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UMS Concert Program, March 15, 2016 - J. S. Bach’s St. John Passion, BWV 245 Apollo’s Fire & Apol

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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.


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


in the greater Ann Arbor Area

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

Ann Arbor Area

Community Foundation

University of Michigan

UMS President


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 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 If you have any comments,
questions, or concerns, please be in touch with UMS
President Ken Fischer at 734.647.1174 or at We hope to see you again soon.


Welcome to this UMS performance. We’re

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Table of
Winter 2016
Season Calendar

Corporate Champions


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Government, &
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Winter 2016
Season Calendar

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

Jamie Barton,

Royal Philharmonic
Pinchas Zukerman,
conductor and violin


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

Chamber Music Society
of Lincoln Center

NT Live: Charlotte
Brontë’s Jane Eyre

Ms. Lisa Fischer and
Grand Baton


Tanya Tagaq in concert
with Nanook of the North


Taylor Mac
A 24-Decade History
of Popular Music:

Montreal Symphony
Kent Nagano, conductor
Daniil Trifonov, piano


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

Igor Levit, piano

Camille A. Brown &

UMS Choral Union and
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

The Triplets of Belleville
Benoît Charest,

NT Live: Christopher
Hampton’s Les Liaisons


The Chieftains

Nufonia Must Fall
Kid Koala, DJ, producer,
and graphic novelist

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



American Ballet Theatre
The Sleeping Beauty


Mariachi Vargas de

NT Live: Shakespeare’s
As You Like It


NT Live: Shakespeare’s



Jerusalem String Quartet

Mnozil Brass

Zafir: Musical Winds
from North Africa to
Simon Shaheen, music

Bavarian Radio Orchestra
Mariss Jansons, conductor
Leonidas Kavakos, violin

The Bad Plus
Joshua Redman



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.



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


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.

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
(Young Jean Lee’s Theater

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


The law firm of Dykema
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Musical Society for bringing
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performance after another.

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to the

APRIL 29 TO MAY 14, 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.


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 )
“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.”

“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.”

“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!”

“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.”



“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.”

“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.”



"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."

"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."

We thank the following businesses for their commitments of $5,000 or more
for the 2015–16 season.
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.”

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

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.”

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.”


“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


President, Conlin Travel, Inc.

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.”

Founders, Faber Piano Institute

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

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)

Ann Arbor Office Managing Partner, Honigman Miller
Schwartz and Cohn LLP

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Ford Fund Master

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“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


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.”
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.”

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

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!”

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.”


“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.”


President and CEO, McMullen Properties

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.”

Principal, Miller, Canfield, Paddock and Stone, P.L.C.

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

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.”

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


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.”

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

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.”

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.”

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.”



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.”

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.”

President, University of Michigan

“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.”

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.”


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

Charles H. Gershenson Trust

Benard L. Maas Foundation
The Seattle Foundation
University of Michigan Third Century Initiative


As a long-time patron of the arts,
Honigman and its Ann Arbor attorneys
are proud to support UMS.
Fernando Alberdi
Christopher A. Ballard
Maurice S. Binkow
Cynthia M. Bott
Anna M. Budde
Thomas W. Forster II
Carl W. Herstein
Richard D. Hoeg
Ann T. Hollenbeck
J. Michael Huget
Barbara A. Kaye

Tara E. Mahoney
Cyril Moscow
Leonard M. Niehoff
David N. Parsigian
Julie Kretzschmer Reitz
Eric J. Sosenko
James E. Stewart
Bea Swedlow
Sara E. Waidelich
Bill Winsten

For more information, please contact
David Parsigian at 734.418.4250 or


Still Playing
Some of the world’s
most creative minds
suffer from one of the
most devastating

Silver Maples Resident:

Lajos R.

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ilver Maples is an active community
of interesting and talented individuals,
like Lajos, who started playing the violin at
age 5 and still enjoys sharing his love of
classical music.
Joining our neighborhood opens the door
to a new phase of life. From the moment
you move in, residents of Silver Maples
become friends and family. Come by
for a visit and join our VIP wait list.

Locally-Owned, Non-Profit Jointly Sponsored by
the Chelsea-Area Wellness Foundation and United Methodist
Retirement Communities, Inc.


Those who
work to bring
you UMS
each season

The UMS Board of Directors is a group of elected volunteers devoted to
the performing arts and to our community. Their hard work ensures that
UMS is able to offer outstanding performances year after year.
Stephen R. Forrest
Sarah Nicoli
Vice Chair
Rachel Bendit
Tim Petersen
A. Douglas Rothwell
Chair, Corporate Council
Stephen G. Palms
Past Board Chair
Bruce Tuchman
Chair, National Council

Janet Callaway
David Canter
Mark Clague
Lisa D. Cook
Julia Donovan Darlow
Monique Deschaine
Tiffany L. Ford
Katherine Goldberg
Richard F. Gutow
Stephen Henderson
Daniel Herwitz
Joel Howell
Frank Legacki
Donald L. Morelock
Agnes Moy-Sarns
David Parsigian
Sharon Rothwell
Linh Song
Rick Sperling
Victor J. Strecher
Karen Jones Stutz


UMS Board of Directors

E X- O F F I C I O
Mark S. Schlissel
President, U-M
Martha E. Pollack
Provost, U-M
Aaron P. Dworkin
Dean, U-M School of
Music, Theatre & Dance
Jeanice Kerr Swift
Ann Arbor Public Schools
Louise Taylor
Chair, UMS Ambassadors

Photo: Shara Worden performs with My Brightest Diamond at the UMS Season Opening Celebration at Downtown
Home & Garden in September; ©2015 MLive and The Ann Arbor News. All rights reserved. Used with permission of
MLive and The Ann Arbor News.


J. S. Bach’s
St. John Passion, BWV 245

Apollo’s Fire &
Apollo’s Singers
Jeannette Sorrell
Artistic Director and Conductor
Nicholas Phan / Tenor (Evangelist)
Jesse Blumberg / Baritone (Jesus)
Jeffrey Strauss / Baritone (Pilate)
Amanda Forsythe / Soprano
Kristen Dubenion-Smith / Mezzo-soprano
Madeline Apple Healey / Soprano (The Maid)
Owen McIntosh / Tenor (The Servant)
Tuesday Evening, March 15, 2016 at 7:30
St. Francis of Assisi Catholic Church
Ann Arbor

76th Performance of the 137th Annual Season

Tonight’s performance is supported by Ken and Penny Fischer.
Endowed support provided by the Richard and Lillian Ives Endowment Fund.
Media partnership provided by WGTE 91.3 FM and WRCJ 90.9 FM.
Special thanks to the Michigan Center for Early Christian Studies for its participation in events
surrounding tonight’s performance.
Ms. Sorrell and Mr. Bennett are performing on Gerrit Klop chamber organs, courtesy of Case Western
Reserve University and The Ann Arbor Academy of Early Music.
Apollo’s Fire appears by arrangement with Columbia Artist Management, LLC.
In consideration of the artists and the audience, please refrain from the use of electronic devices
during the performance.
The photography, sound recording, or videotaping of this performance is prohibited.

Johann Sebastian Bach

St. John Passion, BWV 245
Part I
Scene 1: The Arrest in the Garden
Scene 2: Interrogation by the High Priest and Peter’s Denial


Part II
Scene 3:
Scene 4:
Scene 5:
Scene 6:
Scene 7:

Interrogation by Pilate
The Condemnation of Jesus
The Crucifixion and Death of Jesus
The Veil of the Temple
The Burial of Jesus


S T. J O H N P A S S I O N , B W V 2 4 5 ( 1 7 2 4 )
Johann Sebastian Bach
Born March 31, 1685 in Eisenach, Germany
Died July 28, 1750 in Leipzig
UMS premiere: Los Angeles Chamber Orchestra and Gaechinger Kantorei of
Stuttgart conducted by Helmuth Rilling; November 1983 at Hill Auditorium.

A Passion with Passion
I. The Story (Read This Part Before
the Performance!)
This is a “dramatic presentation”
of the St. John Passion. Though we
have provided the complete libretto
and translation, we invite you to
disregard it for the next two hours,
and let yourself watch the stage
and contemplate the music. We are
singing in German but you only need
to know the following:
The setting is Jerusalem in the year
C.E. 33. A turbulent “overture” or
orchestral introduction paints a
musical picture of humanity’s distress
and chaos, and of the tumultuous
events about to unfold. We meet our
narrator — the Apostle John, also
called the Evangelist — who was Jesus’
most “beloved disciple.” John will
relay his eyewitness account of the
trial and crucifixion of Jesus.
Scene 1 takes place in the Garden
of Gethsemane in the evening. A
band of men has arrived to arrest
Jesus and take him to the High Priest
for questioning. The High Priest’s
soldiers were tipped off by Judas, the
disciple who betrayed Jesus. Jesus
is bound and led away. The scene
concludes with an aria sung by the
alto with oboes in sinuous dialogue,

reflecting how Jesus has been bound
and shackled in order to liberate us
from the shackles of our sins.
In Scene 2, John tells us how he (the
“beloved disciple”) and his comrade
Simon Peter followed the soldiers
to the palace and observed Jesus’
interrogation by the High Priest.
As the night grows cold, bystanders
recognize Peter as one of Jesus’
disciples. Peter denies it. By dawn,
when the cock crows, Peter has denied
Jesus three times. This had been
predicted by Jesus just 12 hours ago,
at his last supper with his disciples.
Peter is filled with remorse and cries
bitterly. The scene concludes with an
aria sung by tenor (reflecting on the
remorse that comes from sin); and a
chorale (hymn) sung by the Chorus,
asking God to teach us through our
After intermission, the Chorus tells
us what will now unfold: Jesus will be
led before a godless throng, falsely
convicted, scorned, and spat upon, all
as the Word (the scriptures and Old
Testament prophets) had predicted.
Scene 3 is Jesus’ trial before the
Roman governor, Pilatus (in Latin) or
Pontius Pilate. The Chief Priests have
brought Jesus to Pilate for judgment,
but Pilate tells them to take him
away and judge him according to
their own laws. The priests and the
mob cry out that they do not have

the authority to do put someone to
death, since the Jews are governed by
Rome. Pilate goes into the Judgment
Hall and questions Jesus. Finding no
fault in Jesus, he returns to the mob
outside and offers to release him. But
the mob wants a different prisoner
released — Barrabas, a murderer.
Then Pilate has Jesus flogged, hoping
this will be enough to satisfy the mob.
The scene concludes with an arioso
sung by baritone (meditating on the
crown of thorns that will pierce Jesus’
head, which will bear Heaven-scented
flowers, a precious gift for us) and an
aria sung by tenor, contemplating the
image of Jesus’ blood-spattered body
as a rainbow of hope in the Heavens.
In Scene 4, the soldiers in the
Judgment Hall dress the flogged Jesus
in the crown of thorns and a purple
robe. Pilate brings Jesus outside to the
crowd, again saying that he finds no
fault in him. The priests and the mob
cry, “Crucify him!” The exasperated
Pilate tells them to take Jesus if they
want, repeating that he himself finds
no fault in him. The crowd replies that
Jesus must perish as he claimed to be
the Son of God. Pilate is frightened
by the mob’s fury. He returns into the
Judgment Hall again to ask Jesus,
“Where are you from?” He begs Jesus
to answer so that he can help him.
Jesus replies only that Pilate has no
power to help him — true power comes
from above. Pilate tries to find a way
to release Jesus. The mob outside tells
Pilate that if he releases Jesus, he
is going against Caesar, since Jesus
made himself a King. Pilate brings
Jesus out again and the crowd again
cries, “Crucify him!” Finally Pilate
delivers Jesus to be crucified. Jesus
is led away, bearing his own cross to

