University of Michigan | Ann Arbor
ums 10|11 132nd Season
132nd Season
ums 10|11
132st Season September 9-Oct 3 25 Sat 30 Thu
Susurrus Rosanne Cash La Capella Reial de Catalunya with Hesperion XXI and the Tembembe Ensamble Continuo Jordi Savall music director
Theater, Monogram Monogram Divine Voices, Monogram
Paul Taylor Dance Company Paul Taylor Dance Company Family Performance Mariinsky Orchestra Valery Gergiev conductor Denis Matsuev piano Takács Quartet: Schubert Concert 1 Jerusalem Quartet Sankai Juku: Hibiki: Resonance From Far Away Venice Baroque Orchestra Django Reinhardt’s 100th Birthday Celebration The Hot Club of San Francisco and The Hot Club of Detroit
Dance, Monogram Family Choral Union
October 7-9 Thu-Sat 9 Sat 10 Sun
14 Thu 21 Thu 23-24 Sat-Sun 27 Wed 29 Fri
Chamber Arts, Schubertiade Chamber Arts, Monogram Dance, Monogram Choral Union, Monogram Jazz, Monogram
November 2 Tue 4 Thu 6 Sat 10 Wed 18-20 Thu-Sat
ONCE.MORE Festival: The Historic Concert Chamber Arts The Tallis Scholars Divine Voices, Monogram Mariachi Vargas de Tecalitlán Monogram Murray Perahia piano Choral Union, Piano Stew and The Negro Problem Monogram with Heidi Rodewald
December 3 4-5
Fri Sat-Sun
Carolina Chocolate Drops Handel’s Messiah
Monogram Monogram
Laurie Anderson’s Delusion Renée Fleming soprano Grupo Corpo Joanne Shenandoah Sequentia Baby Loves Salsa
Theater, Monogram Choral Union Dance, Monogram Monogram Divine Voices, Monogram Family
January 14-15 16 21-22 23 27 30
Fri-Sat Sun Fri-Sat Sun Thu Sun
Cover Photo: Merce Cunningham Dance Company by Anna Finke. Pages 2-3: Renée Fleming by Andrew Eccles, Tony Allen by Bernard Benant, Grupo Corpo’s Imá by Jose Luiz Perderneiras, Carolina Chocolate Drops, Laurie Anderson by Kevin Kennifick.
10/11 Season Media partner
Series Index Pages Choral Union 6-9 Theater 10-11 Chamber Arts 12-13 Dance 14-15 Jazz 16-17 Divine Voices 18-19 Family 20 Schubertiade 21 Michael’s Picks 22-23 Monogram 24-43 Global/Americas 44 Piano 45
February 1 Tue 2 Wed 4 Fri 10 Thu 11 Fri 12 Sat 13 Sun 18-19 Fri-Sat 20 Sun 23 Wed
The Cleveland Orchestra Choral Union, Piano, Monogram Franz Welser-Möst conductor Pierre-Laurent Aimard piano Jazz at Lincoln Center Orchestra Jazz, Monogram with Wynton Marsalis Nadja Salerno-Sonnenberg and Chamber Arts, Monogram New Century Chamber Orchestra Blues at the Crossroads: Monogram The Robert Johnson Centennial Concert Rafał Blechacz piano Choral Union, Piano, Monogram Vijay Iyer Trio and Rudresh Mahanthappa’s Apex Jazz, Monogram Concertante with Rafał Blechacz piano Chamber Arts, Monogram Merce Cunningham Dance Company: The Legacy Tour Dance, Monogram Takács Quartet: Schubert Concert 2 Schubertiade, Monogram Kodo Monogram
March Scharoun Ensemble Berlin Druid and Atlantic Theater Company Martin McDonagh’s The Cripple of Inishmaan Detroit Symphony Orchestra/Mahler’s Symphony No. 8 Leonard Slatkin conductor Bach Collegium Japan/ Bach’s Mass in b minor Masaaki Suzuki conductor Propeller Shakespeare’s Richard III and The Comedy of Errors
Chamber Arts Theater, Monogram
St. Petersburg Philharmonic Yuri Temirkanov conductor Nikolai Lugansky piano Septeto Nacional Ignacio Piñeiro de Cuba Takács Quartet: Schubert Concert 3 Tetzlaff Quartet Tony Allen’s Secret Agent “Songs and Waltzes of Love”
Choral Union, Piano
Choral Union, Monogram Choral Union, Divine Voices, Monogram Theater, Monogram
April 2 Sat
7 8 9 16 23
Thu Fri Sat Sat Sat
Jazz, Monogram Schubertiade, Monogram Chamber Arts, Monogram Monogram Choral Union, Monogram
10/11 ums season | www.ums.org | 734-764-2538
9 Wed 10-13 Thu-Sun 19 Sat 24 Thu 30-Apr 3 Wed-Sun
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Welcome to UMS’s 2010/11 season! Whenever we announce our new season, we always hear from people about the performances that they are most excited about attending. Yet when we ask them a year later, it often turns out that their “number one” event for the year wasn’t what they anticipated. In fact, it was often completely unexpected — a total surprise. That’s the beauty of the live performing arts. Just when we think we’ve seen it all, they reach out and shake us up in profoundly overwhelming ways, turning something that we thought would be “nice” or “interesting” or “entertaining” into an experience that stays with us for a lifetime.
And the Number One Event is…??? We’ve all had those experiences — the orchestra concert that verged on being out-of-control, providing a vivid journey through a piece of new music, or a magical interpretation of a “chestnut” that we’ve heard countless times before. The dance company that presented a sense of joyful freedom, infectious to all. The jazz ensemble that was positively on fire, making the music come alive in new ways. A young artistic making a UMS debut. The theater production that was so compelling that it changed, if only for a moment, how we view the world. As you think about the events on UMS’s 2010/11 season and start to put together your season subscription, we hope you’ll leave room for an unexpected “number one” — a performance that you might not know right now but that may end up being one of the highlights of your year. None of us knows right now what the “number one” event will be next season — but we all have the capacity to open ourselves to the possibilities.
Why Subscribe? Subscribing to a UMS series can simplify and enhance your quality of life. Consider the following possibilities: Personal Fulfillment You’re committed to life-long learning and want to invest in yourself. A subscription to the live performing arts provides that investment, plus an opportunity to broaden your knowledge of other cultures while deepening your understanding of your own. UMS can take you to a place where imagination is thriving. Many of us live by the calendar and discover that we need to schedule escape to maintain balance in our lives, whether it’s escape to a relaxing evening of beauty or escape from the intensity of our work lives. As a UMS subscriber, you’ll guarantee access to the concerts you really want to see without worrying about sellouts or lines at the ticket office. The desire to be pushed to the edge of what you can feel and think is constantly fulfilled by the unfiltered immediacy of the live performing arts. You want to support your community, which provides an unsurpassed quality of life.
Value As a subscriber, you get free ticket exchanges (up to 48 hours before the performance) if you find yourself unable to attend an event on your series. Single ticket buyers pay $6 per ticket for this privilege. Subscribers receive discounts of up to 22% over single ticket prices — and have access to the best seats in the house before they go on sale to the general public. That, combined with access to additional tickets before public ticket sales dates, makes subscribing a terrific value. Additionally, fixed package subscribers now receive a 10% discount on all Monogram Series concerts (see Section 3 of the Order Form).
Relationship Building When you subscribe with friends and family, you spend meaningful time with people who are important to you, and create memories together that will provide a profound recollection to your past.
Discovery You can take risks and encounter the unfamiliar from the comfort of a theater seat as you learn about new cultures, transcending the barrier of language. You can watch how artists develop over time and appreciate the inherent risks in the dynamic spontaneity of live performance. If you want to try something different or new but don’t know where to begin, UMS can help. UMS puts together diverse series packages that include both famous artists and emerging groups that we believe will provide equally moving experiences. We hope that you will use your subscription to broaden your own appreciation of the wide scope of today’s performing arts world.
IMPORTANT BENEFITS for Subscribers Only! INSTALLMENT BILLING. When you order your subscription before Friday, June 25, you can pay in three equal installments (credit card orders totaling $300+ only). You will be charged during the week your order is received, the first week in July, and the first week in August. Donations to UMS that are included with your ticket order will be charged in full on the date received. FREE PARKING. When you order at least eight events before Friday, June 25, you’ll be eligible for free parking in the Power Center (Fletcher Street) structure. Be sure to check the box on the order form if you would like to take advantage of this opportunity. FREE EXCHANGES. All subscribers receive free ticket exchanges up to 48 hours before the performance. See details on page 49. TALK TO US! Do you have further questions or comments about the events and artists on the 10/11 season? We have no-cost opportunities for you to learn more: » Members of the UMS Programming Department are available to answer questions about the artists in the season. Just e-mail ums1011season@umich.edu, and a UMS staff member who has been working on the 10/11 program for over a year will contact you directly within 24 hours to answer your questions and help you put together a series that will maximize your personal enjoyment of next season. » UMS has posted playlists and videos featuring 10/11 season artists for each series on amazon.com and YouTube. Links are available on the UMS website at www.ums.org.
There are two types of UMS subscribers. Fixed Package Subscribers subscribe to the packages that we’ve created on pages 6-23 and 45 of this brochure. Fixed packages are usually programmed by genre (e.g., chamber music or dance) or theme (e.g., Schubertiade). If you enjoy a particular type of event, this is probably the best option for you. NEW THIS YEAR — fixed package subscribers also receive 10% off any Monogram concerts now. Monogram Subscribers create their own subscription of at least five events from pages 24-43. You become the programmer and curate your own season, customized to your personal interests. If you enjoy a wide variety of arts events, or if you like to try new, unfamiliar things, this is probably the option you will enjoy the most. While not all events in the 10/11 season are offered for Monogram packages, you’ll have plenty of performances to choose from, and you’ll be able to purchase any number of tickets to each event — so be sure to coordinate with friends and family! A Note About Single Tickets: As a subscriber, you may order tickets to any event in our season now. Nonsubscribers may purchase tickets for individual events beginning Wednesday, August 25 (available online on Monday, August 23). Selection will be limited to inventory available after subscription orders and group reservations have been processed. UMS Donors ($250+ annually) may purchase tickets to individual events beginning Wednesday, August 18.
Choral Union 132nd Annual Series
Mariinsky Orchestra
Valery Gergiev music director and conductor Denis Matsuev piano
Venice Baroque Orchestra Robert McDuffie violin
Wednesday, October 27 8 pm hill Auditorium
Sunday, October 10 4 pm Hill Auditorium
Valery Gergiev’s long association with the Mariinsky (formerly known as the Kirov) — including 10 previous UMS concerts, most recently the five-concert cycle of Shostakovich symphonies — has raised the ensemble’s profile to the point where it is now widely regarded as one of the most dynamic and exciting ensembles on the world stage today. This series-opening celebration features the fiery Russian pianist Denis Matsuev in Rachmaninoff’s third piano concerto. “His technique is phenomenal...Perhaps he is the new Horowitz.” (London Times) Program
Rachmaninoff Piano Concerto No. 3 in d minor, Op. 30 (1900-01) Mahler Symphony No. 5 (1901-02) 10/11 major orchestras sponsored by Sponsored by the Catherine S. Arcure and Herbert E. Sloan Endowment Fund. hosted by james and nancy stanley and jay and mary kate zelenock. Additional promotional support provided by WRCJ 90.9 FM and Detroit Jewish News.
Photos: Mariinsky Orchestra, Venice Baroque Orchestra by Harold Hoffmann, Renée Fleming by Andrew Eccles.
The Venice Baroque Orchestra was founded in 1997 by harpsichordist Andrea Marcon and is recognized as one of Europe’s premier ensembles devoted to period instrument performance. For this UMS debut, they perform music of their home city — Venetian composer Antonio Vivaldi’s The Four Seasons — paired with an “American Four Seasons” by Philip Glass featuring violinist Robert McDuffie, who has worked closely with Glass over the years and who last appeared at UMS with the Jerusalem Symphony in 2008. The VBO will perform the Vivaldi on period instruments, then switch to modernday instruments for the Glass composition. “The first performance of [Philip Glass’s ‘American Four Seasons’] was so spectacularly played by the new piece’s muse, American violinist Robert McDuffie...that the event turned into one of the most exciting musical evenings of the year.” (The Toronto Star) Program
Vivaldi The Four Seasons, Op. 8 (1723) Glass Violin Concerto No. 2: “The American Four Seasons” (2009) hosted by Jane and Edward Schulak.
Choral Union SErIes Media partner
Renée Fleming soprano Hartmut Höll piano Sunday, January 16
4 pm
Hill Auditorium
One of the most beloved and celebrated musical ambassadors of our time, soprano Renée Fleming captivates audiences with her sumptuous voice, consummate artistry, and compelling stage presence. In addition to commanding the stages of the great opera houses of the world, she hosts the Metropolitan Opera’s Live in HD Series for movie theaters and television with behind-thescenes interviews. In 2008, she became the first woman in the 125-year history of the Metropolitan Opera to headline their opening night gala. Her fame is such that perfumes, desserts, and flowers have all been named after her, but those superficial accolades pale in comparison to her devoted following of opera lovers around the world. This great American soprano returns to UMS after her 1997 recital and her 2005 appearance in a concert version of Richard Strauss’s Daphne.
Murray Perahia piano Wednesday, November 10 8 pm hill Auditorium
co-sponsored by Natalie MatovinoviĆ and gil omenn and martha darling. Additional promotional support provided by WRCJ 90.9 FM and detroit jewish news.
Franz Welser-Möst conductor Pierre-Laurent Aimard piano Tuesday, February 1
8 pm
Hill Auditorium
In a season celebrating the Americas, it only makes sense to include one of the great American orchestras that is also admired as one of the top ensembles in the world. Founded shortly after the end of World War I, The Cleveland Orchestra has been guided by seven music directors, each of whom has left his mark on the widely admired “Cleveland” sound: Nikolai Sokoloff, Artur Rodzinski, Erich Leinsdorf, George Szell, Lorin Maazel, Christoph von Dohnányi, and Franz Welser-Möst, who leads the ensemble and the French pianist PierreLaurent Aimard in this performance. Program
Bartók Music for Strings, Percussion, and Celeste, Sz. 106, BB 114 (1936) Schumann Piano Concerto in a minor, Op. 54 (1845) Wagner Overture to Tannhäuser (1845) 10/11 major orchestras sponsored by
10/11 ums season | www.ums.org | 734-764-2538
Anyone who has heard one of Murray Perahia’s previous 11 UMS appearances would have to agree with the assessment of The Los Angeles Times: “Perahia is a marvel.” In the more than 35 years he has been performing on the concert stage, he has become one of the most cherished pianists of our time. “Perahia may be the closest thing to a pure conduit of music — one in which the imagination and skill of the player are entirely at the service of the composer, not the player’s ego… The soul of a poet, the mind of a thinker, the hands of a virtuoso: No wonder audiences love this guy.” (The Seattle Times)
The Cleveland Orchestra
funded in part by the national endowment for the arts as part of american masterpieces: three centuries of artistic genius. Additional promotional support provided by WRCJ 90.9 FM and detroit jewish news.
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Rafał Blechacz piano Friday, February 11 8 pm hill Auditorium
In October 2005, then-20-year-old Rafał Blechacz, an unassuming young man from a small town in northern Poland, arrived in Warsaw for the 15th International Chopin Competition. His sensational performance won not only the competition, but also all four special prizes for the polonaise, mazurka, sonata, and concerto performances — in fact, one of the judges remarked that he “so outclassed the remaining finalists that no second prize could actually be awarded.” Blechacz was the first Pole to win the prize since Krystian Zimerman 30 years earlier. Notwithstanding his young age, his playing offers poetry, maturity, poise and concentration, as well as a phenomenal and luminous technique. “How reassuring it is to see one so young putting poetry first…we were all on another planet.” (Financial Times) The Friday performance is sponsored by
Additional promotional support provided by WRCJ 90.9 FM and detroit jewish news.
Mahler’s Symphony No. 8
Detroit Symphony Orchestra Ums Choral Union U-M Chamber Choir | U-M University Choir U-M Orpheus Singers | MSU Children’s Choir Leonard Slatkin conductor Saturday, March 19 8 pm Hill Auditorium
In commemoration of the 150th anniversary of Gustav Mahler’s birth and the 100th anniversary of his death, UMS is collaborating with the Detroit Symphony Orchestra, the U-M School of Music, Theatre & Dance, the MSU Children’s Choir, and Michigan Opera Theatre to present a spectacular, not-to-be-missed performance of Mahler’s monumental Symphony No. 8. The first performance of this “choral symphony” featured a chorus of about 850, with an orchestra of 171, leading Mahler’s agent to dub the work “Symphony of a Thousand.” While Mahler himself did not approve of the title, it nevertheless remains associated with this work, which is rarely performed due to the massive forces required to do it justice. Program
Mahler
Symphony No. 8 (“Symphony of a Thousand”) (1907)
10/11 major orchestras Sponsored by
Photos: American premiere of Mahler’s Symphony No. 8, performed by the Philadelphia Orchestra and Leopold Stokowski, 1916; Rafa_ Blechacz by Felix Broede.
