven and Helen Woghin
Charlotte A. Wolfe
Frances Wright #
Gail and David Zuk
*Due to space restraints, tribute gifts
of $1-$249 will be recognized in the
online donor list at ums.org.

Ad Index
2
34
5
6
6
6
10
10
22
21
10
26
26

Ann Arbor Area Community Foundation
Ann Arbor Symphony Orchestra
Center for Plastic and Reconstructive Surgery
Charles Reinhart Co. Realtors
Cottage Inn
Donaldson & Guenther
Dykema Gossett
Gilmore Keyboard Festival
Heinz C. Prechter Bipolar Research Fund
Honigman Miller Schwartz and Cohn LLP
Iris Dry Cleaners
Jaffe, Raitt, Heuer & Weiss PC
Knight's Downtown

26
28
28
32
30
22
32
4
IBC
32
30
33

Michigan Psychoanalytic Institute and
Society
Michigan Radio
Miller, Canfield, Paddock and Stone, P.L.C.
Red Hawk and Revive + Replenish
Retirement Income Solutions
Silver Maples
Smith Haughey Rice & Roegge
U-M Alumni Association
WEMU
WGTE
WKAR
Zell Visiting Writers Series

IBC = Inside back cover
40

Be a victor for excellence.

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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