the Place of Skulls (Golgatha). The
scene concludes with an aria for bass,
calling us all as the people of God
to run to Golgatha where salvation
awaits us.
Scene 5 is the crucifixion and death
of Jesus. Pilate writes an inscription
that is placed on the cross: “Jesus
of Nazareth, King of the Jews.” The
crowd wants Pilate to change it to
indicate that Jesus is the one who
said he was their Lord. Pilate has had
enough of the mob and tells them,
“What I have written shall be as I have
written.” Then the soldiers cast lots
for Jesus’ clothes — this is a wild and
greedy race of words by the Chorus. In
his final hour, Jesus sees his mother
Mary standing by, as well as “the
beloved disciple” (John). He asks John
to care for Mary as his own mother.
Then Jesus says, “It is fulfilled.” This
is followed by a contemplative aria
sung by alto, with a plaintive viola da
gamba solo. Jesus breathes his last,
and then an aria for bass and chorus
reflects on the hope that Jesus’ death
gives us: Are we now free from Death,
because Jesus died for us?
In the short Scene 6, Nature
responds violently to Jesus’ death: the
veil of the temple is rent in two, the
earth is shaken and graves are opened
up. A short reflective arioso for
tenor contemplates the frightening
earthquake. The scene concludes
with a sorrowful aria for soprano,
lamenting Jesus’ death.
In Scene 7, John describes the burial
of Jesus. The Chorus lays Jesus to rest
by singing the beautiful and famous
“Ruht wohl” (Rest well, my beloved,
be fully at peace). A brief epilogue by
the Chorus contemplates the mystical
hope in Jesus’s death and the ecstatic

joy we will find in our own death, as
we will be reunited with our Savior
whom we praise eternally.
II. The Music
Bach Composes a Daring New
Last Saturday at noon, four wagons
arrived here from Cöthen laden with
the household effects belonging to the
former Kapellmeister at the court of the
Prince of that place who has now been
invited to become Cantor in Leipzig. At
two o’clock he himself arrived with his
and moved into the newly-renovated
residence at the Thomasschule.

Thus, as the Leipzig press reported,
did Bach and his family begin a
new life in 1723. There are few
musicians today who would give
up a comfortable, well-paid post
as resident musician to a Prince in
exchange for a difficult and enormous
church job. The fact that Johann
Sebastian Bach decided in 1723 to
trade his pleasant palace-musician
post in Cöthen for the job of Kantor at
Leipzig says much about the beliefs
that shaped his life. The Leipzig
position was a step downwards on the
social scale, and it involved an almost
insurmountable workload: composing,
directing, and performing a new
cantata every Sunday, assembling
and directing an orchestra every
week, teaching the boys’ choir at the
Thommasschule, and even teaching
non-musical subjects such as Latin.
There can be only one reason why
Bach took this position: he wanted to
compose sacred music.
Bach was a profoundly religious
man, famous for such comments

in his keyboard teaching as, “the
aim and final reason of the basso
continuo, as of all music, should be
none else but the glory of God and the
refreshing of the mind.” In Leipzig he
immediately set to work, composing
inspired cantatas that brought worlds
of artistry to the contemplation
of the traditional scriptures. His
cantatas during Lent during that first
year introduced new and dramatic
elements, preparing his congregation
to hear the groundbreaking
masterpiece he was to unveil on
Good Friday in 1724: his first major
Passion-Oratorio, the St. John Passion.
The Passion-Oratorio as a genre
was by no means invented by Bach,
although his Passions are the most
widely known today. Musical settings
of the Christian Passion story were
common already in the Middle
Ages, and the Passion developed
into its Lutheran form during the
17th century. Martin Luther was an
extraordinarily passionate musiclover, and was responsible for
giving music a position of supreme
importance in the Lutheran service.
Luther expressed his feeling about
music in his characteristically
forthright way:
Music is a fair and lovely gift of God. Next
to the Word of God, only music deserves to
be extolled as the governess of the feeling
of the human heart. This precious gift has
been bestowed on men alone to remind
them that they are created to praise and
magnify the Lord. He who does not find
this an inexpressible miracle of the Lord
is truly a clod and is not worthy to be
considered a man. (Author's bolding)

In Bach’s time, Passions were
composed by most of the leading
musicians, including Telemann and
Handel. And yet, their Passions have
never made the impact on listeners
that Bach’s have. Bach’s profound
spiritual depth rings through his
music in a way that transcends the
compositions of his contemporaries.
The Passion form, as it had evolved
by Bach’s time, was an oratorio
intended as part of the Good Friday
worship service. A sermon would have
taken place between Parts 1 and 2
(but you may be pleased to know that
we are giving you an intermission
instead). The music consists of
recitatives narrating the Passion story
verbatim from the Bible — in this case
the Gospel of John — interspersed with
arias and chorales set to contemporary
(18th-century) religious poetry,
reflecting on the Biblical passage
just heard. Thus, sacred texts are
interlaced with contemporary, more
directly emotional material that
speaks to the listeners in a universal
way. (In fact, this concept has served
as my own inspiration in creating
two spiritual crossover programs
for Apollo’s Fire: Sacrum Mysterium
— A Celtic Christmas Vespers and
Sephardic Journey — Wanderings of
the Spanish Jews.)
In Bach’s Passions, the Biblical
narration is performed by “the
Evangelist” (i.e. St. John), while the
dialogue spoken by Jesus, Peter, and
Pilate is set as recitatives for solo
singers stepping out of the chorus.
Dialogue spoken by various groups
of Chief Priests, crowds, etc., is
sung by the chorus. A Bach Passion
alternates between “action scenes”
(where the Biblical story is relayed

by the Evangelist-narrator and the
characters), and contemplative arias
and chorales (where we step outside
of the story to reflect on the lessons
to be learned as people of God). In our
performance, I have tried to highlight
the structure by placing the action
scenes in the hands of true singing
actors, who emerge in special spots on
the stage to embody their roles.
It is not known for certain who
compiled the 18th-century text
that serves as the basis of the arias
and chorales (as well as the opening
chorus “Lord, our Master” and the
closing chorus “Rest well”) in the St.
John Passion, but it is quite possible
that Bach did this himself. In any
case, most of the text is drawn from
the widely-used Passion text by
Heinrich Brockes, which was also
set by Handel and Telemann. It is
noteworthy, however, that Bach
made significant changes in the
text to remove blatantly antiSemitic passages. (The Brockes
text essentially blames the Jews for
Jesus’ crucifixion, whereas Bach’s
St. John Passion text clearly places
the guilt on each of us as sinners.
This was also Luther’s view.) Since
anti-Semitism was, unfortunately, a
socially acceptable phenomenon in
18th-century Europe, I conclude that
Bach made these changes not out of
fear of controversy, but rather out of a
desire to create a Passion on a higher
spiritual level.
The St. John Passion is the work
of a 39-year-old man and is filled
with the extroverted emotions and
daring of a great composer still in
experimentation with this genre.
This is a strikingly compressed telling
of the Passion story; unlike the

St. Matthew Passion, which
luxuriates in an expansive and
contemplative meditation on the
Passion tale, St. John plunges us into
a dramatic whirlwind of events from
the very first recitative. This leads to
a much more intense experience of
the Crucifixion, in which the music
serves as a counterpoint to the action.
Particularly striking is the way in
which the most tragic events are
associated with triumphant music,
such as the middle section of “Es ist
vollbracht” (It is fulfilled), in which
Christ is portrayed as a hero in battle.
If the St. Matthew is the Passion of
grandeur, St. John is the Passion
with passion.
From the first swirling notes of the
orchestral introduction, it is clear that
Bach is taking us closer to opera than
any of his church-music colleagues
had dared to tread. The turbulent
accompaniment paints a vivid picture
of the events that are about to unfold.
As with an operatic overture, we are
drawn into the drama: the relentless,
pulsating bass-line, like a beating
heart, sets the stage for passion and
terror. The surging motion in the
violins evokes the chaos of the mob
we will soon meet. And above it all, the
long and anguished calls of the flutes
and oboes lock in painful dissonances,
like nails being driven into flesh.
This introduction builds up to the
entrance of the chorus, which arrives
with a surprising twist. Instead of
the words of lamentation which the
music has led us to expect — and
which an 18th-century audience
expected to hear in the Passions of
the time — Bach gives us a song of
praise to the universal reign of Christ:
“O Lord, our Master, how excellent

is thy name in all the earth!” Thus
Bach boldly breaks the baroque rule
of Affekt, which normally decrees
that each movement of a piece
will have one particular emotional
character. Instead, we have two
Affekts simultaneously, as Christ’s
glory and majesty are proclaimed,
while Christ himself is looking down
on the maelstrom of distressed
humanity below. This stark duality
runs through the Gospel of John: light
and darkness, good and evil, truth and
falsehood. Christ lifts up his cross in
glory and draws all mankind to him
— and yet he is also brought to the
lowest of physical abasement, for the
sake of humanity.
From there unfolds a drama of an
intense and often mystical nature.
I see the work as falling into seven
Scenes (though they are not indicated
by Bach) — two in the first half
and five after intermission. Each
scene propels the story forward and
concludes with a reflective aria in
which a singer steps out of the story
to contemplate what we as the people
of the God can learn from this scene.
Bach’s use of the instruments at his
disposal is colorful and often pungent.
Plaintive oboes describe the shackles
of our bondage to sin. Lighthearted
flutes illustrate how Simon Peter
(and all of us) follows Jesus with
faithful footsteps. The full orchestra
participates in the outcry of remorse
at the end of Part 1, when Peter is
filled with anguish for having denied
his Savior. A lonely and haunting viola
da gamba — a relatively rare guest
in Bach’s orchestra — depicts Jesus’
battle with death in the famous “Es
ist vollbracht.” And the other-worldly
combination of flute and oboe da

caccia accompanies the evening’s one
true lament, “Zerflesse mein herz”
(Dissolve in tears, my heart!)
It is an honor for those of us
onstage to take this spiritual journey
each evening. Our company of artists
(including people of many faiths,
as well as agnostics) feel privileged
to share Bach’s masterpiece with
audiences in this tour and as we
record the work for CD/DVD release.
Our wish is that our concert halls and
church venues will ring with Bach’s
message of hope and redemption.
III. The Text
The Gospel of John — Text for a
Mystical and Passionate Passion
Bach chose the most “difficult” and
mystical of the four Gospels — the
Gospel According to St. John — for his
first Passion. This is the Gospel that
begins with the famous prologue, “In
the beginning was the Word [Logos,
cosmic reason], and the Word was
with God, and the Word was God….
In Him was life, and the life was the
light of men. And the light shines in
the darkness and the darkness did not
comprehend it.” (John 1:1, 4-5)
Chapter 21 of John’s Gospel states
that this account is the eyewitness
testimony of “the disciple whom
Jesus loved.” The “beloved disciple”
was traditionally thought to be the
Apostle John — one of the 12 Apostles.
John’s personal and emotional
responses to the unfolding events
color Bach’s Passion throughout.
The “beloved disciple” — that is, the
Evangelist who is narrating our story
— witnesses Jesus’ interrogation by
the High Priest; speaks privately to
the doorkeeper in order to get his