Subscribe Today! 10 concerts in Hill Auditorium www.ums.org / 734-764-2538
Main Floor $650 / $575 / $520 Mezzanine $500 / $420 Balcony $350 / $280 / $100
St. Petersburg Philharmonic Yuri Temirkanov conductor Nikolai Lugansky piano
Saturday, April 2 8 pm Hill Auditorium
The Russian city of St. Petersburg boasts two world-class orchestras, and UMS has enjoyed a long relationship with each. With a history dating back more than 200 years, the St. Petersburg Philharmonic is embedded with musical history, performing the world première of Beethoven’s Missa Solemnis in 1824, as well as Tchaikovsky’s Symphony No. 6, Prokofiev’s Symphony No. 1, and many works by Shostakovich. Pianist Nikolai Lugansky, who won the 1994 Tchaikovsky Piano Competition, makes his UMS debut. A Russian newspaper said of his performance in the final round of competition: “It was like getting sunstroke, a musical shock. Nobody could imagine that the soul of this unpretentious, modest young man, with his ascetic, but also poetic appearance, held such a volcano inside with inspired and resolute control.” Program
Rimsky-Korsakov Scheherazade, Op. 35 (1888) Rachmaninoff Piano Concerto No. 2 in c minor, Op. 18 (1909) 10/11 major orchestras sponsored by sponsored by Sponsored in part by donald morelock.
Bach’s Mass in b minor
Additional promotional support provided by WRCJ 90.9 FM and detroit jewish news.
Bach Collegium Japan Masaaki Suzuki conductor
Thursday, March 24 8 pm Founded in 1990 by Masaaki Suzuki with the aim of introducing Japanese audiences to period instrument performances of great works of the Baroque period, the Bach Collegium Japan comprises both orchestra and chorus. The group has developed a formidable reputation through its recordings of J.S. Bach’s church cantatas, and returns to Ann Arbor after its 2003 St. Matthew Passion in St. Francis of Assisi Catholic Church. Widely regarded as one of the supreme achievements in classical music, the Mass in b minor was composed over a period of 25 years and assembled in its present form in 1749, the year before Bach died. “I have never heard period instruments played with such purity of tone, so reliably in tune. The small, precise, dramatically alert chorus breathed fire but also revealed a heartbreaking tenderness.” (The Los Angeles Times) Program
J.S. Bach
Mass in b minor, BWV 232 (1724-49)
Co-Sponsored by Robert and marina whitman and Clayton and ann Wilhite. Additional promotional support provided by WRCJ 90.9 FM.
Genia Kühmeier soprano | Bernarda Fink mezzo-soprano Michael Schade tenor | Thomas Quasthoff bass-baritone Malcolm Martineau piano | Justus Zeyen piano Saturday, April 23 8 pm Hill Auditorium
After nearly a decade in which he composed no vocal music at all, Schumann made a striking return to the genre with the Spanische Liebeslieder song collection, which combines songs for solo voice with duets and quartets. A generation later, Brahms took the same instrumentation — vocal quartet plus four-hand piano — and composed the Liebeslieder and Neue Liebeslieder Waltzes. These three works serve as the centerpiece of a program that also includes Brahms’s composition for vocal quartet and piano, performed by an unparalleled quartet of singers, including bass-baritone Thomas Quasthoff, who last appeared at UMS in a Lydia Mendelssohn Theatre recital in 2000. Program
Schumann Spanische Liebeslieder, Op. 138 (1849) Brahms Liebeslieder Waltzes, Op. 52 (1868-69) Brahms Four Songs from Quartets for Four Voices and Pianos, Ops. 64 & 92 (1862-84) Brahms Neue Liebeslieder Waltzes, Op. 65 (1874)
10/11 ums season | www.ums.org | 734-764-2538
Hill Auditorium
“Songs and Waltzes of Love”
8 | 9
theater series Media partners
Subscribe Today! 5 productions www.ums.org / 734-764-2538
Main Floor $210 / $190 / $145 Balcony $190 / $175
International
Theater Susurrus Written, directed, and conceived by
David Leddy
Series
Laurie Anderson’s Delusion
September 9 – October 3
Friday, January 14 8 pm Saturday, January 15 8 pm
Matthaei Botanical Gardens
Power Center
Susurrus is a play without actors, without a stage, and with only one person in the audience — YOU. It is part radio play, part avant-garde sonic art, part lesson in bird dissection, and part stroll through nature. Audiences follow a map around the Matthaei Botanical Gardens as they listen to the recorded narrative on an iPod with headphones. The listener hears snippets about opera, memorial benches, and botany, which fit together into a mournful and poignant story of love and loss that is loosely based on Benjamin Britten and W.H. Auden’s collaboration on Britten’s opera, A Midsummer Night’s Dream. Susurrus was presented to great acclaim and sellout audiences at Glasgow’s Botanic Gardens in 2006 and at the Edinburgh Fringe Festival in 2009, acclaimed by both The Guardian and The Scotsman as one of the top arts events of the year. Times will vary, with groups of four admitted every 15 minutes. The production will include about a mile of walking on defined trails. Umbrellas provided in case of rain. Additional promotional support provided by WEMU 89.1 FM.
Laurie Anderson is one of America’s most renowned — and daring — creative pioneers. Recognized worldwide as a leader in the use of technology in the arts, Anderson is widely known for her multimedia presentations, casting herself in roles as varied as visual artist, composer, poet, photographer, filmmaker, electronics whiz, vocalist, and instrumentalist. At the heart of this new multimedia work, which was presented for the first time at the Vancouver 2010 Olympic Games, is the pleasure of language and a fear that the world is made entirely of words. Conceived as a series of short mystery plays, Delusion jump-cuts between the everyday and the mythic, evoking a world filled with nuns, elves, rotting forests, ghost ships, archaeologists, dead relatives, and unmanned tankers. Employing a series of altered voices and imaginary guests, Anderson combines her signature violin pieces, electronic puppetry, music, and visuals, with the poetic language that has become her trademark to tell a complex story about longing, memory, and identity. Additional promotional support provided by WEMU 89.1 FM, Metro Times, and Ann Arbor’s 107one.
Photos: Propeller’s The Taming of the Shrew by Philip Tull, Druid’s The Cripple of Inishmaan by Keith Pattison, Laurie Anderson’s Delusion.
Martin McDonagh’s The Cripple of Inishmaan Druid and Atlantic Theater Company Garry Hynes director
8 pm 8 pm 8 pm 2 pm
Power Center
It’s 1934, and news is thin on the island of Inishmaan. When word arrives that a Hollywood filmmaker is coming to a neighboring island to shoot a movie, excitement ripples through the sleepy community. For Billy Claven, a crippled orphan, the film provides an opportunity to get away from his bleak existence. He auditions for a part in the film and, to everyone’s surprise, gets his chance. The Cripple of Inishmaan is “a break-your-heart, cruelly funny evening directed with an exhilarating ruthlessness and acted with a bracing lack of sentimentality.” (The Guardian) The second play in Martin McDonagh’s “Aran Islands” trilogy, it is infused with his trademark humor, rich with macabre cruelty, and teeming with eccentric island characters. Ireland’s acclaimed Druid Theater Company makes its UMS debut with this 2008 production. Individual performances sponsored by linda and maurice binkow philanthropic fund hosted by David and phyllis herzig. Additional promotional support provided by ann arbor’s 107one.
Edward Hall director Power Center
Richard III Wednesday, March 30 Friday, April 1 Saturday, April 2 Sunday, April 3
7:30 pm 7:30 pm 2 pm 7:30 pm
The Comedy of Errors Thursday, March 31 7:30 pm Saturday, April 2 7:30 pm Sunday, April 3 2 pm Propeller evolved out of Edward Hall’s first Shakespeare play for the Watermill Theater in the mid-1990s. The all-male company mimics the theater in Shakespeare’s time, and the company mixes a rigorous approach to the text with a modern physical aesthetic. Hall — son of the English theater director Sir Peter Hall — says, “I want to rediscover Shakespeare simply by doing plays as I believe they should be done: with great clarity, speed, and full of as much imagination in the staging as possible.” The two plays will be presented in repertory, with the same cast members performing both plays.
10/11 ums season | www.ums.org | 734-764-2538
Thursday, March 10 Friday, March 11 Saturday, March 12 Sunday, March 13
Shakespeare’s Richard III and The Comedy of Errors Propeller
Individual performances sponsored by robert and pearson macek and Jane and Edward Schulak. Additional promotional support provided by wemu 89.1 fm and metro times.
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Chamber arts SErIes Media partner
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7 performances (includes one Takács concert)
$256 / $220 / $166 / $124 9 performances (includes all three Takács concerts)
$340 / $290 / $220 / $170
Chamber Arts 48th Annual Series
Schubert Cycle Concert 1
Takács Quartet Jeffrey Kahane piano
The Historic Concert
ONCE.MORE Festival: A 50th Anniversary Moment
Thursday, October 14 8 pm
Tuesday, November 2 8 pm
rackham Auditorium
The always superlative Takács Quartet has become an Ann Arbor favorite over the past decade, consistently delivering performances that live well beyond the last note played in the concert hall. In the 10/11 season, they perform a three-concert cycle devoted primarily to Franz Schubert’s late chamber works, with the first performance launching the Chamber Arts Series. Chamber Arts subcribers may add the other two concerts on to their subcription; see page 21 for program details. Program
Schubert Quartettsatz in c minor, D. 703 (1820) Schubert Piano Sonata in B-flat Major, D. 960 (1828) D. Kellogg Soft Sleep Shall Contain You: A Meditation on Schubert’s “Death and the Maiden” (2010) Schubert String Quartet in d minor, D. 810 (“Death and the Maiden”) (1824)
Jerusalem Quartet Thursday, October 21 8 pm rackham Auditorium
The Jerusalem Quartet was formed in 1993, when its members were still teenagers, within the framework of the Young Musicians’ Group under the auspices of the Jerusalem Music Centre and the America Israel Cultural Foundation. The group returns after its highly acclaimed UMS visits in 2005 and 2007. Program
Mendelssohn Kopytman Brahms
Quartet in e minor, Op. 44, No. 2 (1837) String Quartet No. 3 (1969) Quartet in c minor, Op. 51, No. 1 (1873)
sponsored by the friends of the jerusalem quartet.
rackham Auditorium
The ONCE Group was a collection of musicians, visual artists, architects, and film-makers who, in the late 1950s and early 1960s, created an environment in which artists could explore and share techniques and ideas and bring them to the public. The organizers of the ONCE Festival were five young composers who had all had interaction with Ross Lee Finney, the U-M School of Music’s Composerin-Residence, as well as Visiting Professor Roberto Gerhard. Hosted by the ONCE group six times in Ann Arbor in the 1960s, the ONCE Festival had a significant impact on the American arts and contemporary music scene; one of the enduring outcomes was the Ann Arbor Film Festival. To celebrate their pioneering contributions to Ann Arbor’s ONCE Festival some 50 years ago, composers Ashley, Mumma, Reynolds and Scarvada will be in attendance for a concert of historic works, selected by the composers themselves. This special collaboration with the U-M School of Music, Theatre & Dance will provide a look into Ann Arbor’s progressive role in the development of the American avant-garde. In a nod to the past, this concert will feature 1960 ticket prices. Program
Roger Reynolds Robert Ashley Gordon Mumma Donald Scavarda Ashley Scavarda Scavarda Scavarda/Mumma George Cacioppo Mumma Scavarda Reynolds
Mosaic for Flute and Piano (1962) in memoriam…Crazy Horse (symphony) (1963) Large Size Mograph (1962) Groups for Piano (1959) in memoriam…Esteban Gomez (quartet) (1963) FilmSCORE for Two Pianists (1962) GREYS, A FilmSCORE (silent version) (1963) GREYS, A FilmSCORE (with sound) (1963) Cassiopeia (1962) Sinfonia (1958-60) Matrix for Clarinetist (1962) A Portrait of Vanzetti (1962-63)
Additional promotional support provided by detroit jewish news. Additional promotional support provided by ann arbor’s 107one. Photos: Takács Quartet by Ellen Appel, Jerusalem Quartet by Marco Borggreve, Nadja Salerno-Sonnenberg by Christian Steiner, Concertante by Michael Aheam.
Nadja Salerno-Sonnenberg violin New Century Chamber Orchestra
Scharoun Ensemble Berlin
Musicians of the Berlin Philharmonic Wednesday, March 9 8 pm
Friday, February 4 8 pm
rackham Auditorium
rackham Auditorium
Electrifying performances, fearless interpretations, and musical depth have established Nadja SalernoSonnenberg as one of the leading violinists of our time. For the past two years, she has served as music director of San Francisco’s New Century Chamber Orchestra, which makes its UMS debut with a program that includes Astor Piazzolla’s Four Seasons of Buenos Aires, a tangoinspired version that complements the Vivaldi and Philip Glass “Four Seasons” on the Choral Union Series.
In 1983, members of the Berlin Philharmonic founded the Scharoun Ensemble Berlin, named after the architect who designed the marvelous concert hall where the Berlin Philharmonic performs at home. The eight musicians of the Scharoun Ensemble express an artistic commitment to both the heritage of the past and the challenges of the present. The program will include Schubert’s Octet in F Major, plus additional works to be announced.
Program
Tetzlaff Quartet
funded in part by the national endowment for the arts as part of american masterpieces: three centuries of artistic genius.
Concertante and Rafał Blechacz piano Sunday, February 13 4 pm rackham Auditorium
Comprised of a core of six virtuoso string players, Concertante performs in varied combinations of instrumentalists with a sheen, warmth, and polish that are the hallmark of superb chamber music groups. They are joined by the Polish pianist Rafał Blechacz, who performs a chamber arrangement of Chopin’s Piano Concerto No. 1.
Saturday, April 9 8 pm rackham Auditorium
The terrific German violinist Christian Tetzlaff, who most recently appeared as soloist with the San Francisco Symphony in 2010, brings his string quartet to Ann Arbor. The group was founded in 1994 by Tetzlaff and his sister, Tanja. Despite intense individual touring schedules, they make a commitment to perform each year as a quartet, drawing accolades from critics and casual listeners alike. Program
Haydn Mendelssohn Sibelius
Quartet in g minor, Op. 20, No. 3 (1772) Quartet in a minor, Op. 13 (1827) Quartet in d minor, Op. 56 (“Voces Intimae”) (1909)
10/11 ums season | www.ums.org | 734-764-2538
Wolf, arr. Drew Italian Serenade (1887) Bartók/Willner Romanian Folk Dances (1915/17) Piazzolla Cuatro estaciónes porteñas (Four Seasons of Buenos Aires) (1964-70) Tchaikovsky Serenade in C Major, Op. 48 (1880)
Program
Elgar Schoenberg Chopin
Serenade for Strings in e minor, Op. 20 (1892) Verklärte Nacht, Op. 4 (1899) Piano Concerto No. 1 in e minor, Op. 11 (1830)
12 | 13
Dance series Media partners
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Main Floor $206 / $192 / $133 Balcony $206 / $165
Dance
20th Annual Series
Paul Taylor Dance Company Paul Taylor artistic director
Thursday, October 7 8 pm Friday, October 8 8 pm Saturday, October 9 8 pm Power Center
More than a half-century ago, after performing in the companies of Merce Cunningham, Martha Graham, and George Balanchine, Paul Taylor became the youngest member of the pantheon that created American modern dance. Now 80, Taylor is still acclaimed for the vibrancy, relevance, and power of his dances. As prolific as ever, he continues to offer cogent observations on life’s complexities while tackling some of society’s thorniest issues. His work has largely been iconoclastic, but Taylor has also made some of the most purely romantic, most astonishingly athletic, and downright funniest dances ever put on a stage. UMS, in collaboration with the U-M Department of Dance, shines a light on Paul Taylor, with a day-long residency and three performances highlighting just a fraction of the more than 130 dances he has created. “What other artist today makes poetic drama of such variety and eloquence? A Taylor season is a journey through one of the most singular and searching imaginations of our time.” (The New York Times) Program (Thu 10/7)
Speaking in Tongues (Music by Matthew Patton) (1988) Esplanade (J.S. Bach) (1975)
Hibiki: Resonance from Far Away
Sankai Juku
Ushio Amagatsu director, choreographer, designer Saturday, October 23 8 pm Sunday, October 24 2 pm Power Center Ushio Amagatsu, the founder and artistic director of Sankai Juku, trained in classical as well as modern dance before he devoted his life to butoh. Butoh first appeared in Japan after World War II and is often defined by its playful and grotesque imagery, taboo topics, and absurd environments. Traditionally performed in white body makeup with slow, hyper-controlled, mesmerizing motion, butoh represents to Amagatsu a “dialogue with gravity,” whereas most dance forms revel in the escape from gravity. It plays with the perception of time and space through slowing down the experience — the dance equivalent of haiku, only much longer. The company last appeared in Ann Arbor in 1999 and presents Hibiki, which received an Olivier Award in 2002 for “Best New Dance Production.” funded in part by the Japan foundation through the performing arts Japan program.
Program (Fri 10/8)
Orbs (Ludwig van Beethoven) (1966) Also Playing (Gaetano Donizetti) (2009) Program (Sat 10/9)
Black Tuesday (Songs of the Great Depression) (2001) The Word (David Israel) (1998) Piazzolla Caldera (Astor Piazzolla and Jerzy Peterburshsky) (1997) sponsored in part by linda and richard greene. Funded in part by the Wallace Endowment Fund and by the national endowment for the arts as part of american masterpieces: three centuries of artistic genius. Additional promotional support provided by Ann Arbor’s 107one. Photos: Takács Quartet by Ellen Appel, Jerusalem Quartet by Marco Borggreve, Nadja Salerno-Sonnenberg by Christian Steiner, Concertante by Michael Aheam.