comrade Peter into the palace; and
is then shocked by Peter’s denial of
Jesus, horrified by the behavior of
the mob at the trial before the Roman
governor (Pilatus or Pontius Pilate),
and appalled when they chose to
free a common murderer rather than
freeing Jesus. John’s double role as
narrator and character culminates
when Jesus, in his final hour, gives his
mother into the care of the “beloved
disciple who was standing by.” In
our production, this is the moment
when the Evangelist breaks out of
his narrator role to look directly at
his beloved Teacher, dying on the
cross — and we feel the profound love
between them.
Though modern scholarship holds
that the Gospel of John was written
by several people, in Bach’s time it
was still believed that the Apostle
John was the author. Bach chose to
end the final recitative of the St. John
Passion with John’s statement about
the purpose of his book: “that you may
believe that Jesus is the Christ, the
Son of God and that believing, you
may have life in his name.” Yes, John
was an Evangelist.
The book of John arose in a
Jewish Christian community in the
process of breaking from the Jewish
synagogue. It regularly describes
Jesus’ opponents simply as “the
Jews.” In later centuries, the book
was unfortunately used to support
anti-Semitic polemics. However,
it is important to understand that
the author(s) of the gospel regarded
himself/themselves as Jews,
championed Jesus and his followers
as Jews, and probably wrote for a
largely Jewish community.

IV. The Sources
Bach performed the St. John Passion
four times during his life: 1724, 1725,
about 1730, and sometime in the
late 1740’s. For each performance he
made changes to the score; thus there
is no definitive version. In the fourth
performance, however, he returned to
the original 1724 version, and since
this seems to have been his final view
of the work, this is the version we
are performing. (The only exception
is the “veil of the temple” recitative
no. 33, for which we are using the
more flamboyant version from 1725).
The two scholarly editions of this
work, the Bach Gesellschaft and the
Neue Bach Ausgabe, differ in their
interpretation of many ambivalences
in the surviving performing parts,
especially in the interpretation of
slurs which are notoriously unclear
in Bach’s manuscripts. Rather than
choosing one edition as sole authority
over the other, I have considered
both and have made artistic choices
with the goals of musical coherence
and faithfulness to Bach’s surviving
manuscript material.
Program notes © 2016 by Jeannette
Sorrell, Cleveland, Ohio.



Part I
Scene 1: The Arrest in the Garden
Herr, unser Herrscher,
dessen Ruhm
In allen Lander herrlich ist!
Zeig uns durch deine Passion,
Daß du, der wahre Gottessohn,
Zu aller Zeit,
Auch in der größten Niedrigkeit,
Verherrlicht worden bist!

Lord, Thou our Master!
Thou whose name in all the earth is
and glorious evermore shall be!
Show us in this, Thy Passion’s hour,
How Thou, the very Son of God,
For endless time hast overcome thy
darkest hour, forever glorified.

EVANGELIST. Jesus ging mit seinen
Jüngern über den Bach Kidron, da war ein
Garten, darein ging Jesus und seine Jünger.
Judas aber, der ihn verriet, wußte den Ort
auch, denn Jesus versammelte sich oft
daselbst mit seinen Jüngern. Da nun Judas
zu sich hatte genommen die Schar und
der Hohen priester und Phärisaer Diener,
kommt er dahin mit Facheln, Lampen, und
mit Waffen. Als nun Jesus wußte alles, was
ihm begegnen sollte, ging er hinaus und
sprach zu ihnen:

EVANGELIST. Jesus went with His
disciples over the brook Cedron, where
was a garden, to which came Jesus and His
disciples. Judas also, who did betray him,
knew the place full well, for Jesus resorted
thither oft together with His disciples.
Therefore Judas, having gathered a body
of men, whom the Chief Priests and the
Pharisees had sent him, now cometh forth
with torches, lanterns and with weapons.
Therefore Jesus knowing all things, that
were to come upon him, went straightway
out and said unto them:

JESUS. Wen suchet ihr?

JESUS. Whom seek ye here?

EVANGELIST. Sie antworten ihm:

EVANGELIST. And then they answered:

CHOR. Jesum von Nazareth!

CHORUS. Jesus of Nazareth!

EVANGELIST. Jesus sprach zu ihnen:

EVANGELIST. Jesus said to them:

JESUS. Ich bin’s.

JESUS. I am he.

Please turn the pages quietly during this evening’s performance.

EVANGELIST. Judas aber, der ihn verriet,
stund auch bei ihnen. Als nun Jesus sprach:
Ich bin’s! wichen sie zurücke und fielen zu
Boden. Da fragte er sie abermal:

EVANGELIST. Judas also, he who betrayed
Him, stood there beside them. As soon
as He had said: I am He, they all went
backward and fell to the ground. Then
asked He them a second time:

JESUS. Wen suchet ihr?

JESUS. Whom seek ye here?

EVANGELIST. Sie aber sprachen:

EVANGELIST. And then they answered:

CHOR. Jesum von Nazareth!

CHORUS. Jesus of Nazareth!

EVANGELIST. Jesus sprach zu ihnen:

EVANGELIST. Jesus said to them:

JESUS. Ich hab’s euch gesagt, daß ich’s sei;
suchet ihr denn mich, so lasset diese

JESUS. I told you before, I am He;
if you look for me, then let these others go!

O große Lieb, o Lieb ohn’ alle Maße,
Die dich gebracht auf diese
Ich lebte mit der Welt in Lust
und Freuden,
Und du mußt leiden!

O wondrous love, o love all love excelling,
For which Thou made this vale of tears Thy
The joys and pleasures of the world we
Yet Thou must perish.

EVANGELIST. Auf daß Wort erfüllet
würde, welches er sagte: Ich habe der
keine verloren, die du mich gegeben hast.
Da hatte Simon Petrus ein Schwert und zog
es aus und schlug nach des Hohenpriesters
Knecht und hieb ihm sein recht’ Ohr ab;
und der Knecht hieß Malchus. Da sprach
Jesus zu Petro:

EVANGELIST. So that the word might be
fulfilled which He had spoken: Of those
that thou gavest to me, not one have I lost,
not one. Then Simon Peter, having a sword,
he drew it out, and struck at the High
Priest’s serving man, and cut off his right
ear; and his name was Malchus. Then said
Jesus to Peter:

JESUS. Stecke dein Schwert in die Scheide!
Soll ich den Kelch nicht trinken, den mir
mein Vater gegeben hat?

JESUS. Put up thy sword in its scabbard!
Shall I not drink the cup, the cup my
Father has given me to drink, the cup my
Father has given me?


Dein Will gescheh, Herr Gott, zugleich
Auf Erden wie im Himmelreich.
Gib uns Geduld in Leidenszeit,
Gehorsamsein in Lieb und Leid;
Wehr und steur allem Fleisch und Blut,
Das wider deinen Willen tut!

Thy will be done, O God our Lord,
May all the earth fulfill thy Word.
Grant me the strength to follow Thee
Through good and ill, your child to be.
Stay Thou the hand and spoil the skill
Of them who seek to thwart Thy will.

EVANGELIST. Die Schar und der
Oberhauptmann und die Diener der
Jüden nahmen Jesum und bunden ihn und
führeten ihn aufs erste zu Hannas, der war
Kaiphas Schwäher, welcher des Jahres
Hoherpriester war. Es was aber Kaiphas,
der den Jüden riet, es wäre gut, daß ein
Mensch würde umbracht für das Volk.

EVANGELIST. The body of soldiers and
their captain, who were sent by the priests
laid hold of Jesus and bound Him fast and
led Him away at first unto Annas, who was
father-in-law to Caiphas, who was High
Priest that year. Now it was Caiphas, who
had told the Jews that it was good that one
man should die for all the people.

ARIE – Ms. Dubenion-Smith
Von den Stricken meiner Sünden
Mich zu entbinden,
Wird mein Heil gebunden.

ARIA – Ms. Dubenion-Smith
From the shackles of my sinfulness,
To liberate me,
They have bound my Savior.

Mich von allen Lasterbeulen
Völlig zu heilen,
Läßt er sich verwunden.

From my aching wounds and bruises,
Fully to heal me,
He was bruised and wounded.

Scene 2: Interrogation by the High Priest and Peter’s Denial
EVANGELIST. Simon Petrus aber folgete
Jesu nach und ein ander Jünger.

EVANGELIST. Simon Peter also followed
after Jesus and another disciple.

ARIE – Ms. Forsythe
Ich folge dir gleichfalls mit freudigen
Und lasse dich nicht,
Mein Leben, mein Licht.

ARIA – Ms. Forsythe
I follow Thee also with joyful
And leave me not,
My life, my light.

Befördre den Lauf und höre nicht auf,
Selbst an mir zu ziehen,
zu schieben, zu bitten.

Advance the way and hear no objection,
And draw me to Thee,
Move me, entreat me.

EVANGELIST. Derselbige Jünger war
dem Hohenpriester bekannt und ging
mit Jesu hinein in des Hohenpriesters
Palast. Petrus aber stund draußen für der
Tür. Da ging der andere Jünger, der dem
Hohenpriester bekannt war, hinaus und
redete mit der Türhüterin und führete
Petrum hinein. Da sprach die Magd, die
Türhüterin, zu Petro:

EVANGELIST. That other disciple was
known unto the High Priest and went with
Jesus within, to the palace of the High
Priest. Simon Peter stood outside before
the door. Then that other disciple, who was
known unto the High Priest, went out and
spoke unto her that tended the door and
brought Peter also within. Then said the
maid that tended the door to Peter:

ANCILLA (MAGD). Bist du nicht dieses
Menschen Jünger einer?

ANCILLA (MAID). Art thou not also one of
His disciples?

EVANGELIST. Er sprach:


PETRUS. Ich bin’s nicht!

PETER. I am not!

EVANGELIST. Es stunden aber die Knechte
und Diener und hatten ein Kohlfeu’r
gemacht (denn es war kalt) und wärmeten
sich. Petrus aber stund bei ihnen und
wärmete sich. Aber die Hohepriester
fragte Jesum um seine Jünger und um
seine Lehre. Jesus antwortete ihm:

EVANGELIST. The officers and the
servants stood there having made a fire
of coals (for it was cold) and warmed
themselves. Peter also stood among them
and warmed himself. Then did the High
Priest question Jesus of His disciples and
of His doctrine. Jesus answered him:

JESUS. Ich habe frei, öffentlich geredet für
der Welt. Ich habe allezeit gelehret in der
Schule und in dem Tempel, da alle Jüden
zusammenkommen, und habe nichts im
Verborgnen geredt. Was fragest du mich
darum? Frage die darum, die gehöret
haben, was ich zu ihnen geredet habe!
Siehe, dieselbigen wissen, was ich gesagt

JESUS. I always spoke openly and freely to
the world. And in the synagogue I often did
my teaching and in the temple, to which the
people always come together, and have said
nothing in secret at all. Why do you ask this
of me? Rather ask of them who have heard
my teaching what sort of thing it was I told
them! See now, they surely remember the
whole of what I taught them.

EVANGELIST. Als er aber solches redete,
gab der Diener einer, die dabei stunden,
Jesu einen Backenstreich und sprach:

EVANGELIST. And when Jesus thus had
spoken, an officer who was standing near
struck Him with the palm of his hand and

SERVUS (DIENER). Solltest du dem
Hohenpriester also antworten?

SERVANT. Dost thou dare to give the High
Priest such an answer?


EVANGELIST. Jesus aber antwortete:

EVANGELIST. Jesus therefore said unto him:

JESUS. Hab ich übel geredt, so beweise es,
daß es böse sei, hab ich aber recht geredt,
was schlägest du mich?

JESUS. If ‘twas evil I spoke bear thou
witness unto my evil words, but if I have
spoken well, why smitest thou me?

Wer hat dich so geschlagen,
Mein Heil, und dich mit Plagen
So übel zugericht’?
Du bist ja nicht ein Sünder
Wie wir und unsre Kinder,
Von Missetaten weißt du nicht.

Who was it, Lord, did strike Thee,
Thy good with ill requite Thee,
So foully treated Thee?
For Thou wert no offender,
Nor didst to sin surrender;
From evil Thou wert ever free.

Ich, ich und meine Sünden,
Die sich wie Körnlein finden
Des Sandes an dem Meer,
Die haben dir erreget
Das Elend, das dich schläget,
Und das betrübte Marterheer.

My sins and evildoing
Are like the sands bestrewing
The mighty ocean’s shore.
These sins it was that brought Thee
Thy misery, and wrought Thee
The host of torments that Thou bore.

EVANGELIST. Und Hannas sandte ihn
gebunden zu dem Hohenpriester Kaiphas.
Simon Petrus stund und wärmete sich; da
sprachen sie zu ihm:

EVANGELIST. Now Annas sent Jesus bound
to the High Priest Caiphas. Simon Peter
stood and warmed himself; then said they
unto Him:

Bist du nicht seiner Jünger einer?

Art thou not one of his disciples?

EVANGELIST. Er leugnete aber und sprach:

EVANGELIST. But Peter denied it and said:

PETRUS. Ich bin’s nicht!

PETER. I am not!

EVANGELIST. Spricht des Hohenpriesters
Knecht’ einer, ein Gefreundter des, dem
Petrus das Ohr abgehauen hatte:

EVANGELIST. Then said one of the High
Priest’s servants, being kinsman to that
servant whose ear Peter had cut off:

DIENER. Sahe ich dich night im Garten bei

SERVANT. Did I not see you in the garden
with him?


EVANGELIST. Da verleugnete Petrus
abermal, und alsobald krähete der Hahn.
Da gedachte Petrus an die Worte Jesu und
ging hinaus und weinete bitterlich.

EVANGELIST. Then did Peter deny a third
time, and immediately did the cock crow.
Then did Peter call to mind the words of
Jesus and he went out and wept bitterly.

ARIE – Mr. Phan
Ach, mein Sinn,
Wo willt du endlich hin,
Wo soll ich mich erquicken?
Bleib ich hier,
Oder wunsch ich mir
Berg und Hügel auf den Rücken?
Bei der Welt ist gar kein Rat,
Und im Herzen stehn die Schmerzen
Meiner Miessetat,
Weil der Knecht den Herrn verleugnet hat.

ARIA – Mr. Phan
Ah, my soul,
How futile is thy goal,
Where may contentment find thee?
Shall I stay,
Shall I go away,
And leave the hills behind me?
Earth no peace doth me afford,
Ever ruing my wrong-doing,
Evil deeds abhorred,
Since the servant has denied his Lord.

Petrus, der nicht denkt zurück,
Seinen Gott verneinet,
Der doch auf ein’ ersten Blick
Bitterlichen weinet.
Jesu, blicke mich auch an,
Wenn ich nicht will büßen;
Wenn ich Böses hab getan,
Rühre mein Gewissen!

Peter, while his conscience slept,
Thrice denied his Savior.
When it woke he bitter wept
At his base behavior.
Jesus let me not forget,
True allegiance teach me;
When on evil I am set,
Through my conscience reach me.


Part II
Christus, der uns selig macht,
Kein Bös’ hat begangen,
Der ward für uns in der Nacht
Als ein Dieb gefangen,
Gefürht für gottlose Leut
Und fälschlich verklaget,
Verlacht, verhöhnt und verspeit,
Wie denn die Schrift saget.


Christ, who knew no sin or wrong,
Like a thief was taken;
Led before a godless throng,
By His friends forsaken.
He, who our salvation won,
Falsely was convicted,
Scoffed at, scorned and spat upon,
As the Word predicted.

Scene 3: Interrogation by Pilate
EVANGELIST. Da fürheten sie Jesum
von Kaiphas vor das Richthaus, und
es war frühe. Und sie gingen nicht in
das Richthaus, auf daß sie nicht unrein
würden, sondern Ostern essen möchten.
Da ging Pilatus zu ihnen heraus und

EVANGELIST. Then led they Jesus away,
from Caiphas to the Judgment Hall, and
it was early. And they went not into the
Judgment Hall lest they should become
unclean, but that they might eat the
Passover. Then Pontius Pilate went out
unto them and said:

PILATUS. Was bringet ihr für Klage wider
diesen Menschen?

PILATE. What accusation bring ye against
this man?

EVANGELIST. Sie antworteten und
sprachen zu ihm:

EVANGELIST. And they answered and said
unto him:

Wäre diser nicht ein Übeltäter, wir hätten
dir ihn nicht überantwortet.

If this man were not an evildoer we would
not bring him here, no, no, not bring him
before thee.

EVANGELIST. Da sprach Pilatus zu ihnen:

EVANGELIST. Then Pilate said unto them:

PILATUS. So nehmet ihr ihn hin und
richtet ihn nach eurem Gesetze!

PILATE. Then take him away and judge
Him according to your laws.

EVANGELIST. Da sprachen die Jüden zu

EVANGELIST. The Jews therefore said
unto him:

Wir dürfen nieman töten.

By death we may not punish.

EVANGELIST. Auf daß erfüllet würde das
Wort Jesu, welches er sagte, da er deutete,
welches Todes er sterben würde. Da ging
Pilatus wieder hinein in das Richthaus und
rief Jesu und sprach zu ihm:

EVANGELIST. So that might be fulfilled the
word of Jesus, which He had spoken, which
did signify by what manner of death He
should die: Then Pilate entered into the Hall
and again he called in Jesus and said to him:

PILATUS. Bist du der Jüden König?

PILATE. Art Thou the King of the Jews?

EVANGELIST. Jesus antwortete:

EVANGELIST. Jesus then answered him:


JESUS. Redest du das von dir selbst, oder
haben’s dir andere von mir gesagt?

JESUS. Do you say this of yourself, or have
others been saying this to you of me?

EVANGELIST. Pilatus antwortete:

EVANGELIST. And Pilate thus answered him:

PILATUS. Bin ich ein Jüde? Dein Volk
und die Hohenpriester haben dich mir
überantwortet; was hast du getan?

PILATE. Am I a Jew? Thy people and Thy
Chief Priests have brought Thee here for
judgment before me; what hast Thou done?

EVANGELIST. Jesus antwortete:

EVANGELIST. And Jesus answered him:

JESUS. Mein Reich ist nicht von dieser
Welt; wäre mein Reich von dieser Welt,
meine Diener würden darob kämpfen, daß
ich den Jüden nicht überantwortet würde;
aber nun ist mein Reich nicht von dannen.

JESUS. My kingdom is not of this World;
for were my Kingdom of this World, then
my servants all would fight in battle, that
I not be delivered unto the rabble; no then,
for not from here is my kingdom.

Ach großer König, groß zu allen Zeiten,
Wie kann ich gnugsam diese Treu
Kein’s Menschen Herze mag indes
Was dir zu schenken.

O mighty King, renowned and great
To tell Thy kindness is a vain endeavor.
How may this mortal heart contrive to
show Thee
How much I owe Thee?

Ich kann’s mit meinen Sinen nicht erreichen,
Womit doch dein Erbarmen zu vergliechen.
Wie kann ich dir denn deine Liebestaten
Im Werk erstatten?

My feeble tongue and fancy cannot fashion
A fitting counterpart to Thy compassion.
How can I hope to pay Thy benefaction
By worthy action?

EVANGELIST. Da sprach Pilatus zu ihm:

EVANGELIST. And Pilate said unto Him:

PILATUS. So bist du dennoch ein König?

PILATE. Art Thou in truth then a King?

EVANGELIST. Jesus antwortete:

EVANGELIST. Jesus answered him:

JESUS. Du sagst’s bin ich ein König. Ich bin
dazu geborren und in die Welt kommen,
daß ich die Wahrzeit zeugen soll. Wer aus
der Wahrheit ist, der höret meine Stimme.

JESUS. You say, I am a king. To this was I
born, for this have I come here that I bear
witness to the truth. And all who seek the
truth, they all will hear my voice.

EVANGELIST. Sprich Pilatus zu ihm:

EVANGELIST. Then said Pilate to Him:

PILATUS. Was ist Wahrheit?

PILATE. What is truth?


EVANGELIST. Und da er das gesaget, ging
er wieder hinaus zu den Jüden und sprich
zu ihnen:

EVANGELIST. And when he thus had
spoken, he went out once again to the
people and said to them:

PILATUS. Ich finde keine Schuld an ihm.
Ihr habt aber eine Gewohnheit, daß ich
euch einen losgebe; wollt ihr nun, daß ich
euch der Jüden König losgebe?

PILATE. I find in him no fault at all. But ye
have a custom at Passover that one man I
should release to you; would ye then, that I
should release the King of the Jews?

EVANGELIST. Da schrieen sie wieder
allesamt und sprachen:

EVANGELIST. Then cried they together all
again and said:

Nicht diesen, sondern Barrabam!

Not this one, give us Barrabas!

EVANGELIST. Barrabam aber war ein
Mörder. Da nahm Pilatus Jesum und
geißelte ihn.

EVANGELIST. Barrabas was a common
murderer. Then Pilate brought out Jesus
and scourged Him.

Scene 4: The Condemnation of Jesus
ARIOSO – Mr. Strauss
Betrachte, meine Seel, mit ängstlichem
Mit bittrer Lust und halb beklemmtem
Dein höchstes Gut in Jesu Schmerzen,
Wie dir aus Dornen,
so ihn stechen,
Die Himmelsschlüsselblumen blühn!
Du kannst viel süße Frucht
Von seiner Wermut brechen,
Drum sieh ohn’ Unterlaß auf ihn.