The Legacy Tour
Merce Cunningham Dance Company Friday, February 18 8 pm Saturday, February 19 8 pm
Grupo Corpo Paulo Pederneiras artistic director Rodrigo Pederneiras choreographer Friday, January 21 8 pm Saturday, January 22 8 pm Power Center
The Friday performance is sponsored by
Additional promotional support provided by WEMU 89.1 Fm.
funded in part by the national endowment for the arts as part of american masterpieces: three centuries of artistic genius. Additional promotional support provided by Ann Arbor’s 107one.
Alvin Ailey American Dance Theater Judith Jamison artistic director
Thursday, March 3 7:30 pm [note start time!] Detroit Opera House
UMS is partnering with the Detroit Opera House so that UMS dance subscribers can experience this quintessentially American dance company. The Alvin Ailey American Dance Theater grew from the nowfabled performance in March 1958 at the 92nd Street Young Men’s Hebrew Association in New York. Led by Alvin Ailey and a group of young African-American modern dancers, that performance forever changed the perception of American dance. Now, some 52 years later, the company has earned a reputation as one of the most acclaimed international ambassadors of American culture, promoting the uniqueness of the AfricanAmerican cultural experience and the preservation and enrichment of the American modern dance heritage. This performance is only available to dance subscribers; all other tickets will be sold through the Detroit Opera House. UMS will offer round-trip luxury coach service to Detroit for this performance (time and pick-up location to be announced). Please indicate on Section 5 of the Order Form if you would like to add this transportation option to your dance subscription.
10/11 ums season | www.ums.org | 734-764-2538
This electrifying Brazilian dance company captivates with stunning, sexy physicality, dynamic ability, and rich visual flair. Grupo Corpo (literally “Body Group”) creates a vibrant and seamless blend of ballet’s grace, modern dance’s verve, and the hip-swiveling exuberance of Carnival sambas and their Afro-Brazilian roots. Founded in 1975, Grupo Corpo returns to Ann Arbor — the company appeared in 2002 as part of UMS’s focus on Brazilian artists — with two performances featuring Ímã (2009) and another work to be announced. Don’t miss this chance to experience Grupo Corpo’s “searing sensuality elegantly under control.” (Le Monde, Paris)
Power Center When the always forward-thinking Merce Cunningham passed away in July 2009 at the age of 90, he left behind a plan for the dissolution of his dance company and the preservation of his works: a two-year legacy tour that would end on December 31, 2011 with a performance in New York City. Cunningham was undeniably a leader of the American avant-garde throughout his 70-year career and is considered one of the most important choreographers of our time. With an artistic career distinguished by constant innovation, he expanded not only the frontiers of dance, but also of contemporary visual and performing arts. His collaborations with artistic innovators from every creative discipline have yielded an unparalleled body of American dance, music, and visual art. The program will be drawn from the more than 150 dances that Cunningham created during six decades of choreographic innovation. In Merce’s own words: “You have to love dancing to stick to it. It gives you nothing back, no manuscripts to store away, no paintings to show on walls and maybe hang in museums, no poems to be printed and sold, nothing but that single fleeting moment when you feel alive.” Fleeting for the dancer, perhaps, but creating lasting impressions for the audiences that experience it.
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Jazz 17th Annual Series Django Reinhardt’s 100th Birthday Celebration
The Hot Club of San Francisco The Hot Club of Detroit Friday, October 29 8 pm Michigan Theater
The Hot Club of San Francisco is an ensemble of accomplished and versatile musicians celebrating the music of Django Reinhardt and Stéphane Grappelli’s pioneering Quintette du Hot Club de France. Continuing this seminal French jazz tradition, a similar scene plays out as the Hot Clubs of San Francisco and Detroit present an evening of live Gypsy jazz with selected short silent films from the 1930s by Charlie Bowers, James Sibley Watson, and Harold Shaw, courtesy of the San Francisco Silent Film Festival. Django Reinhardt is rightly hailed as one of the greatest guitarists who ever lived, but many people praising his accomplishments as a guitarist tend to overlook his roots in Gypsy culture and the fertile, polyglot Paris of the 1920s. Reinhardt and his companions used all these elements, along with American jazz, to create this new music, but the Gypsy heritage seems to be the most important ingredient. The Hot Club of San Francisco and The Hot Club of Detroit join together for this celebration of Django Reinhardt’s 100th birthday. Additional promotional support provided by Ann Arbor’s 107one. Photos: Alvin Ailey’s Revelations by Andrew Eccles, Sankai Juku, Paul Taylor’s Piazzolla Caldera by Paul Goode.
Jazz at Lincoln Center Orchestra with Wynton Marsalis Wednesday, February 2 8 pm Hill Auditorium
Wynton Marsalis stands in a league all his own. A creative genius, compassionate humanitarian, legendary trumpeter, masterful composer, arts advocate, tireless educator, and cultural leader, he inspires and uplifts people through superb jazz concerts. His first trumpet came from Al Hirt at age 6, though it took a few years for interest in the instrument to stick. Now, more than 40 years later, he is best known as the leader of the 15-member Jazz at Lincoln Center Orchestra. Despite one of the most aggressive touring schedules in the business, JLCO makes each concert fresh, drawing in audiences who are continually energized and amazed by the group’s depth of outrageous talent. “The audience was weak from applauding and shouting and jumping up and down with the joy of the great music it had heard.” (El Universal/The Herald) funded in part by the national endowment for the arts as part of american masterpieces: three centuries of artistic genius. Additional promotional support provided by Ann Arbor’s 107one and michigan chronicle.
Vijay Iyer Trio
Vijay Iyer piano Stephan Crump bass | Marcus Gilmore drums
Apex
Saturday, February 12 8 pm Power Center
This double bill brings together two of today’s most interesting jazz practitioners on the same stage. Dubbed one of “today’s most important pianists” by The New Yorker, Vijay Iyer is a singular talent — a forceful, rhythmically invigorating performer who weds a cutting-edge sensibility to a unique sense of compositional balance. An exceptional, forward-thinking composer, Iyer draws from African, Asian, and European musical lineages to create fresh, original music in the American creative tradition. His latest album, Historicity, received year-end acclaim as #1 Jazz/Pop Album of the Year (The New York Times) and #1 Jazz Album of the Year (National Public Radio and The Los Angeles Times). The second half of the program features alto saxophonist Rudresh Mahanthappa’s Apex. Mahanthappa, who appeared with Danilo Perez in April 2010, is one of the most innovative young musicians and composers in jazz today. He incorporates the culture of his Indian ancestry and fuses myriad influences to create a truly groundbreaking artistic vision.
Thursday, April 7
8 pm
Hill Auditorium
Septeto Nacional Ignacio Piñeiro de Cuba has been the greatest and first champion of the traditional sound of the Cuban son for more than 80 years. The ensemble performs some of the most treasured and well-known Cuban songs in the tradition of Ignacio Piñeiro Martínez, the legendary founder of the Septeto’s first incarnation in 1927 and one of the most important composers of son music. The group’s exceptional musicianship is firmly rooted in the musical explosion of Cuban son that took place during the 1920s and 1930s, evoking the nostalgic elegance of the dancing ballrooms and clubs of the era. It is impossible to resist the infectious rhythms of this celebrated ensemble — they are masters of Afro-Cuban rhythm and spirit, adding a splash of rumba to their son and delivering up-tempo fun. This band may be “official cultural ambassadors” from Cuba, but they know how to throw a dance party! Septeto Nacional recently played in the US for the first time since 1933. Additional promotional support provided by michigan chronicle.
10/11 ums season | www.ums.org | 734-764-2538
Rudresh Mahanthappa and Bunky Green alto saxophone featuring Craig Taborn piano François Moutin bass | Damion Reid drums
Septeto Nacional Ignacio Piñeiro de Cuba
16 | 17
DIVINE VOICES Media PaRTNER
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Divine Voices Series
The Route to the New World: From Spain to Mexico
La Capella Reial de Catalunya with Hesperion XXI and Tembembe Ensamble Continuo Jordi Savall music director Thursday, September 30 8 pm St. Francis of Assisi Catholic Church
“The term ‘early-music superstar’ is surely an oxymoron. But in the most understated of repertory, on the most subdued of instruments, and in the most selfeffacing way, Jordi Savall comes close to being one.” (The New York Times) Jordi Savall is an exceptional figure in today’s music world. For more than 30 years, he has been devoted to the rediscovery and performance of neglected musical treasures as soloist and director of three ensembles, two of which join forces with Mexico’s Tembembe Ensamble Continuo for this concert. For the past 15 years, Tembembe Ensamble Continuo has explored the relationship between Mexican Baroque music and traditional Latin American instruments. This concert will trace the movement of music from Spain to the New World, bringing together ensembles from Spain and Mexico, and fusing Hispanic baroque and guitar music with contemporary jarocho and huasteco traditions. sponsored by carl and charlene herstein.
The Tallis Scholars Peter Phillips director
Thursday, November 4 8 pm St. Francis of Assisi Catholic Church
The Tallis Scholars were founded in 1973 by Peter Phillips, who remains their director nearly 40 years later. Through recordings and concert performances, they have established themselves as the leading advocates of Renaissance sacred music throughout the world. Named after the composer Thomas Tallis, the ensemble is widely recognized for the purity and clarity of its sound, which beautifully serves the Renaissance repertoire, allowing every detail of the musical lines to be heard. For this return appearance, The Tallis Scholars juxtapose works of Renaissance England, including Allegri’s exquisite Miserere, with the contemporary Estonian composer Arvo Pärt, whose minimalist style finds inspiration in Gregorian chant. Program
Pärt Palestrina Tallis Allegri Praetorius Byrd Palestrina Pärt
Sieben Magnificat-Antiphonen Magnificat for Double Choir Miserere nostril Miserere Magnificat II Miserere Mei Miserere mihi, Domine Nunc Dimittis for Double Choir Nunc Dimittis Magnificat
Photos: Three clerics singing from a rotulus, from British Library, Arundel MS 83, f. 63v. (Howard Psalter, East Anglia, 13c), Tembembe Ensamble, “Un ángel reconforta a San Francisco con música” from the Museo de San Francisco de Santiago de Chile.
Voices from the Island Sanctuary: Paris (1170-1230)
Sequentia
Bach’s Mass in b minor
Bach Collegium Japan Masaaki Suzuki conductor
Benjamin Bagby director
Thursday, March 24 8 pm Hill Auditorium
Thursday, January 27 8 pm St. Francis of Assisi Catholic Church
Founded in 1990 by Masaaki Suzuki with the aim of introducing Japanese audiences to period instrument performances of great works of the Baroque period, the Bach Collegium Japan comprises both orchestra and chorus. The group has developed a formidable reputation through its recordings of J.S. Bach’s church cantatas, and returns to Ann Arbor after its 2003 St. Matthew Passion in St. Francis of Assisi Catholic Church. Widely regarded as one of the supreme achievements in classical music, the Mass in b minor was composed over a period of 25 years and assembled in its present form in 1749, the year before Bach died. Program
J.S. Bach
Mass in b minor, BWV 232 (1724-49)
Co-Sponsored by Robert and marina whitman and Clayton and ann Wilhite. Additional promotional support provided by WGTE 91.3 FM.
10/11 ums season | www.ums.org | 734-764-2538
For more than 30 years, Sequentia has set the standard for the performance of medieval music (from the period before 1300). After 25 years based in Cologne, Germany, the group has re-established its home in Paris, with vocal music from Notre Dame de Paris providing the impetus for this program. For centuries, Parisians and visitors to Paris have been thrilled by the imposing Cathedral of Notre Dame, whose massive towers and elegant flying buttresses dominate the Île de la Cité. While today the area around the cathedral contains many of the trappings of a popular tourist site, in the 12th century the Cathedral of Notre Dame was situated within its own “campus” that enclosed nearly one-third of the island and housed an autonomous mini-state with its own laws and enforcement, free from the secular power wielded by the French king. Within this “city within a city” was the high altar, where the best young male vocalists in Europe were heard on important feast days and where the most innovative musical minds gave expression to new ideas in thrilling sonic structures that echoed the dynamic new architecture taking shape around them. This program draws from medieval vocal music from Paris in the 13th century.
18 | 19
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Adults $30 Children $15 Plus opportunity to add Kodo performance
Family Series Fun Today…Memories Forever There’s a whole giant world beyond your backyard, and you want your children to discover it. It’s a world rich in possibilities for adventure and discovery — a world that UMS puts within reach. These one-hour family performances, shared with your loved ones, become treasured memories that last a lifetime. You’ll see the excitement on your children’s faces now — and years from now, they’ll thank you, for instilling in them a love for the performing arts. UMS’s 10/11 Family Series includes American dancers and salsa singers. Events are appropriate for children ages 4-10, but children of all ages are welcome to attend.
Baby Loves Salsa Sunday, January 30
1 pm & 4 pm
Lydia Mendelssohn Theatre Just as Dan Zanes has revolutionized kids’ music, José Conde — leader of the New York-based band Ola Fresca — takes the Afro-Cuban form of salsa and turns it into something that kids and parents both love. Don’t be misled by the band’s name — kids who have outgrown their diapers are sure to enjoy this band’s dizzying range of Afro-Latin styles. Media Partner WEMU 89.1 FM.
Optional Add-On Performance!
Kodo Drummers of Japan Wednesday, February 23
11 am
Hill Auditorium
Paul Taylor Dance Company Paul Taylor artistic director
Saturday, October 9 1 pm Power Center
Quite simply, Paul Taylor makes dances that people love. He has made some of the most astonishingly athletic and downright funniest dance pieces ever put on stage. This performance features his new work, Also Playing, a Vaudeville revue with acts ranging from an Apache dance to a tap-dancing horse and a toreador whose sissy bulls are frightened of her. The afternoon will also include a “chance to dance,” where children learn some of the company’s dance moves in a pre-concert handson — or shall we say feet-on? — workshop. Photo: Paul Taylor’s Also Playing by Tom Caravaglia.
This exuberant, yet highly disciplined, group trains at an island in Japan, where they hone their incredible physical and musical skills. This special performance has been scheduled during the Ann Arbor Public Schools’ winter break, providing a mid-week outlet to release some pent-up energy. An unforgettable experience!
the UMS 10/11 Family series is sponsored by
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$135 / $117 / $90 / $66
Schubertiade Series The always superlative Takács Quartet has become an Ann Arbor favorite over the past decade, consistently delivering performances that live well beyond the last note played in the concert hall. In the 10/11 season, they perform a three-concert cycle of Schubert’s quartets and quintets. Commenting on their latest Schubert recording for Hyperion, Gramophone magazine noted, “The Takács have the ability to make you believe that there’s no other possible way the music should go, and the strength to overturn preconceptions that comes with only the greatest performers.”
Jeffrey Kahane piano
Takács Quartet Sunday, February 20 4 pm Rackham Auditorium
Thursday, October 14 8 pm Rackham Auditorium Program
Schubert Quartettsatz in c minor, D. 703 (1820) Schubert Piano Sonata in B-flat Major, D. 960 (1828) D. Kellogg Soft Sleep Shall Contain You: A Meditation on Schubert’s “Death and the Maiden” (2010) Schubert String Quartet in d minor, D. 810 (“Death and the Maiden”) (1824) Media Partner WGTE 91.3 FM.
Program
Schubert Schubert Schubert
String Quartet in B-flat Major, D. 112 (1814) String Quartet in a minor, D. 804 (“Rosamunde”) (1824) String Quartet in G Major, D. 887 (1826)
Takács Quartet
Jeffrey Kahane piano Paul Katz cello John Feeney double bass Friday, April 8 8 pm Rackham Auditorium Program
Schubert Schubert
Piano Quintet in A Major, D. 667 (“Trout”) (1819) Cello Quintet in C Major, D. 956 (1828)
sponsored by gil omenn and martha darling.
Photos: Franz Schubert, Takács Quartet by Ellen Appel.
10/11 ums season | www.ums.org | 734-764-2538
Takács Quartet
20 | 21
Michael’s Picks Michael Kondziolka is UMS’s Director of Programming. We asked him to select events in the 10/11 season that he’s particularly excited to see — and to tell us why, in his own words.
Susurrus Written, directed, and conceived by
The List David Leddy
Rosanne Cash
September 9 – October 3
Saturday, September 25 8 pm
Matthaei Botanical Gardens
What is theater? I would imagine that this question will be asked over and over by all those who attend David Leddy’s Susurrus this fall. And I can assure you that if you are thrown into a state of confusion about your own personal definition of “going to the theater,” David Leddy will feel that he has done his job. The experience includes all the hallmarks of what one expects when one goes to the theater — actors, a story, lighting, music, a stage set — but delivered in a way that is unconventional and decidedly active (whoever said you couldn’t go to the theater and reach your weekly pedometer goal at the same time?). In the end, you are your own protagonist and director. A map, a bird, an iPod Shuffle, a 350-acre botanical garden, a raindrop, an oak tree, an herb knot — welcome to Susurrus.
Hill Auditorium
What one generation holds dear, the next ignores…or so it can seem, at times. I was reminded of this notion, which lives at the heart of Rosanne Cash’s The List. Her father, country icon Johnny Cash, came to realize that the next generation — including his daughter, Rosanne —didn’t really know the basics when it came to the history of American country music and set out to document the 100 most important country songs he wanted her to be sure to know. In essence, he was writing down the canon, in the form of “a list.” Rosanne is now sharing that knowledge with us, in the form of her wildly popular recording and a very special live concert on stage in Hill Auditorium. Since listening to the recording, I have not only enjoyed her versions, but have also gone back and listened to the originals. What an experience — an incredible gift that Johnny shared with Rosanne, and that she now passes on to us. Can anyone say “listening party?”