ARIOSO – Mr. Strauss
Consider, my soul, in agony
and rapture,
Although with woe thy heart below and
Thy precious gift was Jesus’ anguish,
For thee the thorn-crown that does pierce
With Heaven-scented flowers will bloom.
You can the sweetest fruit
Among his wormwood gather,
So look unceasingly to Him.

ARIE – Mr. Phan
Erwäge, wie sein blutgefärber Rücken
In allen Stücken
Dem Himmel gleiche geht.

ARIA – Mr. Phan
Imagine that his blood-bespattered body
In every member
Is part of Heaven above.


EVANGELIST. Und die Kriegsknechte
flochten eine Krone von Dornen und
satzen sie auf sein Haupt und legten ihm
Purpurkleid an und sprachen:

EVANGELIST. The soldiers then did make
for Him a crown of thorns and put it upon
His head and laid on Him a purple robe and

Sei gegrüßet, lieber Jüdenkönig!

Lo, we hail Thee, dearest King of the Jews!

EVANGELIST. Und gaben ihm
Backenstreiche. Da ging Pilatus wieder
heraus und sprach zu ihnen:

EVANGELIST. And struck Him with their
hands. Again came Pilate forth from the
Hall and said to them:

PILATUS. Sehet, ich fürhe ihn heraus
zu euch, daß ihr erkennet, daß ich keine
Schuld an ihm finde.

PILATE. See ye, I now will bring Him forth
to you that you may know that I find no
fault in Him.

EVANGELIST. Also ging Jesus heraus und
trug eine Dornenkrone und Purpurkleid.
Und er sprach zu ihnen:

EVANGELIST. And then did Jesus come
forth wearing the crown of thorns and the
purple robe. Pilate said to them:

PILATUS. Sehet, welch ein Mensch!

PILATE. See ye, behold the man!

EVANGELIST. Da ihn die Hohenpriester
und die Diener sahen, schrieen sie und

EVANGELIST. Now therefore when the
priests and officers saw it, they cried out
and said:

Kreuzige, kreuzige!

Crucify, crucify!

EVANGELIST. Pilatus sprach zu ihnen:

EVANGELIST. Then Pilate said to them:

PILATUS. Nehmet ihr ihn hin und kreuziget
ihn; denn ich finde keine Schuld an ihm!

PILATE. Take Him if you want, and crucify
Him; for I find no fault in Him!

EVANGELIST. Die Jüden antworteten ihm:

EVANGELIST. The people then answered him:

Wir haben ein Gesetz, und nach dem
Gesetz soll er sterben; denn er hat sich
selbst zu Gottes Sohn gemacht.

We have a sacred law, and who breaks this
law, he must perish. For he made Himself
to be the Son of God!


EVANGELIST. Da Pilatus das Wort hörete,
fürchtet’ er sich noch mehr und ging
wieder hinein in das Richthaus und spricht
zu Jesu:

EVANGELIST. Now when Pilate heard
what was spoken, he was the more afraid
and went up once again to the Judgment
Hall and said to Jesus:

PILATUS. Von wannen bist du?

PILATE. From whence then art Thou?

EVANGELIST. Aber Jesus gab ihm keine
Antwort. Da sprach Pilatus zu ihm:

EVANGELIST. But Jesus gave to him no
answer. Then Pilate said unto Him:

PILATUS. Redest du nicht mit mir? Weißest
du nicht, daß ich Macht habe, dich zu
kreuzigen, und Macht habe, dich loszugeben?

PILATE. Speakest Thou not to me? Knowest
Thou not, that I have the power to crucify
you, and also the power to release you?

EVANGELIST. Jesus antwortete:

EVANGELIST. Jesus then answered him:

JESUS. Du hättest keine Macht über
mich, wenn sie dir nicht wäre von oben
herab gegeben; darum, der mich dir
überantwortet hat, der hat’s größ’re Sünde.

JESUS. No power could you have over me,
had this power not from above unto thee
been given; therefore, he who delivered me
unto you is the greater sinner.

EVANGELIST. Von dem an trachtete
Pilatus, wie er ihn losliebe.

EVANGELIST. From thenceforth Pilate
sought occasion how he might release him.

EVANGELIST. Die Jüden aber schrieen und

EVANGELIST. The people cried out unto

Lässest du diesen los, so bist du des Kaisers
Freund nicht; denn wer sich zum Könige
machet, der ist wider den Kaiser.

If thou let this man go, then thou art no
friend of Caesar. For, whoever maketh
himself a king is foe unto Caesar.

EVANGELIST. Da Pilatus das Wort hörete,
fürhete er Jesum heraus, und setzte sich
auf den Richtstuhl, an der Stätte, die da
heißet: Hochpflaster, auf Ebräisch aber:
Gabbatha. Es war aber der Rüsstag in
Ostern um die sechste Stunde, und er
spricht zu den Jüden:

EVANGELIST. Now when Pilate heard
what was spoken, straightway brought
he Jesus forth, and sat in the Seat of
Judgment, in a place that is called High
Pavement, but in Hebrew: Gabbatha. And it
was the preparation of the Passover, about
the sixth hour; and he said to the people:

PILATUS. Sehet, das ist euer König!

PILATE. See ye, behold, here is your King!


EVANGELIST. Sie schrieen aber:

EVANGELIST. They cried out:

Weg, weg mit dem, kreuzige ihn!

Away with him, away, crucify Him!

EVANGELIST. Spricht Pilatus zu ihnen:

EVANGELIST. Pilate said unto them:

PILATUS. Soll ich euren König kreuzigen?

PILATE. Would ye have your King be

EVANGELIST. Die Hohenpriester

EVANGELIST. The Chief Priests answered
and said to him:

Wir haben keinen König denn den Kaiser.

King, King, we have no King but Caesar!

EVANGELIST. Da überantwortete er ihn,
daß er gekrueziget würde. Sie nahmen
aber Jesum und fürheten ihn hin. Und er
trug sein Kreuz und ging hinaus zur Stätte,
die da heißet Schädelstätt, welch heißet
auf Ebräisch: Golgatha.

EVANGELIST. The Pilate delivered Him to
them, that they might crucify Him. They
therefore took Jesus and led Him away. And
He bore His cross, and went from there to
a place which is called the Place of Skulls,
which is in the Hebrew tongue: Golgatha.

ARIE – Mr. Blumberg / CHOR
Eilt, ihr angefochtnen Seelen,
Geht aus euren Marterhöhlen,
Eilt - Wohin? - nach Golgatha!

ARIA – Mr. Blumberg / CHORUS
Come, ye souls whom care oppresses,
Leave your troubles’ dark recesses,
Come to Golgatha.

Nehmet an der Glaubens Flügel,
Flieht - Wohin? - zum Kruezeshügel,
Eure Wolfahrt blüht allda!

Take the wings of faith to bear you,
Fly, fly, His cross to carry.
Happiness awaits you there!

CHOR: Wohin?

CHORUS: Oh where?


Scene 5: The Crucifixion and Death of Jesus
EVANGELIST. Allda kreuzigten sie ihn,
und mit ihm zween andere zu beiden
Seiten, Jesum aber mitten inne. Pilatus
aber schreib eine Überschrift und satze
sie auf das Kreuz, und war geschrieben:
Diese Überschrift lasen viel Jüden, denn
die Stätte war nahe bei der Stadt, da jesus
gekrueuziget ist. Und es war geschrieben
auf ebräische, griechische und lateinische
Sprache. Da sprachen die Hohenpriester
der Jüden zu Pilato:

EVANGELIST. And there crucified they
Him, and with Him two others, one on
either side, and Jesus in the midst. Then
did Pilate write an inscription and put it
upon the Cross; and there was written:
“Jesus of Nazareth, the King of the Jews.”
This inscription was read by many people,
for the city was nigh unto the place where
Jesus was crucified. And these words were
written in the Hebrew, the Greek and the
Latin tongue. Then said the Chief Priests
of the Jews unto Pilate:

Schreibe nicht: der Jüden König, sondern
daß er gesaget habe: >

Do not write there that he was King of
Israel, rather that he himself has said this:
“I am their Lord and Master.”

EVANGELIST. Pilatus antwortet:

EVANGELIST. And Pilate thus answered:

PILATUS. Was ich geschrieben habe, das
habe ich geschrieben.

PILATE. What I myself have written, shall
be as I have written.

In meines Herzens Grunde,
Dein Nam und Kreuz allein
Funkelt all Zeit und Stunde,
Drauf kann ich fröhlich sein.
Erschein mir in dem Bilde
Zu trost in meiner Not,
Wie du, Herr Christ, so milde,
Dich hast geblut’ zu Tod.

Within my heart’s recesses
There sparkles bright Thy Name,
My spirit glad rejoices
To see its steady flame.
When dreaded death is near me,
With all its dark distress,
Thy Cross, dear Lord,
Will cheer me and ease its bitterness.


EVANGELIST. Die Kriegsknechte aber, da
sie Jesum gekrueuziget hatten, nahmen
seine Kleider und machten vier Teile,
einem jeglichen Kriegesknechte sein Teil,
dazu auch den Rock. Der Rock aber war
ungenahet, von oben an gewürket durch
und durch. Da sprachen sie untereinander:

EVANGELIST. The soldiers therefore after
thus they had crucified Jesus, laid hold of
His garments, and made of them four parts,
to each of the soldiers there a part, and also
His coat. Now Jesus’ coat was without seam,
from top to bottom woven through and
through. They said therefore one to another:

Lasset uns den nicht zerteilen, sondern
darum losen, wess er sein soll.

Let us not divide it, no, no, but rather let us
gamble. Let’s throw lots for it! Let us not
divide it but rather gamble to determine
whose it shall be.

EVANGELIST. Auf daß erfüllet würde
die Schrift, die da saget: Sie haben meine
Kleider unter sich geteilet und haben über
meinen Rock das Los geworfen. Solches
taten die Kreigesknechte. Es stund aber
bei dem Kreuze Jesu seine Mutter und
seiner Mutter Schwester, Maria, Kleophas
Weib, und Maria Magdalena. Da nun Jesus
seine Mutter sage und den Jünger dabei
stehen, den er lieb hatte, spricht er zu
seiner Mutter:

EVANGELIST. So that the scripture might be
fulfilled, which is written: “They portioned
out my raiment equally among them, and
also over my vesture did they cast lots.”
These things therefore the soldiers did. Now
standing beside the cross of Jesus was His
mother and his mother’s sister, and Mary,
Cleophas’ wife, also Mary Magdalena. Now
when Jesus saw His mother near Him and the
disciple standing by whom He loved, He said
unto His mother:

JESUS. Weib, siehe, das ist dein Sohn!

JESUS. Look, woman, this is they son!

EVANGELIST. Darnach spricht er zu dem

EVANGELIST. Then he said to the disciple:

JESUS. Siehe, das ist deine Mutter!

JESUS. See now, here behold thy mother!

Er nahm alles wohl in acht
In der letzten Stunde,
Seine Mutter noch bedacht,
Setzt ihr ein’ Vormunde.
O Mensch, mache Richtigkeit,
Gott und Menschen liebe,
Stirb darauf ohn alles Leid,
Und dich nicht betrübe!

In his final hour did He
Think Him of His mother,
That when He was gone she be
Cared for by this other.
Make your peace with God and man,
That upon the morrow,
You may end this mortal span,
Free from care and sorrow.


EVANGELIST. Und von Stund an nahm
sie der Jünger zu sich. Darnach, als Jesus
wußte, daß schon alles vollbracht war, daß
die Schrift erfüllet würde, spricht er:

EVANGELIST. From that time on he took
her to his own home. And then since Jesus
knew that now all was accomplished, so
that the Word might be fulfilled, He said:

JESUS. Mich durstet!

JESUS. I thirst!

EVANGELIST. Da stund ein Gefäße voll
Essigs. Sie fülleten aber einen Schwamm mit
Essig und legten ihn um einen Isopen, und
hielten es ihm dar zum Munde. Da nun Jesus
den Essig genommen hatte, sprach er:

EVANGELIST. Nearby was a vessel of
vinegar. They filled from the vessel then a
sponge with vinegar and put it on a twig of
hyssop, and put it to His mouth, to drink. Now
when Jesus had taken of the vinegar, He said:

JESUS. Es ist vollbracht!

JESUS. It is fulfilled!

ARIE – Ms. Dubenion-Smith
Es ist vollbracht!
O Trost vor die gekränkten Seelen!
Die Trauernacht
Läßt nun die letzte stunde zählen.

ARIA – Ms. Dubenion-Smith
It is fulfilled!
O rest and peace for stricken spirits!
This mournful night
is filled with gloom and sad foreboding.

Der Held aus Juda siegt mit Macht
Und schließt den Kampf.
Es ist vollbracht!

Our hero battles on with might
And ends the fight.
It is fulfilled!

EVANGELIST. Und neiget das Haupt und

EVANGELIST. And bowed His head and
was gone.

ARIE – Mr. Strauss / CHOR
Mein teurer Heiland, laß dich fragen,
Da du nunmehr ans Kreuz geschlagen
Und selbst gesaget: Es ist vollbracht,
Bin ich vom Sterben frei gemacht?
Kann ich durch deine Pein und Sterben
Das Himmelreich ererben?
Ist aller Welt Erlösung da?
Du kannst vor Schmerzen zwar nichts
Doch neigest du das Haupt
Und sprichst stillschweigend: ja.

ARIA – Mr. Strauss / CHORUS
My dearest Savior, let me ask You.
Though You upon Your cross are crucified,
And though You have said: It is fulfilled,
Am I from death forever free,
Can I through thy despair and passion
Thy Heavenly home inhabit?
Is all the world redeemed today?
You can forgive, indeed not answer for
Yet Thou must bow Thy head
To say in silence: yes.

Jesu, der du wärest tot,
Lebest nun ohn Ende,
In der letzten Todesnot,
Nirgend mich hinwende
Als zu dir, der mich versühnt,
O du lieber Herre!
Gib mir nur, was du verdient,
Mehr ich nicht begehre!

Jesus, Thou who once were dead,
Livest now forever;
When the path of death I tread,
Lord, forsake me never.
God’s wrath Thou from me hast turned,
Saved me from disaster!
My redemption Thou hast earned,
My beloved Master!

Scene 6: The Veil of the Temple
EVANGELIST. Und siehe da, der Vorhand
im Tempel zerriß in zwei Stück von oben
an bis unten aus. Und dis Erde erbebete,
und die Felsen zerrissen, und die Gräber
täten sich auf, und stunden auf viele
Leiber der Heiligen.

EVANGELIST. And then behold, the veil
of the temple was rent into twain, from
top to bottom rent in twain. And the earth
was shaken and the mountains were riven,
and the graves were opened up, and there
arose many bodies of the Saints.

ARIOSO – Mr. Phan
Mein Herz, in dem die ganze Welt
Bei Jesu Leiden gleichfalls leidet,
Die Sonne sich in Trauer kleidet,
Der Vorhang reißt, der Fels zerfällt,
Die Erde bebt, die Gräber spalten,
Weil sie den Schöpfer sehn erkalten,
Was willt du deines Ortes tun?

ARIOSO – Mr. Phan
My heart, see all the world is plunged in
woe Because of Jesus’ anguish.
The sun itself by grief is shrouded,
The veil is rent, the rocks are burst,
Creation quakes, the graves are opened
When their Redeemer they see lifeless,
And as for Thee, what wilt Thou do?

ARIE – Ms. Forsythe
Zerfließe, mein Herze, in Fluten der
Dem Höchsten zu Ehren.
Erzähle der Welt und dem Himmel die Not:
Dein Jesus ist tot!

ARIA – Ms. Forsythe
Dissolve, my heart, in torrents of weeping,
The Highest to honor.
Proclaim to the world and to Heaven the
Thy Jesus is dead!


Scene 7: The Burial of Jesus
EVANGELIST. Die Jüden aber, dieweil es
der Rüsstag war, daß nicht die Leichname
am Kreuze bleiben den Sabbat über
(denn desselbigen Sabbats Tag war sehr
groß), baten sie Pilatum, daß ihre Beine
gebrochen und sie abgenommen würden.
Da kamen die Kreigsknechte und brachen
dem ersten die Beine und dem andern,
der mit ihm gekreuziget war. Als sie aber
zu Jesu kamen, da sie sahen, daß er schon
gestorben war, brachen sie ihm die Beine
nicht; sondern der Kriegsknechts einer
eröffnete seine Seite mit einem Speer, und
alsobald ging Blut und Wasser heraus. Und
der das gesehen hat, der hat es bezeuget,
und sein Zeugnis ist wahr, und derselbige
weiß, daß er die Wahrheit saget, auf daß
ihr gläubet.

EVANGELIST. The Council therefore since
it was the preparation, so that the bodies
should not remain on the cross for the
Sabbath (for that Sabbath day was on a
High Day), made a plea to Pilate, to cause
their legs to be broken and to take the
bodies away. Then came the soldiers and
broke the legs of the first and the other
that there was crucified with him. But
when they had come to Jesus, and did see
that He was already dead, therefore they
broke not His legs. One of the soldiers then
did pierce the side of Jesus with a spear,
and forthwith came there blood and water
out. And he who did see it, of this hath
borne record and his record is true; and
this same doth know that he hath truly
spoken, that ye might believe.

Denn solches ist geschehen, auf daß die
Schrift erfüllet würde: > Und abermals spricht
eine andere Schrift: >

For all these things were done, so that the
scripture might be fulfilled: “A bone of
Him shall not be broken.” Again another
scripture hath said: “They shall look, shall
know the man they have pierced.”

O hilf, Christe, Gottes Sohn,
Durch dein bitter Leiden,
Daß wir dir stets untertan
All Untugend meiden.
Deinen Tod und sein Ursach
Furchtbarlich bedenken,
Dafür, wiewohl arm und schwach,
Dir Dankopfer schenken.

Help me, Jesus, God’s own son,
Through thy bitter anguish
That the favor thou hast won
All my sins may vanquish.
How and why our Savior died
We must ponder truly;
We, though weak, have rightly tried
Thanks to offer duly.


EVANGELIST. Darnach bat Pilatum
Joseph von Arimathia, der ein Jünger
Jesu war (doch heimlich, aus Fürcht vor
den Jüden), daß er möchte abnehmen den
Leichnam Jesu. Und Pilatus erlaubete
es. Derowegen kam er und nahm den
Leichnam Jesu herab. Es kam aber auch
Nikodemus, der vormals bei der Nacht zu
Jesu kommen war, und brachte Myrrhen
und Aloen untereinander, bei hundert
Pfunden. Da nahmen sid den Leichnam
Jesu, und bunden ihn in leinen Tücher
mit Spezereien, wie die Jüden pflegen zu

EVANGELIST. There came unto Pilate
Joseph of Arimathia, a disciple also of
Jesus (but secretly, for fear of the Council),
and besought him that he might receive
the body. And Pilate did give him leave.
Therefore came he thither and carried
Jesus’ body away. There came also thither
Nicodemus, he who at first had come to
Jesus in the night, and brought a mixture
of myrrh and of aloes together an hundred
pound weight. And then they took the
body of Jesus and wound it in linen clothes,
with the myrrh and aloes after the burial
custom of the Jews.

Es war aber an der Stätte, da er
gekreuziget war, ein Garte, und im Garten
ein neu Grab, in welches niemand je
geleget war. Daselbst hin legten sie Jesum,
um des Rüsttags willen der Jüden, dieweil
das Grab nahe war.

There was also in this place where He was
crucified, a garden, and in the garden was
a grave wherein no man had ever yet been
laid. Therein they therefore laid Jesus, for
the preparation of the Passover, for the
grave was nigh at hand.

Ruht wohl, ihr heiligen Gebeine,
Die ich nun weiter nicht beweine,
Ruht wohl und bringt auch mich zur Ruh!

Rest well, beloved, sweetly sleeping,
That I may cease from further weeping,
Sleep well, and let me too, sleep well.

Das Grab, so euch bestimmet ist
Und ferner keine Not umschließt,
Macht mir den Himmel auf
und schließt die Hölle zu.

The grave which is prepared for Thee,
From pain and grief will set Thee free,
Will open heaven for me
and close the gates of Hell.


Ach Herr, laß dein lieb Engelein
Am letzten End die Seele mein
In Abrahams Schob tragen,
Den Leib in sein’m Schlafkämmerlein
Gar sanft, ohn ein’ge Qual und Pein,
Ruhn bis am Jüngsten Tage!
Alsdenn vom Tod erwecke mich,
Daß meine Augen sehen dich
In aller Freud, o Gottes Sohn,
Mein Heiland und Genadenthron!
Herr Jesu Christ, erhöre mich,
Ich will dich preisen ewiglich!

Ah, Lord, when comes that final day
May angels bear my soul away
To Abram’s bosom take it;
Let then my body’s anguish cease,
My soul to wait the day, in peace,
When Thou again awake it.
Ah, what a joy it then will be
The very Son of God to see,
To gaze upon His holy face,
My Savior on the throne of grace!
Lord Jesus Christ, oh hear Thou me,
Thy name I praise eternally!


Named for the classical god of music
and the sun, Apollo’s Fire was founded
in 1992 by the award-winning young
harpsichordist and conductor Jeannette
Sorrell. Ms. Sorrell envisioned an ensemble
dedicated to the baroque ideal that music
should evoke the various Affekts or
passions in the listeners. Apollo’s Fire is a
collection of creative artists who share Ms.
Sorrell’s passion for drama and rhetoric.
Hailed as “one of the pre-eminent
period-instrument ensembles” (The
Independent, London), Apollo’s Fire made
its London debut in 2010 in a sold-out
concert at Wigmore Hall, with a BBC
broadcast. Subsequent European tours
took place in 2011, 2014, and 2015.
European performances include sold-out
concerts at the BBC Proms in London
(with live broadcast across Europe), the
Aldeburgh Festival (UK), Madrid’s Royal
Theatre, Bordeaux’s Grand Théàtre de
l’Opéra, and major venues in Lisbon, Metz
(France), and Bregenz (Austria), as well as
concerts on the Birmingham International
Series (UK) and the Tuscan Landscapes
Festival (Italy).
North American tour engagements
include the Tanglewood Festival (sold-out
debut in 2015), the Aspen Music Festival,
the Boston Early Music Festival series,
the Library of Congress, the Metropolitan
Museum of Art (NY), and major venues in
Toronto, Los Angeles, and San Francisco.
The ensemble has performed two major
US tours of the Monteverdi Vespers
(2010 and 2014) and a nine-concert tour
of Bach’s Brandenburg Concertos in
2013. Apollo’s Fire is signed to Columbia
Artists Management (CAMI) for exclusive
representation in North and South
America, and is managed in the UK by
Intermusica (London).