Photo: Merce Cunningham and John Cage on stage at Hill Auditorium performing How to Pass, Kick, Fall, and Run, 1971.
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Main Floor $240 / $230 / $180 Balcony $230 / $200
Hibiki: Resonance from Far Away
Sankai Juku
Ushio Amagatsu director, choreographer, and designer
Saturday, October 23 8 pm [opening night!] Power Center
About 20 years ago, I walked into Ann Arbor’s Michigan Theater for a performance by a group I had never heard of. They were called Sankai Juku. It changed my life. I had never seen anything like it…and it unleashed a personal interest in all things Japanese: design, performance, pop culture, food, fiction. It is hard for me to believe that I can clearly draw a line from that moment during my early years in Ann Arbor to this past December 2009. I was standing in the lobby of Tokyo’s Setagaya Public Theater (finally, my first trip to Japan!) conversing with Ushio Amagatsu-san, the artistic director of Sankai Juku, whom I simply happened upon at a performance by Romeo Castellucci’s theater company from Italy. A conversation about our mutual shared excitement about his company’s return to Michigan quickly ensued. My gratitude to him for his continued presence in our community was, in perfect Japanese fashion, quickly reciprocated: “Thank you for your ongoing support of our work, Kondziolka-san.”
Renée Fleming soprano
Rafał Blechacz piano Friday, February 11 8 pm hill Auditorium
I remember vividly when UMS committed itself in 1995 to a two-season-long survey of the complete solo piano works of Chopin performed by Garrick Ohlsson. The conversation centered around whether Ohlsson would have “enough soul” to do the six recitals justice. Enough soul…the right soul…any soul…a Polish soul? I am happy to report that Ohlsson’s concerts were memorable for all the right reasons. They did get me to thinking about this question of the Polish soul embedded in Chopin. There are few places in the world where audiences for classical music are more rabidly serious than Poland, and within this heightened context there is one composer that reigns supreme: Fryderyk Franciszek Chopin. As I have polled Poles about what makes Chopin Polish, the most interesting response has been that “he made us Polish”. The force of his art was so great that he forged a national identity for Poland around his music…he wrote, in essence, the first soundtrack to the film called Poland. That love and reverence for what Chopin did for Poland maybe comes through in the hands of a Polish pianist differently. And that is why, to celebrate the bicentennial of Chopin’s birth, we thought it only appropriate to engage a POLISH pianist — the dazzling Rafał Blechacz. [Full disclosure: I am half Polish!]
Sunday, January 16 4 pm Hill Auditorium
The Legacy Tour
Merce Cunningham Dance Company Friday, February 18 8 pm [opening night!] Power Center
I suppose I shouldn’t admit this, but it took me a long time to respond to Merce’s work. I had to work at it and, thankfully, I did. Out of the cool abstraction of his stage picture emerged a profound beauty, humanity, and commitment to pure creativity that, rather surprisingly, packed a potent emotional wallop. I think that I crossed over as an acolyte into Merceland during a performance of Scenario — a completely white stage environment, harsh fluorescent lighting and incredible costumes by Rei Kawakubo of Comme des Garçons that contorted and recreated completely new body forms on stage. WOW. I can still see the images in my mind’s eye. It makes me cherish all the more the photo from our very own UMS archive of Merce dancing on Ann Arbor’s Hill Auditorium stage in a performance with his long-term creative and life partner John Cage. We miss you, Merce!!
10/11 ums season | www.ums.org | 734-764-2538
1993 marked the beginning of Ann Arbor audiences’ relationship with America’s sweetheart of the opera world, when Renée Fleming debuted with James Levine and the MET Opera Orchestra at the 100th May Festival. Since that time, I have always thought of her as the “un-diva”. At once so glamorous, so beautiful and oh, so talented…but also, so accessible, so kind, so funny and self-deprecating. I will never forget her tree-town concert Daphne, where she literally turns into a tree at the end. But it was her first Ann Arbor recital that stands out. In 1999, she deployed one of the most potent of weapons in the diva arsenal: the intermission gown change. The stage door opened to begin the recital’s second half. ”Ooooohhhh…..aaahhhhh…murmur, murmur, murmur,” went the audience. And then she joked about her new frock. The diva spell was broken and we loved her all the more for being one of us. Or maybe not.
22 | 23
Monogram Series Many people who enjoy attending the live performing arts want UMS to select the events on their series. Others like the creative act of curating their own series. Some subscribers select artists whose work they already know and enjoy; others select artists they don’t know, as a way of discovering new talent. Many subscribers choose one event each month to guarantee that they will spend time with friends and family. With the Monogram Series, you create your own performing arts series, remixing the events on our season to fit your lifestyle and personal preferences. Choose at least five events from the pages that follow, and you’ll receive 10% off the regular ticket prices — while gaining access to the best seats in the house. And if you subscribe to any of the “fixed series” packages listed in this brochure, you’ll also receive 10% off any number of Monogram events now. Subscribe before Friday, June 25, and you may take advantage of our interest-free installment billing option (minimum order $300), as well as free parking (minimum order of eight events). And when you purchase a Monogram Series, you’ll also have the opportunity to purchase tickets to some of the most anticipated events in our season, months before they go on sale to the general public. Now there’s an offer you can’t refuse.
Photos: Susurrus, Rosanne Cash by Deborah Feingold.
Susurrus Written, directed, and conceived by
David Leddy
September 9 – October 3 Matthaei Botanical Gardens
Susurrus is a play without actors, without a stage, and with only one person in the audience — YOU. It is part radio play, part avant-garde sonic art, part lesson in bird dissection, and part stroll through nature. Audiences follow a map around the Matthaei Botanical Gardens as they listen to the recorded narrative on an iPod with headphones. The listener hears snippets about opera, memorial benches, and botany, which fit together into a mournful and poignant story of love and loss that is loosely based on Benjamin Britten and W.H. Auden’s collaboration on Britten’s opera, A Midsummer Night’s Dream. Susurrus was first presented to great acclaim and sellout audiences at Glasgow’s Botanic Gardens in 2006 and at the Edinburgh Fringe Festival in 2009, acclaimed by both The Guardian and The Scotsman as one of the top arts events of the year. Times will vary, with groups of four admitted every 15 minutes. The production will include about a mile of walking on defined trails. Umbrellas provided in case of rain. MEDIa partners michigan radio 91.7 FM, between the lines, and wEMU 89.1 FM.
Choose at least Five Events from Pages 24-43 and Save 10%!
The List
Rosanne Cash Saturday, September 25 8 pm Hill Auditorium
sponsored by
La Capella Reial de Catalunya with Hesperion XXI and Tembembe Ensamble Continuo Jordi Savall music director
Thursday, September 30 8 pm St. Francis of Assisi Catholic Church
“The term ‘early-music superstar’ is surely an oxymoron. But in the most understated of repertory, on the most subdued of instruments, and in the most self-effacing way, Jordi Savall comes close to being one.” (The New York Times) For more than 30 years, Jordi Savall has been devoted to the rediscovery and performance of neglected musical treasures as soloist and director of three ensembles, two of which join forces with Mexico’s Tembembe Ensamble Continuo for this concert. For the past 15 years, Tembembe Ensamble Continuo has explored the relationship between Mexican Baroque music and traditional Latin American instruments. This concert will trace the movement of music from Spain to the New World, bringing together ensembles from Spain and Mexico, and fusing Hispanic baroque and guitar music with contemporary jarocho and huasteco traditions.
hosted by thomas b. mcmullen company and Jane and Edward Schulak.
Sponsored by carl and charlene herstein.
MEDIa partners wEMU 89.1 FM, METRO TIMES, and Ann arbor’s 107one.
MEDIa partner wRCJ 90.9 FM.
10/11 ums season | www.ums.org | 734-764-2538
When Rosanne Cash was 18 and on the road with her father, the incomparable country music superstar Johnny Cash, he became concerned by the number of songs that she didn’t know. As the tour progressed, he developed a list on a legal pad — “100 Essential Country Songs” — and gave it to her with a thinly veiled admonishment that she needed to do her homework. Now, more than 30 years later, Cash has selected a dozen songs from that syllabus and recorded her first album of covers, filtered through her own unique, sophisticated perspective. “I think he was alarmed that I might miss something essential about who he was and who I was. He had a deeply intuitive understanding and overview of every critical juncture in Southern music — Appalachian songs, early folk songs, Delta blues, Southern gospel, right up to modern country music,” says Cash. With The List, Rosanne Cash embraces her heritage and sings these songs that have shaped who she is as an artist.
The Route to the New World: From Spain to Mexico
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Monogram Series Paul Taylor Dance Company Paul Taylor artistic director
Thursday, October 7 8 pm Friday, October 8 8 pm Saturday, October 9 8 pm Power Center
More than a half-century ago, after performing in the companies of Merce Cunningham, Martha Graham, and George Balanchine, Paul Taylor became the youngest member of the pantheon that created American modern dance. Now approaching 80 — an age when most artists’ best work is behind them — Taylor is acclaimed for the vibrancy, relevance, and power of his dances. As prolific as ever, he continues to offer cogent observations on life’s complexities while tackling some of society’s thorniest issues. He may propel his dancers through space for the sheer beauty of it, or use them to wordlessly illuminate war, spirituality, sexuality, morality, and mortality. His work has largely been iconoclastic, but since the very start of his career Taylor has also made some of the most purely romantic, most astonishingly athletic, and downright funniest dances ever put on a stage. UMS, in collaboration with the U-M Department of Dance, shines a light on Paul Taylor,
with a day-long residency and three performances highlighting just a fraction of the more than 130 dances he has created, including the beloved Esplanade and a reconstruction of Orbs, his 1966 masterpiece. “What other artist today makes poetic drama of such variety and eloquence? A Taylor season is a journey through one of the most singular and searching imaginations of our time.” (The New York Times) Program (Thu 10/7)
Speaking in Tongues (Music by Matthew Patton) (1988) Esplanade (J.S. Bach) (1975) Program (Fri 10/8)
Orbs (Ludwig van Beethoven) (1966) Also Playing (Gaetano Donizetti) (2009) Program (Sat 10/9)
Black Tuesday (Songs of the Great Depression) (2001) The Word (David Israel) (1998) Piazzolla Caldera (Astor Piazzolla and Jerzy Peterburshsky) (1997) sponsored in part by linda and richard greene. Funded in part by the Wallace endowment fund and by the national endowment for the arts as part of american masterpieces: three centuries of artistic genius. MEDIa partners metro Times, between the lines, and ann arbor’s 107one
Photos: Susurrus, Rosanne Cash by Deborah Feingold.
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Jerusalem Quartet Thursday, October 21 8 pm rackham Auditorium
Program
Mendelssohn Quartet in e minor, Op. 44, No. 2 (1837) Mark Kopytman String Quartet No. 3 (1969) Brahms Quartet in c minor, Op. 51, No. 1 (1873) sponsored by the friends of the jerusalem quartet. MEDIa partners WGTE 91.3 FM and detroit jewish news.
Sankai Juku
Ushio Amagatsu director, choreographer, and designer Saturday, October 23 8 pm Sunday, October 24 2 pm Power Center
Ushio Amagatsu, the founder and artistic director of Sankai Juku, trained in classical as well as modern dance before he devoted his life to butoh. Butoh first appeared in Japan after World War II and is often defined by its playful and grotesque imagery, taboo topics, and absurd environments. Traditionally performed in white body makeup with slow, hyper-controlled, mesmerizing motion, butoh represents to Amagatsu a “dialogue with gravity,” whereas most dance forms revel in the escape from gravity. It plays with the perception of time and space through slowing down the experience — the dance equivalent of haiku, only much longer. The company, whose name translates to “studio by the mountain and the sea” and implies the characteristic serenity of the work, last appeared in Ann Arbor in 1999. They present Hibiki: Resonance From Far Away, which received a 2002 Olivier Award for “Best New Dance Production.”
10/11 ums season | www.ums.org | 734-764-2538
“Superlatives are inadequate in describing just how this playing was from one of the young, yet great, quartets of our time.” (The Strad) The Jerusalem Quartet was formed in 1993, when its members were still teenagers, within the framework of the Young Musicians’ Group under the auspices of the Jerusalem Music Centre and the America Israel Cultural Foundation. The group returns after its highly acclaimed UMS visits in 2005 and 2007. “Musical electricity may be unfathomable, but one thing is for sure — they have it.” (The Strad)
Hibiki: Resonance from Far Away
funded in part by the Japan foundation through the performing arts Japan program. MEDIa partnerS Metro Times and between the lines.
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Monogram Series Venice Baroque Orchestra Robert McDuffie violin
Wednesday, October 27 8 pm hill Auditorium
The Venice Baroque Orchestra was founded in 1997 by harpsichordist Andrea Marcon and is recognized as one of Europe’s premier ensembles devoted to period instrument performance. For this UMS debut, they perform music of their home city — Venetian composer Antonio Vivaldi’s The Four Seasons — paired with an “American Four Seasons” by Philip Glass featuring violinist Robert McDuffie, who has worked closely with Glass over the years and who last appeared with the Jerusalem Symphony in 2008. The VBO will perform the Vivaldi on period instruments, then switch to modernday instruments for the Glass composition. “The first performance of [Philip Glass’s ‘American Four Seasons’] was so spectacularly played by the new piece’s muse, American violinist Robert McDuffie...that the event turned into one of the most exciting musical evenings of the year.” (The Toronto Star) Program
Vivaldi The Four Seasons, Op. 8 (1723) Glass Violin Concerto No. 2: “The American Four Seasons” (2009) Hosted by Jane and Edward Schulak. Media partner WGTE 91.3 FM.
Django Reinhardt’s 100th Birthday Celebration
The Hot Club of San Francisco The Hot Club of Detroit Friday, October 29 8 pm Michigan Theater
The Hot Club of San Francisco is an ensemble of accomplished and versatile musicians celebrating the music of Django Reinhardt and Stéphane Grappelli’s pioneering Quintette du Hot Club de France. Continuing this seminal French jazz tradition, a similar scene plays out as the Hot Clubs of San Francisco and Detroit present an evening of live Gypsy jazz with selected short silent films from the 1930s by Charlie Bowers, James Sibley Watson, and Harold Shaw, courtesy of the San Francisco Silent Film Festival. Django Reinhardt is rightly hailed as one of the greatest guitarists who ever lived, but many people praising his accomplishments as a guitarist tend to overlook his roots in Gypsy culture and the fertile, polyglot Paris of the 1920s. Reinhardt and his companions used all these elements, along with American jazz, to create this new music, but the Gypsy heritage seems to be the most important ingredient. The Hot Club of San Francisco and The Hot Club of Detroit join together for this celebration of Django Reinhardt’s 100th birthday. Media partners wemu 89.1 fm, metro times, and ann Arbor’s 107one.
Photos: Hot Club of San Francisco by Stuart Brinin, Venice Baroque Orchestra by Harold Hoffmann, Mariachi Vargas de Tecalitlán.
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The Tallis Scholars Peter Phillips director
Thursday, November 4 8 pm St. Francis of Assisi Catholic Church
Program
Pärt Palestrina Tallis Allegri Praetorius Byrd Palestrina Pärt
Sieben Magnificat-Antiphonen Magnificat for Double Choir Miserere nostril Miserere Magnificat II Miserere Mei Miserere mihi, Domine Nunc Dimittis for Double Choir Nunc Dimittis Magnificat
Saturday, November 6 8 pm Hill Auditorium
With a history that dates back to the late 1890s, the Mariachi Vargas de Tecalitlán was founded in a small city near Jalisco by Don Gaspar Vargas. This band basically invented the modern mariachi, and five generations later, are still playing today. The group spent its formative years defining their sound and experimenting with different instrumental lineups. Today the group is comprised of two harps, one vihuela, one guitar, one guitarron, two trumpets, and six violins. The songs they sing cross over from one generation to the next, making their performances appealing to both young and mature audiences. In 1987, the group was featured on Linda Rondstadt’s double-platinum Grammy Award-winning album Canciones de mi Padre (Songs of My Father), her first Spanish release. Recognized as “el major mariachi del mundo” (the greatest mariachi in the world), Mariachi Vargas are the masters at melding the old world style of mariachi music with new innovative pieces. Media partners wemu 89.1 fm and metro times.
10/11 ums season | www.ums.org | 734-764-2538
The Tallis Scholars were founded in 1973 by Peter Phillips, who remains their director nearly 40 years later. In that time, they have established themselves as the leading advocates of Renaissance sacred music throughout the world. Named after the composer Thomas Tallis, the ensemble is widely recognized for the purity and clarity of its sound, which beautifully serves the Renaissance repertoire, allowing every detail of the musical lines to be heard. For this return appearance, The Tallis Scholars juxtapose works of Renaissance England, including Allegri’s exquisite Miserere, with the contemporary Estonian composer Arvo Pärt, whose minimalist style finds inspiration in Gregorian chant.
Mariachi Vargas de Tecalitlán
Media partner wRCJ 90.9 fm.
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Monogram Series Stew and The Negro Problem with Heidi Rodewald Thursday, November 18 8 pm Friday, November 19 8 pm Saturday, November 20 7:30 pm & 10:30 pm performance venue to be announced
“Stew’s endlessly inventive music draws on rock, gospel, soul, and blues…A winning tribute to the diversity of the black musical experience.” (Hollywood Reporter) Songwriter Stew’s career took an unexpected turn in 2006. After a successful career fronting his critically acclaimed band, The Negro Problem, Stew transformed his life story into the rock musical Passing Strange. The show, co-composed with Heidi Rodewald, earned him the 2008 Tony Award for “Best Book of a Musical” and attracted the attention of Spike Lee, who produced the film version, which premiered at the 2009 Sundance Film Festival and airs on PBS’s “Great Performances.” Compared in the same breath with Kurt Weill, Burt Bacharach, and Jackie Gleason, Stew’s concerts are coveted for their literate precision, sly humor, and deep emotional resonance, hovering between the divergent worlds of rock and theater. “Something hipper for the hipper…Stew is a very genial and lovable guide through the common travails of life. Like a lot of fine writers and musicians, he has the ability to layer reflexive self-doubt into his music and lyrics…very witty, very smart.” (The Chicago Tribune) sponsored by michael allemang and janis bobrin. Media partners ann arbor’s 107one and michigan chronicle. Photos: Stew and Heidi Rodewald by Jeff Fasano, Carolina Chocolate Drops, Laurie Anderson self-portrait.
Carolina Chocolate Drops Friday, December 3 8 pm Michigan Theater
“Tradition is a guide, not a jailer. We play in an older tradition but we are modern musicians,” says Justin Robinson, a member of the popular bluegrass band, the Carolina Chocolate Drops. The group’s name is a tip of the hat to the Tennessee Chocolate Drops, who lit up the music scene in the 1930s. Inspired by old-time fiddler Joe Thompson, at whose home they jammed every Thursday night during the summer and fall of 2005, the CCD starting playing anywhere people would listen — town squares, farmers’ markets, and ultimately festivals and concert halls, where their foot-tapping music linked the deep tradition of the past with “dirtfloor-dance electricity.” (Rolling Stone) Their sellout shows at The Ark last year reinforced how far they’ve come in a very short time. “This striking North Carolina trio brings a modern sizzle to the legacy of classic African American stringbands…sparking an electrifying ruckus.” (Spin) sponsored by
funded in part by the national endowment for the arts as part of american masterpieces: Three centuries of artistic genius. Media partnerS WEMU 89.1 FM, metro times, michigan chronicle and ann arbor’s 107one.
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Handel’s Messiah
Ann Arbor Symphony Orchestra and UMS Choral Union Jerry Blackstone conductor Saturday, December 4 8 pm Sunday, December 5 2 pm Hill Auditorium
Sponsored by the Carl and Isabelle Brauer Fund. media partners michigan radio 91.7 fm and ann arbor’s 107one.
Friday, January 14 8 pm Saturday, January 15 8 pm Power Center
Laurie Anderson is one of America’s most renowned — and daring — creative pioneers. Recognized worldwide as a leader in the use of technology in the arts, Anderson is widely known for her multimedia presentations, casting herself in roles as varied as visual artist, composer, poet, photographer, filmmaker, electronics whiz, vocalist, and instrumentalist. At the heart of this new multimedia work, which was presented for the first time at the Vancouver 2010 Olympic Games, is the pleasure of language and a fear that the world is made entirely of words. Conceived as a series of short mystery plays, Delusion jump-cuts between the everyday and the mythic, evoking a world filled with nuns, elves, rotting forests, ghost ships, archaeologists, dead relatives, and unmanned tankers. Employing a series of altered voices and imaginary guests, Anderson combines her signature violin pieces, electronic puppetry, music, and visuals, with the poetic language that has become her trademark to tell a complex story about longing, memory, and identity. media partners Between the lines, michigan radio 91.7 fm, metro times, wemu 89.1 fm, and ann arbor’s 107one.
10/11 ums season | www.ums.org | 734-764-2538
The Grammy Award-winning UMS Choral Union (2006 Best Choral Performance for William Bolcom’s Songs of Innocence and of Experience) launches the holiday season with its signature work, Handel’s glorious oratorio Messiah. An Ann Arbor tradition in the beautiful surroundings of Hill Auditorium, these performances are ultimately the heart and soul of UMS, connecting audiences with the talented people on stage, but also with the friends and family who attend each year. Those who have been coming for decades say that the chorus has never sounded better.
Laurie Anderson’s Delusion
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Monogram Series Grupo Corpo Paulo Pederneiras artistic director Rodrigo Pederneiras choreographer Friday, January 21 8 pm Saturday, January 22 8 pm Power Center
This electrifying Brazilian dance company captivates with stunning, sexy physicality, dynamic ability, and rich visual flair. Grupo Corpo (literally “Body Group”) creates a vibrant and seamless blend of ballet’s grace, modern dance’s verve, and the hip-swiveling exuberance of Carnival sambas and their Afro-Brazilian roots. Founded in 1975, Grupo Corpo returns to Ann Arbor — the company appeared in 2002 as part of UMS’s focus on Brazilian artists — with two performances featuring Ímã (2009) and another work to be announced. Don’t miss this chance to experience Grupo Corpo’s “searing sensuality elegantly under control.” (Le Monde, Paris) The Friday performance is sponsored by
media partners between the lines, metro times, and wemu 89.1 fm.
Photos: Grupo Corpo’s Imá by Jose Luiz Perderneiras, The Cleveland Orchestra, Joanne Shenandoah.
Joanne Shenandoah Sunday, January 23 4 pm lydia mendelssohn theatre
One of today’s most revered Native American singers and songwriters, Joanne Shenandoah is a Wolf Clan member of the Iroqois Confederacy, Oneida Nation whose Native name, Deguiya whah-wa, means “she sings.” The singer/songwriter has performed with such legendary entertainers as Kris Kristofferson and Willie Nelson and has won more Native American Music Awards (Nammies) than any other artist. The daughter of two talented musicians (her father, a jazz guitarist, played with Duke Ellington), Shenandoah was an architectural systems engineer before forging her successful career as a musician. “From my office window I saw a tree being cut down and knew that I, too, had been uprooted and needed to follow my natural gift,” she says. Shenandoah’s original compositions, combined with a striking voice, enable her to embellish the ancient songs of the Iroquois using a blend of traditional and contemporary instrumentation. media partner WEMU 89.1 FM.
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Voices from the Island Sanctuary: Paris (1170-1230)
Sequentia
The Cleveland Orchestra Franz Welser-Möst conductor Pierre-Laurent Aimard piano
Benjamin Bagby director
Tuesday, February 1
St. Francis of Assisi Catholic Church
media partner WRCJ 90.9 FM.
In a season celebrating the Americas, it only makes sense to include one of the great American orchestras that is also admired as one of the top ensembles in the world. Founded shortly after the end of World War I, the Cleveland Orchestra has been guided by seven music directors, each of whom has left his mark on the widely admired “Cleveland” sound: Nikolai Sokoloff, Artur Rodzinski, Erich Leinsdorf, George Szell, Lorin Maazel, Christoph von Dohnányi, and Franz Welser-Möst, who leads the ensemble and the French pianist Pierre-Laurent Aimard in this performance. Program
Bartók Music for Strings, Percussion, and Celeste, Sz. 106, BB 114 (1936) Schumann Piano Concerto in a minor, Op. 54 (1845) Wagner Overture to Tannhäuser (1845) 10/11 major orchestras sponsored by
funded in part by the national endowment for the arts as part of american masterpieces: three centuries of artistic genius.
10/11 ums season | www.ums.org | 734-764-2538
For more than 30 years, Sequentia has set the standard for the performance of medieval music (from the period before 1300). After 25 years based in Cologne, Germany, the group has re-established its home in Paris, with vocal music from Notre Dame de Paris providing the impetus for this program. For centuries, Parisians and visitors to Paris have been thrilled by the imposing Cathedral of Notre Dame, whose massive towers and elegant flying buttresses dominate the Ile de la Cité. While today the area around the cathedral contains many of the trappings of a popular tourist site, in the 12th century the Cathedral of Notre Dame was situated within its own “campus” that enclosed nearly one-third of the island and housed an autonomous mini-state with its own laws and enforcement, free from the secular power wielded by the French king. Within this “city within a city” was the high altar, where the best young male vocalists in Europe were heard on important feast days and where the most innovative musical minds gave expression to new ideas in thrilling sonic structures that echoed the dynamic new architecture taking shape around them. This program draws from medieval vocal music from Paris in the 13th century.
8 pm
Hill Auditorium
Thursday, January 27 8 pm
media partnerS WGTE 91.3 FM, WRCJ 90.9 FM and detroit jewish news.
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Monogram Series Jazz at Lincoln Center Orchestra with Wynton Marsalis Wednesday, February 2
Nadja Salerno-Sonnenberg violin New Century Chamber Orchestra
8 pm
Friday, February 4 8 pm
Hill Auditorium
Wynton Marsalis stands in a league all his own. A creative genius, compassionate humanitarian, legendary trumpeter, masterful composer, arts advocate, tireless educator, and cultural leader, he inspires and uplifts people through superb jazz concerts. His first trumpet came from Al Hirt at age 6, though it took a few years for interest in the instrument to stick. Now, more than 40 years later, he is best known as the leader of the 15-member Jazz at Lincoln Center Orchestra. Despite one of the most aggressive touring schedules in the business, JALCO makes each concert fresh, drawing in audiences who are continually energized and amazed by the group’s depth of outrageous talent. “The audience was weak from applauding and shouting and jumping up and down with the joy of the great music it had heard.” (El Universal/The Herald) funded in part by the national endowment for the arts as part of american masterpieces: three centuries of artistic genius. media sponsors WEMU 89.1 FM, Metro times, michigan chronicle, and ann Arbor’s 107one.
rackham Auditorium
Electrifying performances, fearless interpretations, and musical depth have established Nadja Salerno-Sonnenberg as one of the leading violinists of our time. She was born in Rome and emigrated to the United States at the age of eight to study at The Curtis Institute of Music, beginning her professional career in 1981 when she became the youngest person ever to win the Walter W. Naumburg International Violin Competition. For the past two years, she has served as music director of San Francisco’s New Century Chamber Orchestra, which makes its UMS debut with a program that includes Astor Piazzolla’s Four Seasons of Buenos Aires, a tango-inspired version that complements the Vivaldi and Philip Glass “Four Seasons” on the Choral Union Series. Program
Wolf, arr. Drew Italian Serenade (1887) Bartók/Willner Romanian Folk Dances (1915/17) Piazzolla Cuatro estaciónes porteñas (Four Seasons of Buenos Aires) (1964-70) Tchaikovsky Serenade in C Major, Op. 48 (1880) funded in part by the national endowment for the arts as part of american masterpieces: three centuries of artistic genius. media partner wgte 91.3 fm.
Photos: Wynton Marsalis by Frank Stewart, David “Honeyboy” Edwards by JoeRosen. Nadja Salerno-Sonnenberg by Christian Steiner
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Blues at the Crossroads: The Robert Johnson Centennial Concert featuring Big Head Todd & The Monsters David “Honeyboy” Edwards | Hubert Sumlin Cedric Burnside | Lightnin’ Malcolm hill Auditorium
Straight from the heart of the back country, Blues at the Crossroads has a direct connection back to Robert Johnson (1911-1938), among the most famous of Delta blues musicians. Johnson’s landmark recordings in the 1930s displayed a remarkable combination of singing, miraculous guitar skills, and songwriting talent that have influenced generations of musicians, including Eric Clapton, who calls him “the most important blues singer that ever lived.” This concert picks up the thread of Johnson’s legacy in Mississippi at the very crossroads where, as legend has it, Robert Johnson made a deal with the devil, giving up his soul to write the most incredible blues the world had ever heard. The concert includes David “Honeyboy” Edwards, who at 94 is the only living person to have played with Robert Johnson before his untimely death at age 27 — believed to have been caused by poisoning from a bottle of whiskey that was laced with strychnine.
Friday, February 11 8 pm hill Auditorium
In October 2005, the 20-year-old Rafał Blechacz, an unassuming young man from a small town in northern Poland, arrived in Warsaw for the 15th International Chopin Competition. His sensational performance won not only the competition, but also all four special prizes for the polonaise, mazurka, sonata, and concerto performances — in fact, one of the judges remarked that he “so outclassed the remaining finalists that no second prize could actually be awarded.” Blechacz was the first Pole to win the prize since Krystian Zimerman 30 years earlier. Notwithstanding his young age, his playing offers poetry, maturity, poise and concentration, as well as a phenomenal and luminous technique. “How reassuring it is to see one so young putting poetry first…we were all on another planet.” (Financial Times) sponsored by
Media partners wgte 91.3 Fm, wrcj 90.9 fm, and detroit jewish news.
10/11 ums season | www.ums.org | 734-764-2538
Thursday, February 10 8 pm
Rafał Blechacz piano
sponsored by Media partners wemu 89.1 fm, metro times, michigan chronicle, and ann Arbor’s 107one.
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Monogram Series Vijay Iyer Trio and Rudresh Mahanthappa’s Apex
Concertante and Rafał Blechacz piano
Saturday, February 12 8 pm
Sunday, February 13 4 pm
Power Center
rackham Auditorium
This double bill brings together two of today’s most interesting jazz practitioners on the same stage. Dubbed “one of today’s most important pianists” by The New Yorker, Vijay Iyer is a singular talent — a forceful, rhythmically invigorating performer who weds a cuttingedge sensibility to a unique sense of compositional balance. An exceptional, forward-thinking composer, Iyer draws from African, Asian, and European musical lineages to create fresh, original music in the American creative tradition. His latest album, Historicity, received year-end acclaim as #1 Jazz/Pop Album of the Year (The New York Times) and #1 Jazz Album of the Year (National Public Radio and The Los Angeles Times). The second half of the program features alto saxophonist Rudresh Mahanthappa’s Apex. Mahanthappa, who appeared with Danilo Perez in April 2010, is one of the most innovative young musicians and composers in jazz today. He has incorporated the culture of his Indian ancestry and fuses myriad influences to create a truly groundbreaking artistic vision. media partners wemu 89.1 fm and metro times.
Photos: Concertante by Michael Aheam, Merce Cunningham Dance Company by Anna Finke.
Comprised of a core of six virtuoso string players, Concertante performs in varied combinations of instrumentalists with a sheen, warmth, and polish that are the hallmark of superb chamber music groups. For this concert, they are joined by Polish pianist Rafał Blechacz, who performs in recital on the Choral Union Series two nights earlier, for a chamber arrangement of Chopin’s Piano Concerto No. 1, written when the composer was only 20 years old. Blechacz is widely regarded as a supreme interpreter of Chopin’s works, sweeping all five first prizes at the 2005 International Chopin Competition when he was just 20, the first Pole to win the competition since Krystian Zimerman in 1975. Program
Elgar Schoenberg Chopin
Serenade for Strings in e minor, Op. 20 (1892) Verklärte Nacht, Op. 4 (1899) Piano Concerto No. 1 in e minor, Op. 11 (1830)
media partner wgte 91.3 fm.
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The Legacy Tour
Merce Cunningham Dance Company Friday, February 18 8 pm Saturday, February 19 8 pm Power Center Program
Squaregame (1976) Music: Takehisa Kosugi Design: Mark Lancaster Split Sides (2003) Music: Radiohead & Sigur Ros Décor: Catherine Yass, Robert Heishman Costumes: James Hall Lighting: James F. Ingalls funded in part by the national endowment for the arts as part of american masterpieces: three centuries of artistic genius. media partners between the lines, metro times, and ann arbor’s 107one.
10/11 ums season | www.ums.org | 734-764-2538
When the always forward-thinking Merce Cunningham passed away in July 2009 at the age of 90, he left behind a plan for the dissolution of his dance company and the preservation of his works: a two-year legacy tour that would end on December 31, 2011 with a performance in New York City. Cunningham was a leader of the American avantgarde throughout his 70-year career and is considered one of the most important choreographers of our time. Through much of his life, he was also one of the greatest American dancers, performing with the Martha Graham Dance Company for six years. With an artistic career distinguished by constant innovation, Cunningham expanded not only the frontiers of dance, but also of contemporary visual and performing arts. His collaborations with artistic innovators from every creative discipline have yielded an unparalleled body of American dance, music, and visual art. The program will be drawn from the more than 150 dances that Cunningham created over more than six decades of choreographic innovation. In Merce’s own words: “You have to love dancing to stick to it. It gives you nothing back, no manuscripts to store away, no paintings to show on walls and maybe hang in museums, no poems to be printed and sold, nothing but that single fleeting moment when you feel alive.” Fleeting for the dancer, perhaps, but creating lasting impressions for the audiences that experience it.
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Monogram Series
Series Schubert Cycle Concert 2 Takács Quartet Sunday, February 20 4 pm Rackham Auditorium
The Takács Quartet, a long-time Ann Arbor favorite, brings three concerts to Rackham Auditorium this year, with Schubert at the heart of all of them. Schubert wrote 15 string quartets over his short lifetime, and over the course of the three concerts, the Takács presents five of them, along with stwo of his exquisite quintets (performed at the April 8 concert). Program
Schubert Schubert Schubert
String Quartet in B-flat Major, D. 112 (1814) String Quartet in a minor, D. 804 (“Rosamunde”) (1824) String Quartet in G Major, D. 887 (1826)
Kodo Wednesday, February 23 8 pm hill Auditorium
“Superlatives don’t really exist to convey the primal power and bravura beauty of Kodo…Throughout, the devil of it is the combination of the discipline of a surgeon’s scalpel with the primitive, muscular endurance of a cavalry charge. The speed and dexterity are as impressive as the physical tenacity is breathtaking.” (Chicago Tribune) In ancient Japan, the taiko drum was a symbol of the rural community, and it is said that the limits of the village were defined not by geography, but by the furthest distance from which the taiko could be heard. With its “One Earth” tour, Kodo brings the sound of the taiko to people around the globe, transcending barriers of language and custom and reminding us all of our membership in that much larger community, the world. “In this age of exploding populations and lightning-fast communication, it is more important than ever that these diverse cultures learn to recognize and accept each other so that all may share our increasingly shrinking planet in harmony,” according to Kodo’s primary philosophy. The Japanese characters of the company’s name convey two meanings: “heartbeat,” the primal source of all rhythm, and “children of the drum,” a reflection of Kodo’s desire to play their drums simply, with the heart of a child. media partner metro times.