At home in Cleveland, Apollo’s Fire enjoys
sold-out performances at its subscription
series, which has drawn national attention
for creative programming. Apollo’s Fire
has released 22 commercial CDs, and
currently records for the British label
AVIE. Since the ensemble’s introduction
into the European CD market in 2010,
the recordings have won rave reviews in
the London press: “a swaggering version,
brilliantly played” (The Times) and “the
Midwest’s best-kept musical secret
is finally reaching British ears” (The
Independent). Six of the ensemble’s CD
releases have become best-sellers on the
classical Billboard chart: the Monteverdi
Vespers, Bach’s Brandenburg Concertos
and Harpsichord Concertos, a disc of
Handel arias, and Jeannette Sorrell’s three
crossover programs: Come to the River
— An Early American Gathering; Sacrum
Mysterium — A Celtic Christmas Vespers;
and Sugarloaf Mountain — An Appalachian
Jeannette Sorrell (artistic director,
conductor, continuo organ) is recognized
internationally as a leading creative voice
among early-music conductors. She has
been credited by the UK’s BBC Music
Magazine for forging “a vibrant, lifeaffirming approach to the re-making of
early music… a seductive vision of musical
Hailed as “one of the world’s finest
Baroque specialists” (St. Louis Dispatch),
Ms. Sorrell was one of the youngest
students ever accepted to the prestigious
conducting courses of the Aspen and the
Tanglewood music festivals. She studied
conducting under Robert Spano, Roger
Norrington, and Leonard Bernstein, and
harpsichord with Gustav Leonhardt in

Amsterdam. She won both First Prize
and the Audience Choice Award in the
1991 Spivey International Harpsichord
Competition, competing against over 70
harpsichordists from Europe, Israel, the US,
and the Soviet Union.
Ms. Sorrell founded Apollo’s Fire in 1992.
Since then, she and the ensemble have built
one of the largest audiences of any baroque
orchestra in North America. She has led
Apollo’s Fire in sold-out concerts at London’s
BBC Proms and London’s Wigmore Hall,
Madrid’s Royal Theatre (Teatro Real), the
Grand Théâtre de l’Opéra in Bordeaux, the
Aldeburgh Festival (UK), the Tanglewood
Festival, Boston’s Early Music Festival,
the Aspen Music Festival, the Library of
Congress, and the Metropolitan Museum of
Art (New York).
As a guest conductor, Ms. Sorrell has
worked with many of the leading American
symphony orchestras. Her debut with
the Pittsburgh Symphony in 2013 as
conductor and soloist in the complete
Brandenburg Concertos was met with
standing ovations every night, and hailed as
“an especially joyous occasion” (Pittsburgh
Tribune-Review). She has also appeared
as conductor and soloist with the New
World Symphony (Miami), the Los Angeles
Chamber Orchestra, Seattle Symphony,
the Opera Theatre of St. Louis with the St.
Louis Symphony, Handel & Haydn Society
(Boston), the Omaha Symphony, Grand
Rapids Symphony, and has appeared with
the Cleveland Orchestra as guest keyboard
artist. In 2014 Ms. Sorrell filled in for British
conductor Richard Egarr on five days’
notice, leading the complete Brandenburg
Concertos and playing the harpsichord
solo in Brandenburg Concerto No. 5, for
the closing concert of the Houston Early
Music Festival. In 2015 she returned to the

Pittsburgh Symphony as conductor/soloist.
Ms. Sorrell has attracted national
attention and awards for creative
programming. She holds an honorary
doctorate from Case Western University,
two special awards from the National
Endowment for the Arts for her work
on early American music, and an award
from the American Musicological Society.
Passionate about guiding the next
generation of performers, Ms. Sorrell has
led many baroque projects for students at
Oberlin Conservatory.
Nicholas Phan (tenor/Evangelist) has
appeared with many of the leading
orchestras in North America and Europe,
including the New York Philharmonic,
Boston Symphony, Chicago Symphony,
San Francisco Symphony, Los Angeles
Philharmonic, Cleveland Orchestra,
Philadelphia Orchestra, Chamber Music
Society of Lincoln Center, BBC Symphony,
and the English Chamber Orchestra. He
toured extensively throughout the major
concert halls of Europe with Il Complesso
Barocco and appeared with the Edinburgh,
Ravinia, Rheingau, Tanglewood and
Marlboro music festivals, and at the BBC
Proms. In opera, he has appeared with the
LA Opera, Houston Grand Opera, Seattle
Opera, Glyndebourne Opera, Frankfurt
Opera, and the Maggio Musicale in
Florence. In recital, he has been presented
by Carnegie Hall, the Metropolitan Museum
of Art, the Philadelphia Chamber Music
Society, Boston’s Celebrity Series, Atlanta’s
Spivey Hall, and the Library of Congress
in Washington, DC. He is also a founder
and the artistic director of Collaborative
Arts Institute of Chicago, an organization
devoted to promoting the art song and
vocal chamber music repertoire. Mr. Phan’s

most recent solo album, A Painted Tale,
was released on Avie Records in February
2015. His previous solo album, Still Falls
the Rain (Avie), was named one of the
“Best Classical Recordings of 2012 ” by
The New York Times.
Jesse Blumberg (baritone/Jesus) 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, Bernstein’s
Mass at London’s Royal Festival Hall,
various productions with Boston Early
Music Festival, and featured roles
with Atlanta Opera, Pittsburgh Opera,
Utah Opera, and Hawaii Opera Theatre.
Recital highlights include appearances
with the Marilyn Horne Foundation,
New York Festival of Song, and Mirror
Visions Ensemble. He has performed
major concert works with American Bach
Soloists, Boston Baroque, Oratorio Society
of New York, and on Lincoln Center’s
American Songbook series. His 2015–16
season includes performances of Messiah
at the Washington National Cathedral,
St. John Passion with Apollo’s Fire,
Bach cantatas with Montreal Baroque,
and The Merry Widow at Boston Lyric
Opera. Mr. Blumberg holds degrees from
the University of Cincinnati CollegeConservatory of Music and 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.
Kristen Dubenion-Smith (mezzo-soprano)
enjoys an active performing career in
oratorio, opera, and sacred vocal chamber
music, particularly specializing in music of
the Medieval, Renaissance, and Baroque

eras. She has been praised for her “plush”
voice by the Baltimore Sun and voice of
“sweet clarity” by the Pittsburgh PostGazette. Recent notable engagements
include performances with The Folger
Consort, The Washington Bach Consort,
The Cathedral Choral Society, The
Evolution Contemporary Music Series, and
with the Mark Morris Dance Group. Ms.
Dubenion-Smith is also the co-founder of
the award-winning Medieval ensemble
Eya, based in Washington, DC, as well
as serving as cantor at the Washington
National Cathedral. Originally from
Michigan, Ms. Dubenion-Smith graduated
from Alma College before moving to
Baltimore to complete her studies in voice
at the Peabody Institute.
Amanda Forsythe (soprano) has sung
principal roles in the opera houses of
Geneva, Munich, the Rossini Opera Festival
in Pesaro, the Théâtre des Champs-Élysées
in Paris, at the Royal Opera House, Covent
Garden, and Seattle Opera. Recently, she
débuted at Tanglewood and the Mostly
Mozart Festivals with Philharmonia
Baroque under Nicholas McGegan and with
the Accademia Nazionale di Santa Cecilia
in Rome under Sir Antonio Pappano. Ms.
Forsythe performs regularly with Boston
Early Music Festival, Vancouver Early
Music, Apollo’s Fire, Boston Baroque, and
the Seattle Symphony. Performances this
season include L’Amour in Gluck’s Orphée
at Covent Garden, Mozart’s Requiem and
Mass in c minor with the Monteverdi
Choir and Orchestra under Sir John Eliot
Gardiner, and Mendelssohn’s A Midsummer
Night’s Dream with the Boston Symphony
under Andris Nelsons. Next season, she
sings Marzelline in Beethoven’s Fidelio in
Rome (Pappano), debuts with the Chicago
Symphony in an all-Handel program,
and returns to Seattle Opera as Pamina

in The Magic Flute. Ms. Forsythe sings
Euridice on Charpentier’s La Descente
d’Orphée aux Enfers with BEMF, which
won the 2015 Grammy Award for “Best
Opera Recording.” Her debut solo album
of Handel arias with Apollo’s Fire was
released in 2015 on the Avie label to great
acclaim, and debuted at number three on
the classical Billboard chart.
Jeffrey Strauss (baritone/Pilate) is an
“authoritative artist” (Cleveland Plain
Dealer) whose performances have been
praised as “captivating” (Chicago Tribune)
and “serenely beautiful” (New York Times),
and has appeared with period-instrument
ensembles including The Consort of
Musicke with Emma Kirkby, the Taverner
Consort under Andrew Parrott, Tafelmusik,
Apollo’s Fire, the Handel & Haydn Society
(Boston), the Newberry Consort (Chicago),
Seattle Baroque, and Tempesta di Mare
(Philadelphia). He made his professional
debut at the age of 17 with the Buffalo
Philharmonic and studied voice in Paris
with Gérard Souzay. An accomplished stage
actor, his favorite projects have included
the title role in Monteverdi’s L’Orfeo, Jesus
in the Bach Passions, Méphistophélès in
Berlioz’s Damnation of Faust, and Apollo
in Handel’s Apollo e Dafne. His recent
portrayal of Tevye in Fiddler on the
Roof was hailed by the Buffalo News as
“masterful.” His longstanding commitment
to contemporary music includes many
appearances with the Chicago Chamber
Musicians, as well as performing Ned
Rorem’s song cycle Aftermath, a jazzinspired oratorio with the Dave Brubeck
Quartet, and premieres of works by
Bernstein, Babbitt, Shapey, and Cipullo. His
CD recordings with Apollo’s Fire include the
Monteverdi Vespers and Handel’s Messiah,
as well as Sephardic Journey, released in
February 2016.


Kojo Elenitoba-Johnson, M.D., is developing
new methods to diagnose blood cancers.


Apollo’s Fire | The Cleveland Baroque Orchestra
Jeannette Sorrell, Artistic
Director and Conductor
Olivier Brault, Concertmaster
Johanna Novom, Associate
Adriane Post, Principal II
Evan Few
Andrew Fouts
Edwin Huizinga
Emi Tanabe
Karina Schmitz, Principal
Cynthia Black
René Schiffer, Principal
Rebecca Landell Reed
Viola da Gamba
Rebecca Landell Reed
Sue Yelanjian

Kathie Stewart
Amara Guitry
Debra Nagy
Kathryn Montoya
Stephanie Corwin
Jeannette Sorrell
Peter Bennett
Apollo’s Singers
Amanda Forsythe, Soloist
Madeline Apple Healey,
Comprimario Soloist
Eric S. Brenner
Margaret Carpenter Haigh
Rebecca Myers Hoke
Ashley Lingenhoel
Molly Netter

Kristen Dubenion-Smith,
Robin Bier
John McElliott
Amanda Powell
Jay White
Owen McIntosh, Comprimario
Steven Bradshaw
Jacob Perry
Corey Shotwell
Jesse Blumberg, Soloist
Jeffrey Strauss, Soloist
Michael McKay
Michael Peters

This evening’s concert marks the fourth performance by Apollo’s Fire and
Jeannette Sorrell under UMS auspices. The ensemble and Ms. Sorrell made
their UMS debuts in November 2011 at Hill Auditorium in a program with
countertenor Philippe Jaroussky, and most recently appeared under UMS
auspices in November 2014 at St. Francis of Assisi Catholic Church in a
performance of Monteverdi’s Vespers of 1610.
Tonight’s concert marks Nicholas Phan’s fifth UMS performance, following
his UMS debut in March 2000 at Rackham Auditorium with Michigan
Chamber Players. He most recently appeared at UMS in February 2015 in a
performance of Mendelssohn’s Elijah conducted by Jerry Blackstone. This
evening marks Jesse Blumberg’s fifth UMS performance, following his UMS
debut in December 2010 at Hill Auditorium in performances of Handel’s
Messiah under the baton of Jerry Blackstone. He most recently appeared at
UMS in January 2016 at the Lydia Mendelssohn Theatre as part of What’s in a
Song? with pianist Martin Katz. Kristen Dubenion-Smith makes her second
UMS appearance this evening following her UMS debut in November 2014
with Apollo’s Fire and Jeannette Sorrell in a performance of Monteverdi’s
Vespers. UMS welcomes Jeffrey Strauss and Amanda Forsythe, who make
their UMS debuts tonight.


Ken and Penny Fischer
Richard and Lillian Ives
Endowment Fund
Supporters of this evening’s performance by Apollo’s Fire.

M AY W E A L S O R E C O M M E N D . . .

Montreal Symphony Orchestra
Bach Six Solos: Gil Shaham with original films by David Michalek
Bavarian Radio Orchestra

Tickets available at
O N T H E E D U C AT I O N H O R I Z O N . . .

Tune In: Gil Shaham (must have a ticket to the performance to
attend , Hill Auditorium Mezzanine Lobby, 7:30 pm)
3/29 & 3/30 Center for Russian, East European, & Eurasian Studies Lecture
Re-Awakening Sleeping Beauty: The Lively Debate over Alexei
Ratmansky’s New Production
(3/29 at The Carr Center, 311 E Grand River Avenue, Detroit,
7–8:30 pm)
(3/30 at 1636 International Institute, U-M School of Social Work
Building, 1080 S. University Avenue, Ann Arbor, 12 noon–1:30 pm)
You Can Dance: Kyle Abraham/Abraham.In.Motion
(Boll Family Y, 1401 Broadway Street, Detroit, 2–3:30 pm)
Educational events are free and open to the public unless otherwise noted.

UMS Senate
The UMS Senate is composed of former members of the Board of Directors
who dedicate time and energy to UMS and our community. Their ongoing
commitment and gracious support of UMS are greatly appreciated.
Wadad Abed
Michael C. Allemang
Carol L. Amster
Gail Davis-Barnes
Kathleen Benton
Lynda Berg
Richard S. Berger
Maurice S. Binkow
DJ Boehm
Lee C. Bollinger
Charles W. Borgsdorf
Janice Stevens-Botsford
Paul C. Boylan
William M. Broucek
Barbara Everitt Bryant
Robert Buckler
Letitia J. Byrd
Kathleen G. Charla
Mary Sue Coleman
Jill A. Corr
Peter B. Corr
Ronald M. Cresswell
Martha Darling
Hal Davis
Sally Stegeman DiCarlo
Robert F. DiRomualdo
Junia Doan
Al Dodds
James J. Duderstadt
David Featherman
David J. Flowers
George V. Fornero
Maxine J. Frankel
Patricia M. Garcia
Beverley B. Geltner
Christopher Genteel
Anne Glendon
Patricia Green
William S. Hann
Shelia M. Harden
Randy J. Harris
Walter L. Harrison
Norman G. Herbert


Deborah S. Herbert
Carl W. Herstein
David Herzig
Peter N. Heydon
Toni Hoover
Kay Hunt
Alice Davis Irani
Stuart A. Isaac
Thomas E. Kauper
Christopher Kendall
David B. Kennedy
Gloria James Kerry
Thomas C. Kinnear
S. Rani Kotha
Marvin Krislov
F. Bruce Kulp
Leo A. Legatski
Melvin A. Lester
Earl Lewis
Patrick B. Long
Helen B. Love
Cynthia MacDonald
Robert C. Macek
Jeffrey MacKie-Mason
Judythe H. Maugh
Rebecca McGowan
Barbara Meadows
Joetta Mial
Lester Monts
Alberto Nacif
Shirley C. Neuman
Jan Barney Newman
Roger Newton
Len Niehoff
Gilbert S. Omenn
Joe E. O’Neal
Randall Pittman
Phil Power
John D. Psarouthakis
Rossi Ray-Taylor
John W. Reed
Todd Roberts
Richard H. Rogel

Prudence L. Rosenthal
A. Douglas Rothwell
Judy Dow Rumelhart
Maya Savarino
Ann Schriber
Edward R. Schulak
John J.H. Schwarz
Erik H. Serr
Ellie Serras
Joseph A. Sesi
Harold T. Shapiro
George I. Shirley
John O. Simpson
Timothy P. Slottow
Anthony L. Smith
Carol Shalita Smokler
Jorge A. Solis
Cheryl Soper
Peter Sparling
James C. Stanley
Lois U. Stegeman
Edward D. Surovell
James L. Telfer
Susan B. Ullrich
Michael D. VanHermert
Eileen Lappin Weiser
B. Joseph White
Marina v.N. Whitman
Clayton E. Wilhite
Iva M. Wilson
Karen Wolff

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
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


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

UMS Corporate Council

A. Douglas Rothwell
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


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

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*
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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

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Join us for
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As part of the UMS Mellon Initiative on Arts/Academic Integration, this
group advises UMS staff on opportunities to integrate our programming
more deeply and systematically into the academic life of the University of
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La FountainStokes


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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:
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Dayna Lang

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UMS Ambassadors advance the goals of UMS, champion the UMS
mission through community engagement, provide and secure financial
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Past Chair
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Ren Snyder
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E D U C AT I O N &

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Production Assistant

James P. Leija
Director of Education &
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& Government Relations
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Production Coordinator
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Senior Programming


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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


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
Miller, Canfield, Paddock
and Stone, P.L.C.
Mr. and Mrs. Donald L.
Agnes Moy-Sarns and David
Sarns and the Sarns Family
Gil Omenn and Martha
Tim and Sally Petersen
Phil and Kathy Power
Sharon and Doug Rothwell
Linda Samuelson and Joel
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
Eugene and Emily Grant
Family Foundation
The Andrew W. Mellon
Candis J. and Helmut F. Stern
The Wallace Foundation
$ 1 00,00 0 –$ 4 99,9 9 9

Bert Askwith and Patti
Askwith Kenner
Emily W. Bandera
Dennis Dahlmann
Sharon and Dallas Dort
Stephen and Rosamund
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
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.
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
Dan and Sarah Nicoli
Lois Stegeman
Stout Systems
John W. and Gail Ferguson
Karen and David Stutz
Dody Viola
$15,000– $ 24 , 999

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



$5,000– $ 14 , 999

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




Listen online at

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Listen on the
radio at
WGTE FM 91.3 Toledo
WGLE 90.7 Lima
WGBE 90.9 Bryan
WGDE 91.9 Defiance

since 1992

Contemporary Food
Locally Owned
Our Ann
Ann Arbor
Arbor Attorneys:
Cheryl Chandler
Edward Lynch
Gary Eller
Gabe Marinaro
Sharon Kelly
Michael Miller
Veronique Liem
Edward Stein

316 S. State Street
@ North University


soups • custom salads • classic sandwiches


essential groceries • beer & wine

619 East University @ Zaragon Place
734-332-3366 ·

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
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
Dr. and Mrs. Jerry Kolins Shakespearean
Endowment Fund
Frances Mauney Lohr Choral Union Endowment
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:
All events are free and open to the public.




Endowed Funds




September 19
Hill Auditorium

October 24
Michigan Theater

December 11
Hill Auditorium

March 12
Michigan Theater

November 7
Michigan Theater

January 16
Michigan Theater

April 9
Michigan Theater

Ann Arbor Symphony Orchestra

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


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


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
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 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
($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
University of Michigan

( $1 0,000– $1 9, 999)

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

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

($20,0 00 –$ 4 9, 9 9 9)
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 #
Jeffrey MacKie-Mason and Janet Netz
Michigan Council for Arts and Cultural
Philip and Kathy Power
Norma and Dick Sarns #
Sesi Lincoln
Bruce G. Tuchman
U-M Third Century Initiative
Ron and Eileen Weiser


Gerald and Gloria Abrams
includes gift in honor of John M.
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
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 #

( $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.
Ann Arbor Automotive
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
Katherine and Tom Goldberg
Lynn and Martin Halbfinger
Norman and Debbie Herbert #
Carl and Charlene Herstein
Honigman Miller Schwartz and Cohn
David and Sally Kennedy
in memory of Elizabeth Earhart
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
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
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

( $1 ,0 0 0 – $2,499)
Katherine Aldrich
Richard and Mona Alonzo
American Title Company of
Christiane Anderson
David G. and Joan M. Anderson #
John Anderson and Lyn McHie
Dave and Katie Andrea
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
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
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
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.
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.
David Leichtman and Laura A.
Richard LeSueur
Evie and Allen Lichter
Fran Lyman
John and Cheryl MacKrell
Edwin and Cathy Marcus


Jim and Barbara Adams
Michael and Suzan Alexander
Arts Midwest Touring Fund
John and Lillian Back
Karen Bantel and Steve Geiringer
Dr. Carol Barbour and Dr. Sid
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
Carolyn M. Carty and Thomas H.
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
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
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

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
Elise Weisbach


($2, 5 0 0 –$ 4, 9 9 9)


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.
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.
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
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 #


( $500– $999)
Tena Achen
Roger Albin and Nili Tannenbaum
Christine W. Alvey
Neil P. Anderson
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
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
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
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
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
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
Rachelle Lesko
Gloria Kitto Lewis


($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
Marylee Dalton and Lynn
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
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


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
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
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
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
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


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.
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
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

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
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
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

Ad Index

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


Michigan Psychoanalytic Institute and
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
Zell Visiting Writers Series

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