Photos: Kodo by Taro Nishita, Takács Quartet by Ellen Appel, Druid’s The Cripple of Inishmaan by Keith Pattison.
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Martin McDonagh’s The Cripple of Inishmaan
Druid and Atlantic Theater Company Garry Hynes director
8 pm 8 pm 8 pm 2 pm
Power Center
It’s 1934, and news is thin on the island of Inishmaan. When word arrives that a Hollywood filmmaker is coming to a neighboring island to shoot a movie, excitement ripples through the sleepy community. For Billy Claven, a crippled orphan, the film provides an opportunity to get away from his bleak existence. He auditions for a part in the film and, to everyone’s surprise, gets his chance. The Cripple of Inishmaan is “a break-your-heart, cruelly funny evening directed with an exhilarating ruthlessness and acted with a bracing lack of sentimentality.” (The Guardian) The second play in Martin McDonagh’s “Aran Islands” trilogy, it is infused with his trademark humor, rich with macabre cruelty, and teeming with eccentric island characters from Billy’s “Aunt Kate,” who talks to stones to gossip monger “JohnnyPateenMike,” who attempts to get his elderly mother to drink herself to death. A UMS debut! individual performances sponsored by linda and maurice binkow philanthropic fund
Ums Choral Union U-M Chamber Choir | U-M University Choir U-M Orpheus Singers | MSU Children’s Choir Leonard Slatkin conductor Saturday, March 19 8 pm Hill Auditorium
In commemoration of the 150th anniversary of Gustav Mahler’s birth and the 100th anniversary of his death, UMS is collaborating with the Detroit Symphony Orchestra, the U-M School of Music, Theatre & Dance, the MSU Children’s Choir, and Michigan Opera Theatre to present a spectacular, not-to-be-missed performance of Mahler’s monumental Symphony No. 8. The first performance of this “choral symphony” featured a chorus of about 850, with an orchestra of 171, leading Mahler’s agent to dub the work “Symphony of a Thousand.” While Mahler himself did not approve of the title, it nevertheless remains associated with this work, which is rarely performed due to the massive forces required to do it justice. Program
Mahler
Symphony No. 8 (“Symphony of a Thousand”) (1907)
10/11 major orchestras Sponsored by
10/11 ums season | www.ums.org | 734-764-2538
Thursday, March 10 Friday, March 11 Saturday, March 12 Sunday, March 13
Mahler’s Symphony No. 8 Detroit Symphony Orchestra
media partner wgte 91.3 fm.
Hosted by David and Phyllis Herzig. media partners michigan radio 91.7 fm, between the lines, And ann arbor’s 107one.
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Monogram Series Bach Collegium Japan Masaaki Suzuki conductor
Thursday, March 24 8 pm Hill Auditorium
Founded in 1990 by Masaaki Suzuki with the aim of introducing Japanese audiences to period instrument performances of great works of the Baroque period, the Bach Collegium Japan comprises both orchestra and chorus. The group has developed a formidable reputation through its recordings of J.S. Bach’s church cantatas, and returns to Ann Arbor after its 2003 St. Matthew Passion in St. Francis of Assisi Catholic Church. Widely regarded as one of the supreme achievements in classical music, the Mass in b minor was composed over a period of 25 years and assembled in its present form in 1749, the year before Bach died. “I have never heard period instruments played with such purity of tone, so reliably in tune. The small, precise, dramatically alert chorus breathed fire but also revealed a heartbreaking tenderness.” (The Los Angeles Times) Program J.S. Bach
Mass in b minor, BWV 232 (1724-49)
Co-Sponsored by Robert and marina whitman and Clayton and ann Wilhite. media partners Wgte 91.3 fm and wRCJ 90.9 FM.
Photos: Propeller’s A Midsummer Night’s Dream by Nobby Clarke, Septeto Nacional Ignacio Piñeiro de Cuba.
Shakespeare’s Richard III and The Comedy of Errors
Propeller
Edward Hall director Edward Hall — son of the English theater director Sir Peter Hall —brings his theater company Propeller to Ann Arbor for the first time with two Shakespeare plays: Richard III and The Comedy of Errors. Propeller evolved out of Hall’s first Shakespeare play for the Watermill Theater in the mid-1990s. His all-male company mimics the theater in Shakespeare’s time, and the company mixes a rigorous approach to the text with a modern physical aesthetic. Hall says, “I want to rediscover Shakespeare simply by doing plays as I believe they should be done: with great clarity, speed, and full of as much imagination in the staging as possible. I don’t want to make the plays ‘accessible,’ as this implies that they need ‘dumbing down’ in order to be understood, which they don’t.” The two plays will be presented in repertory, with the same cast members performing both plays.
Choose at least Five Events from Pages 24-43 and Save 10%!
Septeto Nacional Ignacio Piñeiro de Cuba Thursday, April 7 8 pm hill Auditorium
Richard III 7:30 pm 7:30 pm 2 pm 7:30 pm
Power Center
The Comedy of Errors Thursday, March 31 7:30 pm Saturday, April 2 7:30 pm Sunday, April 3 2 pm Power Center Individual performances sponsored by robert and pearson macek and Jane and Edward Schulak. media partners michigan radio 91.7 fm, between the lines, wemu 89.1 fm, and metro times.
media partners wemu 89.1 fm, michigan chronicle, and metro times.
10/11 ums season | www.ums.org | 734-764-2538
Wednesday, March 30 Friday, April 1 Saturday, April 2 Sunday, April 3
Septeto Nacional Ignacio Piñeiro de Cuba has been the greatest and first champion of the traditional sound of the Cuban son for more than 80 years. The ensemble performs some of the most treasured and well-known Cuban songs in the tradition of Ignacio Piñeiro Martínez, the legendary founder of the Septeto’s first incarnation in 1927 and one of the most important composers of son music. The group’s exceptional musicianship is firmly rooted in the musical explosion of Cuban son that took place during the 1920s and 1930s, evoking the nostalgic elegance of the dancing ballrooms and clubs of the era. It is impossible to resist the infectious rhythms of this celebrated ensemble — they are masters of Afro-Cuban rhythm and spirit, adding a splash of rumba to their son and delivering up-tempo fun. This band may be “official cultural ambassadors” from Cuba, but they know how to throw a dance party! Septeto Nacional recently played in the US for the first time since 1933.
40 | 41
Monogram Series Schubert Cycle Concert 3
Tetzlaff Quartet
Takács Quartet
Jeffrey Kahane piano Paul Katz cello John Feeney double bass Friday, April 8 8 pm Rackham Auditorium
The Takács Quartet, a long-time Ann Arbor favorite, brings three concerts to Rackham Auditorium this year, with Schubert at the heart of all of them. This concert features Schubert quintets, with pianist Jeffrey Kahane and bass player John Feeney joining the group for the beloved “Trout” Quintet. Former Cleveland Quartet cellist Paul Katz is featured in Schubert’s Cello Quintet. Program
Schubert Schubert
Piano Quintet in A Major, D. 667 (“Trout”) (1819) Cello Quintet in C Major, D. 956 (1828)
sponsored by gil omenn and martha darling.
Photos: Tetzlaff Quartet by Alexandra Vosding, Tony Allen by Bernard Benant.
Saturday, April 9 8 pm rackham Auditorium
The terrific German violinist Christian Tetzlaff, who most recently appeared as soloist with the San Francisco Symphony, brings his string quartet to Ann Arbor. The group was founded in 1994 by Tetzlaff and his sister, Tanja, along with two musicians with a shared devotion to chamber music whom they met at a chamber music festival in Switzerland. Despite intense individual touring schedules, they make a commitment to perform each year as a quartet, drawing accolades from critics and casual listeners alike. Program
Haydn Mendelssohn Sibelius
Quartet in g minor, Op. 20, No. 3 (1772) Quartet in a minor, Op. 13 (1827) Quartet in d minor, Op. 56 (“Voces Intimae”) (1909)
media partner Wgte 91.3 fm.
Choose at least Five Events from Pages 24-43 and Save 10%!
Tony Allen’s Secret Agent Saturday, April 16 8 pm hill Auditorium
media partners Wemu 89.1 fm, michigan chronicle and ann arbor’s 107one.
Genia Kühmeier soprano Bernarda Fink mezzo-soprano Michael Schade tenor Thomas Quasthoff bass-baritone Malcolm Martineau piano Justus Zeyen piano
Saturday, April 23 8 pm hill Auditorium
After nearly a decade in which he composed no vocal music at all, Schumann made a striking return to the genre with the Spanische Liebeslieder song collection, which combines songs for solo voice with duets and quartets. A generation later, Brahms took the same instrumentation — vocal quartet plus four-hand piano — and composed the Liebeslieder and Neue Liebeslieder Waltzes. These three works serve as the centerpiece of a program that also includes Brahms’s composition for vocal quartet and piano, performed by an unparalleled quartet of singers, including bass-baritone Thomas Quasthoff, who last appeared at UMS in a Lydia Mendelssohn Theatre recital in 2000. Program
Schumann Spanische Liebeslieder, Op. 138 (1849) Brahms Liebeslieder Waltzes, Op. 52 (1868-69) Brahms Four Songs from Quartets for Four Voices and Pianos, Ops. 64 & 92 (1862-84) Brahms Neue Liebeslieder Waltzes, Op. 65 (1874)
10/11 ums season | www.ums.org | 734-764-2538
The drummer behind the legendary Nigerian bandleader Fela Anikulapo Kuti, Tony Allen is probably the most highly regarded African drum set player, with drummers and other musicians of all backgrounds marveling at his polyrhythmic style. Kuti is largely considered the most influential African popular musician of the post-colonial era, and Tony Allen was his crucial collaborator in the synthesis of jazz, funk, and highlife that resulted in the style known as Afrobeat. Born in Nigeria in 1940 of mixed Nigerian and Ghanaian parentage, Allen is influenced by everything from European ballroom dance music to big-band jazz drumming, indigenous percussion traditions, and the tradition of modern jazz drumming typified by such musicians as Art Blakey, Elvin Jones, and Max Roach. After playing for years in the shadows of better-known musicians, Tony Allen is now starting to receive the worldwide credit he deserves as one of the most dynamic players of the drum set. “Without Tony Allen, there’d be no Afrobeat.” (Fela Anikulapo Kuti)
“Songs and Waltzes of Love”
media partner Wgte 91.3 fm.
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Americas & Americans
UMS Global Focus: Our global focus this season is all of us — the Americas, Americans, and the artistic traditions and institutions that populate our land mass. Whenever one builds a season-long thread devoted to a geographic region — in this case, two continents — one is immediately confronted by the impossibility of truly capturing the complexity, diversity, and depth of its peoples and traditions. But try we must. This season’s global focus includes both traditional and contemporary work in music, dance and theater from Latin America and South America — Mexico, Brazil, Argentina, Cuba — as well as multiple expressions of North American performance including jazz, blues, bluegrass, country, orchestral, and experimental music; modern dance; Native song; original theatrical work; youth and family performances; and scholarly and community discussion about what it means to be Americans and how that meaning is represented in our arts and creativity. Maybe most importantly, this global focus showcases both the artistic forms and the American artists and institutions within which these traditions live.
Most of these performances can be packaged as part of a Monogram Series; more information is available on pages 24-43.
Rosanne Cash Tembembe Ensamble Continuo/The Route to the New World: From Spain to Mexico
Sat Sep 25 Thu Sep 30
Paul Taylor Dance Company Venice Baroque Orchestra/Philip Glass’s “American Four Seasons”
Thu-Sat Oct 7-9 Wed Oct 27
ONCE.MORE Festival: The Historic Concert Mariachi Vargas de Tecalitlán Stew and The Negro Problem with Heidi Rodewald
Tue Nov 2 Sat Nov 6 Thu-Sat Nov 18-20
Carolina Chocolate Drops
Fri Dec 3
Laurie Anderson’s Delusion Renée Fleming soprano Grupo Corpo Joanne Shenandoah Baby Loves Salsa (family performance)
Fri-Sat Jan 14-15 Sun Jan 16 Fri-Sat Jan 21-22 Sun Jan 23 Sun Jan 30
The Cleveland Orchestra Jazz at Lincoln Center Orchestra and Wynton Marsalis New Century Chamber Orchestra/Astor Piazzolla’s “Four Seasons of Buenos Aires” Blues at the Crossroads: The Robert Johnson Centennial Vijay Iyer Trio and Rudresh Mahanthappa’s Apex Merce Cunningham Dance Company: The Legacy Tour
Tue Feb 1 Wed Feb 2
Detroit Symphony Orchestra Mahler’s Symphony No. 8
Sat Mar 19
Septeto Nacional Ignacio Piñeiro de Cuba
Thu Apr 7
Fri Feb 4 Thu Feb 10 Sat Feb 12 Fri-Sat Feb 18-19
Piano series media partners
Subscribe Today!
www.ums.org / 734-764-2538
Main Floor $310 / $275 Mezzanine $275 / $230 $185 / $155 / $50 Balcony
Piano Series Mariinsky Orchestra
Valery Gergiev music director and conductor Denis Matsuev piano Sunday, October 10 4 pm
Rafał Blechacz piano Friday, February 11 8 pm hill Auditorium
Since his stunning victory at the 11th International Tchaikovsky Competition in Moscow in 1998, Denis Matsuev has received worldwide acclaim for his rare combination of technical virtuosity and deep musicality. “His technique is phenomenal: blistering passagework, steely chords. Perhaps he is the new Horowitz.”(London Times) Matsuev performs Rachmaninoff’s Third Piano Concerto.
In October 2005, then-20-year-old Rafał Blechacz, an unassuming young man from a small town in northern Poland, arrived in Warsaw for the 15th International Chopin Competition. His sensational performance won not only the competition, but also all four special prizes for the polonaise, mazurka, sonata, and concerto performance — in fact, one of the judges remarked that he “so outclassed the remaining finalists that no second prize could actually be awarded.”
Sponsored by the Catherine S. Arcure and Herbert E. Sloan Endowment Fund.
Sponsored by
Hill Auditorium
Hosted by jim and nancy stanley and jay and mary kate zelenock.
Wednesday, November 10 8 pm hill Auditorium
Anyone who has heard one of Murray Perahia’s previous 11 UMS appearances would have to agree with the assessment of The Los Angeles Times: “Perahia is a marvel.” In the more than 35 years he has been performing on the concert stage, he has become one of the most cherished pianists of our time. co-Sponsored in part by Natalie MatovinoviĆ and gil omenn and martha darling.
The Cleveland Orchestra
St. Petersburg Philharmonic Yuri Temirkanov conductor Nikolai Lugansky piano
Saturday, April 2 8 pm Hill Auditorium
The Piano Series opens with Rachmaninoff Piano Concerto No. 3 performed by the 1998 Tchaikovsky Piano Competition winner and closes with Rachmaninoff Piano Concerto No. 2 performed by the 1994 Tchaikovsky Piano Competition winner. Nikolai Lugansky makes his UMS debut with this popular piece. sponsored by Sponsored in part by donald morelock.
Franz Welser-Möst conductor Pierre-Laurent Aimard piano
Tuesday, February 1 8 pm Hill Auditorium
Widely acclaimed as a key figure in the music of our time and as a uniquely significant interpreter of piano repertoire from every age, Pierre-Laurent Aimard returns to Ann Arbor after his 2002 appearance with the Orchestre de Paris to perform Schumann’s Piano Concerto in a minor. Photo: Murray Perahia by Nana Watanabe.
10/11 ums season | www.ums.org | 734-764-2538
Murray Perahia piano
the mariinsky orchestra, the cleveland orchestra, and the st. petersburg philharmonic are sponsored by
44 | 45
Another Perspective
At UMS, we try to make sure that the events on our season offer a chance to experience something new, to look at the world through a different lens, or even to change our very lives. To that end, we offer another way to think about the events on our season — a way that transcends the genre-based groupings of the fixed series offered throughout this brochure. While these groupings are not offered as specific series options, they are intended to provide you with an alternative way of viewing our season and may be helpful to you as you build your personal series for the 10/11 season.
Expect the Unexpected Susurrus Sep 9-Oct 3 Sankai Juku: Hibiki: Resonance from Far Away Sat-Sun Oct 23-24 Laurie Anderson’s Delusion Fri-Sat Jan 14-15 Merce Cunningham Dance Company Fri-Sat Feb 18-19 Druid and Atlantic Theater Company: Thu-Sun Mar 10-13 The Cripple of Inishmaan
Global Beat: Citizens of the World Jordi Savall and La Capella Reial/ Tembembe Ensamble Hot Club of San Francisco and Hot Club of Detroit/Django Reinhardt’s 100th Birthday Mariachi Vargas de Tecalitlán Baby Loves Salsa Kodo Septeto Nacional Ignacio Piñeiro de Cuba Tony Allen’s Secret Agent
Thu Sep 30 Fri Oct 29 Sat Nov 6 Sun Jan 30 Wed Feb 23 Thu Apr 7 Sat Apr 16
Revolutionary Spirit Paul Taylor Dance Company Oct 7-9 ONCE.MORE Historic Concert Tue Nov 2 Stew and The Negro Problem Thu-Sat Nov 18-20 with Heidi Rodewald Laurie Anderson’s Delusion Fri-Sat Jan 14-15 Merce Cunningham Dance Company Fri-Sat Feb 18-19
Blockbuster Rosanne Cash Sat Sep 25 Mariinsky Orchestra/Gergiev/Matsuev Sun Oct 10 Carolina Chocolate Drops Fri Dec 3 Renée Fleming Sun Jan 16 Jazz at Lincoln Center Orchestra Wed Feb 2 with Wynton Marsalis Kodo Wed Feb 23 Detroit Symphony Orchestra Sat Mar 19 Mahler’s Symphony No. 8 Propeller: Wed-Sun Mar 30-Apr 3 Richard III and The Comedy of Errors St. Petersburg Philharmonic Sat Apr 2 Temirkanov/Lugansky
Comfort Music Mariinsky Orchestra/Gergiev/Matsuev Sun Oct 10 Takács Quartet: Schubert Concert 1 Thu Oct 14 Jerusalem Quartet Thu Oct 21 Venice Baroque Orchestra Wed Oct 27 Murray Perahia Wed Nov 10 Nadja Salerno-Sonnenberg and Fri Feb 4 New Century Chamber Orchestra Rafał Blechacz Fri Feb 11 Takács Quartet: Schubert Concert 2 Sun Feb 20 Scharoun Ensemble Wed Mar 9 Bach Collegium Japan/Bach’s Mass in b minor Thu Mar 24 St. Petersburg Philharmonic/Temirkanov/Lugansky Sat Apr 2 Takács Quartet: Schubert Concert 3 Fri Apr 8 Tetzlaff Quartet Sat Apr 9 “Songs and Waltzes of Love” Sat Apr 23
Photos: Paul Taylor’s Esplanade by Lois Greenfield, Jordi Savall by Vico Chamala, Robert Johnson.
Spiritual Expressions The Tallis Scholars Handel’s Messiah Sequentia Bach Collegium Japan/Bach’s Mass in b minor
Thu Nov 4 Sat-Sun Dec 4-5 Thu Jan 27 Thu Mar 24
Roots Music Rosanne Cash Carolina Chocolate Drops Blues at the Crossroads/Robert Johnson Centennial
Sat Sep 25 Fri Dec 3 Thu Feb 10
3 Concerts/16 Seasons (A Look at the “Four Seasons”) Paul Taylor Dance Company (presenting “Orbs”, set to Beethoven string quartets
Fri Oct 8
Venice Baroque Orchestra Vivaldi’s Four Seasons & Philip Glass‘s “American Four Seasons”) Nadja Salerno-Sonnenberg and New Century Chamber Orchestra (Astor Piazzolla’s “Four Seasons of Buenos Aires”)
Wed Oct 27
and featuring four movements based on seasonal cycles of spring, summer, winter, and fall)
Anniversaries What’s an artistic season that doesn’t focus on anniversaries of some sort? We offer this somewhat tongue-in-cheek thread that highlights some of the memorable anniversaries being commemorated this season.
Mariinsky Orchestra (150th anniversary of Mahler’s birth) Hot Club of San Francisco and Hot Club of Detroit (100th anniversary of Django Reinhardt’s birth) ONCE.MORE Festival
Sun Oct 10
The Cleveland Orchestra (200th anniversary of Schumann’s birth) Blues at the Crossroads (100th anniversary of Robert Johnson’s birth) Rafał Blechacz (200th anniversary of Chopin’s birth) Detroit Symphony/Mahler’s Symphony No. 8
Tue Feb 1
(50th anniversary of Ann Arbor’s ONCE Festival)
(100th anniversary of Mahler’s death)
Fri Oct 29 Tue Nov 2
Thu Feb 10
10/11 ums season | www.ums.org | 734-764-2538
Fri Feb 4
Fri Feb 11 & Sun Feb 13 Sat Mar 19
46 | 47
www.ums.org/education UMS education programs provide engaging experiences with arts, culture, and creativity for the entire southeastern Michigan community. As part of UMS’s mission and core values, we are committed to sustaining these efforts for generations to come.
Youth, Teen, and Family Program 734-615-0122 umsyouth@umich.edu Each year, the UMS Youth Education Program serves up to 25,000 schoolchildren, parents, and educators in southeastern Michigan, giving many students their first opportunities to experience the live performing arts. UMS is proud to have the largest series of diverse, artistically-driven youth performances in the state. The performances, extensive teacher training and curriculum development, a yearly teen-driven performance (Breakin’ Curfew), and specially designated family performances comprise the award-winning program, designated as a “Best Practice” in 2004 by ArtServe Michigan and the Dana Foundation. The UMS Youth Education Program is enhanced by official partnerships with the Ann Arbor Public Schools, Washtenaw Intermediate School District, the Kennedy Center Partners in Education Program, Neutral Zone, and many other area youth and family organizations. The Youth Education Program is sponsored by the Esperance Family Foundation.
Photo: Kennedy Center workshop with Erik Stern at Amerman Elementary School.
Adult & Community Engagement 734-615-4077 umsed@umich.edu The UMS Adult Education and Community Engagement Program reaches diverse audiences through a wide variety of educational programs. Over 100 unique regional, local, and university-based partnerships each season have helped UMS launch initiatives for Arab American, African, Mexican/Latino, Asian, and African American, student, young professional, Detroit-based, and many other audiences. UMS is proud of its educational and residency programs, created for the community to engage more deeply in the arts. Through artist interviews, panel discussions, symposiums, social receptions, workshops, and informal dialogues, UMS creates a rich assortment of valueadded programs. Over 100 events each season inspire creativity, enhance knowledge, promote connections with friends and family, and inform each audience member’s individual experience with the arts.
You Make It Happen
Your gift, when combined with many others, brings the very best in music, dance, and theater to our community. UMS provides priority to donors in purchasing tickets to individual performances. The fall single ticket brochure is mailed to donors first, and donors of $250 or more are able to purchase tickets one week before tickets go on sale to the general public. In addition, UMS donors enjoy: Discounted tickets to select performances Acknowledgement in UMS program books and donor listings ($250 or more) Advance notice of performances and advance purchasing privileges
10/11 ums season | www.ums.org | 734-764-2538
Your support of UMS makes this exciting season possible. Ticket revenues cover about half the cost of presenting world-class performances; the other half comes from contributions given by individuals, corporations, government agencies, foundations, and the University of Michigan. You can support UMS by sponsoring a concert or youth performance, making a gift to the annual fund or endowment fund, or attending the On the Road with UMS auction at the University of Michigan’s North Campus Research Complex (the old Pfizer site) on Saturday, September 11.
Invitations to special events
48 | 49 Photos: Jill Anderson, Ken Fischer, and Deborah Meadows; Louise Townley and Lisa Townley at Ford Honors Program 2010.
ABOUT UMS
10 Things to Know About UMS 1. Officially we are the University Musical Society, but we are more often known as UMS. The name dates back to 1879 but isn’t necessarily completely reflective of the organization today. We are affiliated with the University of Michigan, but UMS is a separate, independent 501(c)(3) organization with its own board of directors. About 20 years ago, UMS expanded its musical programming scope to include significant dance and theater. The long and short of it is that UMS welcomes everyone to enjoy the transformative power of the live performing arts. 2. UMS ranks among the top performing arts presenters in the United States. UMS stands in good company, frequently partnering on international tours with Carnegie Hall, Lincoln Center, the Kennedy Center, Brooklyn Academy of Music, the Barbican, Théâtre du Châtelet, and leading university presenters. Few communities of the size of Ann Arbor can support this breadth of programming, making our community a hub for international performing arts tours. 3. UMS is closely aligned with the University of Michigan. Our education department has worked with 70 academic units and 200 individual U-M faculty members in recent seasons. Through these collaborations, we present contextual programming that enriches audience engagement with the performances on our stages. In addition, the University of Michigan provides annual support through the officers of the President and Provost, the University of Michigan Health System, the Office of the Vice President for Research, and other units that support specific work. We are extraordinarily grateful and appreciative of this collaborative and mutually beneficial relationship. 4. UMS is investing in the future through its commitment to student participation in arts events. Each year, UMS offers discounted tickets to university and high school students for regular UMS performances through a variety of programs. In a typical year, more than 17,000 student tickets are sold, representing over 21% of the audience at UMS events. Through these discount programs, students save over $325,000 each season. In addition to the many students who attend our events, we work closely with a group of about 35 students each year who develop skills in arts management through jobs and internships in all departments of UMS, as well as a volunteer student committee.
Photos: Family Workshop before The Suzanne Farrell Ballet Family Performance, Kids dancing onstage at Cyro Baptista Family Performance.
5. Ticket revenues cover only half of our total costs. We rely on generous support from individual donors, corporations, foundations, government grants, and the University of Michigan to continue to bring the finest performing artists in the world to Michigan. We know that people choose to donate for any number of reasons: engaging more deeply in the arts, networking with others, and providing memorable arts experiences for children are just a few of the frequently stated motivations. We’re grateful to all of our generous donors!
7. Volunteers are central to everything we do. A 500-person usher corps, a 180-voice chorus, a 90-member Advisory Committee, a 34-member Board of Directors, student interns, a Teacher Advisory Committee, and countless others help us with strategic planning, special event planning, project-based assistance, backstage support, promoting performances, and putting up posters around town. We simply couldn’t do business without the support of volunteers, who collectively offer over 45,000 hours each year volunteering for UMS programs.
9. UMS has been recognized by leading national foundations for its distinctive programming. The Doris Duke Charitable Foundation, the Mellon Foundation and the Wallace Foundation have all awarded major gifts to UMS, recognizing our distinctive artistic programming and widely-emulated education and community engagement programs. Two of these gifts include significant endowment support, which keeps on giving through annual allocations that continue to support these programs. 10. UMS plays an active role in southeastern Michigan’s revitalization efforts. With arts and culture as a key driver of quality of life, and thus a prime motivator for companies recruiting new talent, UMS is often a major draw for potential newcomers to the area. To that end, UMS representatives serve on regional economic development task forces, taking a strong stance for the value of arts and culture to the region’s future.
10/11 ums season | www.ums.org | 734-764-2538
6. The UMS education program makes a big impact on the region. Since 2000, UMS has served 345 schools and nearly 100,000 students through our popular youth education program, which includes live performances, in-class visits, teacher workshops, and more. UMS recognizes outstanding programs with the DTE Energy Foundation Educator of the Year and School of the Year Awards. The UMS education program is made possible by Ford Motor Company Fund and Community Services and dozens of generous donors who help make our education programs accessible to various communities throughout our region.
8. UMS is committed to nurturing and developing artists. Over the past 20 years, UMS has committed funds to help keep creativity alive and well, with commissions of 25 new musical works, and funding to support the creation of new dance and theater productions. In all, more than 50 new works or productions have been supported by UMS, and many of these works have been seen in Ann Arbor. We believe that to create a healthy artistic ecology, we need to become patrons of the arts as well as programmers, by giving artists the resources to imagine and create.
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Seat Maps
Detailed seat maps are available on our website at www.ums.org/tickets/seat_maps.asp
Hill Auditorium 825 North University Avenue
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Map 2 - Classical Recitals & Jazz/World
Map 3 - Main Floor & Mezzanine Only
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Hill Auditorium (H3) Mariachi Vargas de Tecalitlán Blues at the Crossroads Septeto Nacional Ignacio Piñeiro de Cuba Tony Allen’s Secret Agent
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Hill Auditorium (H1) Mariinsky Orchestra/Gergiev Handel’s Messiah Cleveland Orchestra/Welser-Möst Detroit Symphony Orchestra/ Mahler 8 Bach Collegium Japan St. Petersburg Philharmonic/ Temirkanov
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Sat Nov 6 Thu Feb 10 Thu Apr 7 Sat Apr 16
Hill Auditorium (H2) Sun Oct 10 Sat-Sun Dec 4-5 Tue Feb 1 Sat Mar 19 Thu Mar 24 Sat Apr 2
Rosanne Cash Venice Baroque Orchestra Murray Perahia Renée Fleming Wynton Marsalis/Jazz at Lincoln Center Orchestra Rafał Blechacz Kodo “Songs and Waltzes of Love”
Sat Sep 25 Wed Oct 27 Wed Nov 10 Sun Jan 16 Wed Feb 2 Fri Feb 11 Wed Feb 23 Sat Apr 23
Michigan Theater 603 East Liberty Street
General Admission Venues
BALCONY
St. Francis of Assisi (SF) 2250 East Stadium Boulevard Jordi Savall/La Capella Reial The Tallis Scholars Sequentia
Thu Sep 30 Thu Nov 4 Thu Jan 27
Matthaei Botanical Gardens 1800 North Dixboro Road Susurrus
Sep 9-Oct 3
MAIN FLOOR
Venue TBD Stew and The Negro Problem with Heidi Rodewald
Thu-Sat Nov 18-20
Pricing Pricing scheme applies to all venues.
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Price Level Gold Price Level (A) Price Level (B) Price Level (C) Price Level (D) Price Level (E)
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Michigan Theater (MT) Hot Clubs of San Francisco & Fri Oct 29 Detroit/Django Reinhardt Birthday Carolina Chocolate Drops Fri Dec 3
Rackham Auditorium 915 East Washington Street
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Important Notes from the Ticket Office
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Please Make Sure We Have Your E-Mail Address on File!
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UMS regularly sends updated concert-related parking and late seating information via e-mail a few days before the event. Please be sure that the Ticket Office has your correct e-mail address on file.
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Rackham Auditorium (R) Takács Quartet Schubert Concert 1 Jerusalem String Quartet ONCE.MORE Historic Concert Nadja Salerno-Sonnenberg/ New Century Chamber Orch Concertante/Rafał Blechacz Takács Quartet Schubert Concert 2 Scharoun Ensemble Takács Quartet Schubert Concert 3 Tetzlaff String Quartet
Thu Oct 14 Thu Oct 21 Tue Nov 2 Fri Feb 4 Sun Feb 13 Sun Feb 20 Wed Mar 9 Fri Apr 8 Sat Apr 9
Power Center
Ticket Donations/Unused Tickets Unused tickets may be donated to UMS for a tax-deductible contribution until the published start time of the concert. Unused tickets that are returned after the performance are not eligible for UMS Credit or for a tax-deductible contribution.
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Subscribers may exchange tickets free of charge up to 48 hours before the performance. Non-subscribers may exchange tickets for a $6 per ticket exchange fee. Exchanged tickets must be received by the Ticket Office (by mail or in person) at least 48 hours prior to the performance. The value of the ticket(s) may be applied to another performance or will be held as UMS Credit until the end of the season. You may also fax a photocopy of your torn tickets to 734-647-1171. UMS Credit must be redeemed by April 23, 2011. For information about exchanging tickets within 48 hours of the performance, please call the Ticket Office.
121 Fletcher Street
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Your subscription tickets will be mailed in mid-August, before tickets to individual performances go on sale to the general public. Any ticket orders received fewer than 10 days prior to the performance will be held at will-call, which opens in the performance venue 90 minutes prior to the published start time.
Lost or Misplaced Tickets Call the Ticket Office at 734-764-2538 to have duplicate tickets waiting for you at will-call. Duplicate tickets cannot be mailed.
STAGE
Refund Policy
Power Center (P) Paul Taylor Dance Company Sankai Juku Laurie Anderson’s Delusion Grupo Corpo Vijay Iyer/Rudresh Mahanthappa Merce Cunningham Dance Co. Druid/Cripple of Inishmaan Propeller/Comedy of Errors and Richard III
Thu-Sat Oct 7-9 Sat-Sun Oct 23-24 Fri-Sat Jan 14-15 Fri-Sat Jan 21-22 Sat Feb 12 Fri-Sat Feb 18-19 Thu-Sun Mar 10-13 Wed-Sun Mar 30-Apr 3
Due to the nature of the performing arts, programs and artists are subject to change. If an artist cancels an appearance, UMS will make every effort to substitute that performance with a comparable artist. Refunds will only be offered if a substitute cannot be found, or in the event of a date change. Handling fees are not refundable.
Access for People with Disabilities All UMS venues are accessible for people with disabilities. Call 734-764-2538 for more information.
Lydia Mendelssohn Theatre 911 North University Avenue BALCONY
UMS makes every effort to begin concerts at the published start time. Latecomers will be asked to wait in the lobby and seated by ushers at a predetermined time in the program. The late seating break is determined by the artists and will generally occur during a suitable break in the program, designed to cause as little disruption as possible. Please allow extra time to park and find your seats.
Parking/Parking Tips Detailed directions and parking information will be mailed with your tickets and are also available at www.ums.org/parking.
Children and Families ORCHESTRA
Balcony Overhang
Balcony Overhang
Children under the age of three will only be admitted to special UMS Family Performances. All children attending regular UMS performances must be able to sit quietly in their own seats without disturbing other patrons, or they may be asked to leave the auditorium. Please use discretion when choosing to bring a child and remember that everyone must have a ticket, regardless of age. See page 20 for information about this year’s UMS Family Series. Information about other family-friendly UMS performances will be available later this summer.
10/11 ums season | www.ums.org | 734-764-2538
Start Time & Latecomers
STAGE
Lydia Mendelssohn Theatre (LMT) Joanne Shenandoah Baby Loves Salsa
Sun Jan 23 Sun Jan 30
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Phone
In Person
With Visa, MasterCard, Discover, or American Express
Please visit the Ticket Office on the north end of the Michigan League building (911 North University Avenue). The Ticket Office also sells tickets for all U-M School of Music, Theatre & Dance productions and the Ann Arbor Summer Festival.
UMS Ticket Office Burton Memorial Tower 881 North University Avenue Ann Arbor, MI 48109-1011
734-764-2538
Outside the 734 area code and within Michigan, call toll-free 800-221-1229.
Internet
www.ums.org
Fax 734-647-1171
Summer Hours 10 am to 5 pm Mon-Fri Closed Sat and Sun. Extended hours resume after Labor Day.
How to Order There is an $8 service charge for all subscription orders.
Subscription Tickets/Seating Priority Subscription tickets will be mailed in mid-August. Donors
Donors of at least $2,500 annually receive the highest priority seating based on level of giving for fixed series and Monogram packages. Donations may be included with your ticket order. Ticket orders must be received by Friday, June 4 to be eligible for seating priority. Within each subscription category listed below, annual donations of $500 or more receive special consideration for seating. Fixed Series
Fixed series subscribers (for packages listed on pages 6-23 and page 45 of this brochure) receive priority before Monogram Series subscribers and individual event purchasers. Subscriptions will be filled by series, in the order received.
Refunds
Due to the nature of the performing arts, programs and artists are subject to change. If an artist cancels an appearance, UMS will make every effort to substitute that performance with a comparable artist. Refunds will only be offered if a substitute cannot be found, or in the event of a date change. Handling fees are not refundable. Group Sales Office
Bring your friends and save! When you bring a group of 10 or more to a UMS event, you’ll save 15-25% off the regular ticket price for most performances. For more information, contact UMS Group Sales at 734-763-3100 or umsgroupsales@umich.edu. UMS accepts group reservations beginning Wednesday, August 11, two weeks before individual events go on sale to the general public. Plan early to guarantee access to great seats!
Monogram Series
Monogram subscribers (those who choose at least five events from pages 24-43 of this brochure) will receive priority before individual event purchasers. Subscriptions will be filled in the order received and must be received by Friday, August 20.
Don’t Miss These Important Dates! Wed May 5
Priority Period Begins for Renewing Subscribers and UMS Donors
Mon May 10
Subscription Packages Available to General Public
Fri June 4
Deadline for U-M Payroll Deduction Seating Priority Deadline for Donors and Renewing Subscribers
Fri June 25
Deadline for Installment Billing and Free Parking Options
Wed Aug 11
Group Sales Reservations Open
Wed Aug 18
Donor Single Ticket Day (for donors of $250+)
Fri Aug 20
Last Day to Order Monogram Series
Mon Aug 23
Internet Sales Begin
Wed Aug 25
Single Ticket Day – all tickets to individual events on sale by phone and in person
Fri Sep 3
Last Day to Order UMS Theater Series
Fri Sep 24
Last Day to Order All Other UMS Series
Join Us In the Lobby! While UMS doesn’t present concerts during the summer, you can still join us in the Lobby – the virtual Lobby, that is! Visit www.umsLOBBY.org throughout the summer to read our multimedia blog, visit the archives (including a new living archive that will feature remembrances of concerts past), and conversation areas where you can offer up your observations and opinions and read those of others. Our regular website, www.ums.org, will remain an information hub; the Lobby website is a place where you can engage more fully with all that UMS does, gaining access to the behind-the-scenes activities that keep us humming.
132nd UMS Season
Order Form Have Questions? We’re Happy to Help! Call the UMS Ticket Office at 734-764-2538
Outside the 734 area code and within Michigan, call toll-free 800-221-1229
UMS Ticket Office Burton Memorial Tower 881 North University Avenue Ann Arbor, MI 48109-1011
Checklist Please double check that you have completed the following before you mail in your order. Have you: ■ Included daytime and evening phone numbers and e-mail addresses (to be used in case of concert cancellation or ticketing problem)?
Order Form Tips to Help UMS Subscribers
■ Signed and enclosed your check, or signed the credit card line in “Payment Information”?
We’ve worked hard to make ordering tickets to the many events in the 10/11 season as easy as possible, but with literally thousands of possible combinations, we realize that it can be difficult. With that in mind, please consider these tips that will help you make your decisions for the 10/11 season, whether you are new to UMS or have been subscribing for years:
■ If you have ordered the Dance, Theater, or Family Series, have you circled your preferred performance(s) on the order form for events with more than one performance? ■ Filled out and included the entire order form (all six sides)? Please do not cut the order form before sending.
Mailing Information UMS Account Number (if known, can be found on the mail panel of this brochure above your name)
1. Look through the entire brochure and make a list of the events you are interested in seeing. 2. If you generally like events that are thematically linked (e.g., jazz, chamber music), you will probably be most interested in the fixed packages listed in Section 1 of the order form. Anyone who purchases a fixed package may purchase any number of Monogram Series events now and still receive priority seating over single ticket buyers. The 10% Monogram event discount is available to all fixed package subscribers. 3. If you prefer a variety of events, you will probably be most interested in the Monogram Series in Section 3. When you purchase at least 5 events, you may take 10% off the total price and still receive priority seating over single ticket buyers. You may purchase a different number of tickets to each event, so feel free to invite friends to join you for any or all of the performances in your series! 4. When you purchase a fixed package OR a Monogram Series, you may also purchase tickets to any individual Family, Choral Union, and Chamber Arts events now (see Sections 2 and 4 of the order form). These tickets may be purchased for yourself or for your friends and family. Most of these performances are not included on the Monogram Series, so you can guarantee your seats for these concerts and plan your entire season of UMS events at once! Please note that there are no discounts for these events, unless they are purchased as part of another series. 5. Please be sure to fill out all six pages of the order form before you send it in. You may also call the Ticket Office for assistance if you have questions about which package makes the most sense for you. Don’t forget to include your pre-paid parking passes to avoid hassles on the night of the performance, and to make your tax-deductible contribution to UMS.
Last Name
First Name
Address City
State
Zip
Day Phone Evening Phone
E-Mail Address (for up-to-date info on parking, start times, intermissions, program changes, etc.) Tickets will be mailed to the address provided above in early to mid-August. If you would like your tickets sent to a different address or held for pick-up at the League Ticket Office, please see the "important seating info" section on the next page. FOR OFFICE USE ONLY
Ticket Total:
Members Total:
Payment Information ■ My payment is by U-M Payroll Deduction (order must be received by Friday, June 4). I understand I will be billed in four installments, once monthly in June, July, August, and September. Donations will be deducted in monthly installments beginning in July 2010. NOTE: Payroll Deduction requests must be mailed, faxed, or dropped off at the Michigan League Ticket Office. Payroll Deduction requests will not be accepted by phone.
U-M Employee ID Number
Signature Authorizing Payroll Deduction
_______________________ My Payment is by
■ Check, payable to UMS ■ Visa ■ MasterCard ■ American Express ■ Discover ■ I want to take advantage of installment billing (credit card orders totaling $300 or more only). Please bill my credit card in three equal installments: the week the order is received in the UMS Ticket Office, the first week of July, and the first week of August. Installment billing requests must be received by Friday, June 25.
_
Account Number (Do not include hyphens, dashes or spaces)
Expiration Date
Signature of cardholder
_________________________________________
» Please continue
132nd UMS Season
Order Form
Have Questions? We’re Happy to Help! Call the UMS Ticket Office at 734-764-2538
Outside the 734 area code and within Michigan, call toll-free 800-221-1229
Important Seating Info — Please Fill This Out! A. If the seat section you selected is not available for any event that you have purchased, would you prefer (please check all that apply): ■
Change my seats to the next highest price section
■
Change my seats to the next lowest price section
If available, move me to a different performance of the same event and keep the same price section (note any exceptions below) ■
■
Call me at the daytime number listed on page 1 of this order form
■
E-mail me at the address listed on page 1 of this order form
Please Note: If you do not check a box, you will automatically be moved to the next lowest price section, and the cost difference will be converted to UMS Credit, which may be utilized at any time during the 10/11 season. A UMS Credit receipt will be printed with your tickets and mailed in August. If the venue that you have selected has several levels (e.g., main floor and balcony), UMS will keep your seats on the level that you requested and move to you to the next lowest price section, unless you indicate otherwise here:
_______________________________________________________________________________________________________ B. Disability-Related Seating Needs or Special Seating Requests _______________________________________________________________________________________________________ C. I would like my tickets mailed to: ■
The address on the front of this form
■
Please hold my tickets at the League Ticket Office for me to pick up prior to my first performance.
■
My summer address (please list address and dates below)
_______________________________________________________________________________________________________
Don’t Miss These Important Dates!
How to Order Tickets Phone
Fax 734-647-1171
734-764-2538
Hours
With Visa, MasterCard, Discover, or American Express Outside the 734 area code and within Michigan, call toll-free 800-221-1229.
Internet
www.ums.org In Person
Please visit the Ticket Office on the north end of the Michigan League building (911 North University Avenue). The Ticket Office also sells tickets for all U-M School of Music, Theatre & Dance productions and the Ann Arbor Summer Festival.
There is an $8 service charge for all subscription orders.
10 am to 5 pm Monday-Friday Closed Saturdays and Sundays. Extended hours resume after Labor Day.
UMS Ticket Office Burton Memorial Tower 881 North University Avenue Ann Arbor, MI 48109-1011
Wed May 5 Priority Period Begins for Renewing Subscribers and UMS Donors Mon May 10 Subscription Packages Available to General Public Fri June 4 Deadline for U-M Payroll Deduction Seating Priority Deadline for Donors and Renewing Subscribers Fri June 25 Deadline for Installment Billing and Free Parking Options Wed Aug 11 Group Sales Reservations Open Wed Aug 18 Donor Single Ticket Day (for donors of at least $250) Fri Aug 20 Last Day to Order Monogram Series Mon Aug 23 Internet Sales Begin Wed Aug 25 Single Ticket Day – all tickets to individual events on sale by phone and in person Fri Sep 3 Last Day to Order UMS Theater Series Fri Sep 24 Last Day to Order All Other UMS Series Subscription requests are filled in the order in which they are received. Order early to guarantee the best seats before tickets go on sale to the general public. UMS Donors are given seating priority when orders are received by Friday, June 4. Reminder: Tickets will be mailed in mid-August. Please be sure that you have indicated above if you would like tickets to be sent to a different address or held at the Ticket Office for pick-up.
PLEASE NOTE: Consult the venue seating maps on pages 52-53 of this brochure as you make your selection. Seating sections are the same as last season.
1. Fixed Series Packages
Orders must be received by Friday, September 24, 2010 (Friday, September 3 for the Theater Series). Main Floor
Series (# of concerts)
Mezzanine
Balcony
No. of Packages
Gold Main
A
B
A
B
B
C
E
Total
Choral Union Series (10)
_______
650
575
520
500
420
350
280
100
________
Piano Series (5)
_______
n/a
310
275
275
230
185
155
50
________
Main Floor Series (# of concerts)
No. of Packages
Gold Main
A
B
A
B
E
Total
160
140
126
140
112
60
________
_______
Jazz Series (4)
Gold Main
Gold Balc
A
B
C
D
E
Total
_______
*
*
256
220
166
124
*
________
No. of Packages
Chamber Arts Series (7) Chamber Arts with addl TakĂĄcs/Schubert (9)
Mezzanine
_______
*
*
340
290
220
170
*
________
Schubertiade Series (3)
______
*
*
135
117
90
66
*
________
Dance Series (5)
______
206
206
192
165
133
*
*
________
Please circle preferred performance:
Paul Taylor Dance Co
Thu 10/7 at 8
Fri 10/8 at 8
Sankai Juku/Hibiki
Sat 10/23 at 8
Sun 10/24 at 2
Grupo Corpo
Fri 1/21 at 8
Sat 1/22 at 8
Merce Cunningham Legacy Tour
Fri 2/18 at 8
Sat 2/19 at 8
Divine Voices (4)
__________ 172 reserved
Michael’s Picks (6)
_______ _______
Theater Series (5)
Sat 10/9 at 8
___________ 132 general admission
240
230
230
200
180
*
210
190
190
175
145
*
*
________
*
________
Please circle preferred performance: Susurrus (rank top three choices for entrance time, please note any dates to avoid in margins or on separate sheet)
_ ______ Weds-Fri 3:30-4:45
_ ______ Sat/Sun 11-1
_______ Sat/Sun 3:30-4:45
_ ______ Weds-Fri 5:00-5:45
_ ______ Sat/Sun 1:15-3:15
_______ Sat/Sun 5:00-5:45
Laurie Anderson/Delusion
Fri 1/14 at 8
Sat 1/15 at 8
Druid/Cripple of Inishmaan
Thu 3/10 at 8
Sat 3/11 at 8
Propeller/Richard III
Wed 3/30 at 7:30
Propeller/Comedy of Errors
Thu 3/31 at 7:30
Sat 3/12 at 8
Sun 3/13 at 2
Fri 4/1 at 7:30
Sat 4/2 at 2
Sun 4/3 at 7:30
Sat 4/2 at 7:30
Sun 4/3 at 2
1. Fixed Series Package Sub-Total $
2. Family Series
_________
Orders must be received by Friday, September 24, 2010
Subscribers to any series may purchase tickets to any Family Performances now. If you wish to bring children under age 2, please call our Ticket Office at 734-764-2538 to make appropriate arrangements. Family Series (2)
_______ 30 adults
_________ 15 children
_________
Please circle preferred performance:
Baby Loves Salsa
Add-on: Kodo*
Wed 2/23, 11am, H2
Sun 1/30 at 1pm ___________
16 adults
Sun 1/30 at 4pm
____________ 8 children
_________
If you are a subscriber to another series and wish to purchase individual family performances, please complete this section. Paul Taylor Dance
Sat 10/9, 1 pm, P
Baby Loves Salsa
Sun 1/30, LMT
_ ___________ 16 adults
________
Please circle preferred performance:
Sun 1/30 at 1pm
Kodo*
16 adults
_ _________
8 children
________
__________
8 children
________
Sun 1/30 at 4pm
_ ________ 16 adults
___________ 8 children
*Please note: this daytime performance is during the Ann Arbor Public Schools winter break
____________
2. Family Series Sub-Total $
_________
3. Monogram Series
Orders must be received by Friday, August 20, 2010
Choose 5 or more events from this listing, and take 10% off! Subscribers to any of the Fixed Series Packages listed in Sections 1 or 2 of the Order Form may order any number of individual Monogram events now and receive the 10% discount. Where an asterisk (*) is marked, seats are not available in this price section for venue listed.
No. of Tickets
Gold Main
A Main
B Main
A Mezz/ Gold Balc
B Mezz
B Balc
C
D
E
________
OCT
SEP
______ 30 general admission Susurrus Sep 9-Oct 3 Rank top three choices for entrance time, please note any dates to avoid below
_ ______ Weds-Fri 3:30-4:45
_______ Sat/Sun 11-1
_ _____ Sat/Sun 3:30-4:45
_ ______ Weds-Fri 5:00-5:45
_______ Sat/Sun 1:15-3:15
_ _____ Sat/Sun 5:00-5:45
Rosanne Cash
Sat 9/25, 8pm, H2
_____
54
Jordi Savall/Tembembe Ensamble
Thu 9/30, 8pm, SF
_____
45 reserved
Paul Taylor Dance
Thu 10/7, 8pm, P
_____
46
42
*
42
Paul Taylor Dance
Fri 10/8, 8pm, P
_____
46
42
*
Paul Taylor Dance
Sat 10/9, 8pm, P
_____
46
42
Jerusalem String Quartet
Thu 10/21, 8pm, R
_____
*
Sat 10/23, 8pm, P
_____
____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____
Sankai Juku/Hibiki Sankai Juku/Hibiki Venice Baroque Orch
DEC
NOV
Hot Clubs of San Fran & Detroit Mariachi Vargas de Tecalitlán
Sat 11/6, 8pm, H3
Stew and The Negro Problem
Thu 11/18, 8pm, tbd
Stew and The Negro Problem
Fri 11/19, 8pm, tbd
Stew and The Negro Problem
Sat 11/20, 7:30pm, tbd
Stew and The Negro Problem
Sat 11/20, 10:30pm,tbd
Carolina Chocolate Drops
Fri 12/3, 8pm, MT
Handel’s Messiah
Sat 12/4, 8pm, H1
Handel’s Messiah
Sun 12/5, 2pm, H1
JAN
Grupo Corpo Grupo Corpo Joanne Shenandoah Sequentia Cleveland Orch/Möst/Aimard
FEB
Fri 10/29, 8pm, MT Thu 11/4, 8pm, SF
Laurie Anderson/Delusion
Fri 1/14, 8pm, P Sat 1/15, 8pm, P Fri 1/21, 8pm, P Sat 1/22, 8pm, P Sun 1/23, 4pm, LMT Thu 1/27, 8pm, SF Tue 2/1, 8pm, H1
Wynton Marsalis/JLCO
Wed 2/2, 8pm, H2
Nadja/New Century Chamber
Fri 2/4, 8pm, R
Blues at the Crossroads
Thu 2/10, 8pm, H3
Rafał Blechacz
Fri 2/11, 8pm, H2
Iyer/Mahanthappa
Sat 2/12, 8pm, P
Concertante/Blechacz
Sun 2/13, 4pm, R
Merce Cunningham Dance
Fri 2/18, 8pm, P
Merce Cunningham Dance
Sat 2/19, 8pm, P
Takács Quartet/Schubert 2
Sun 2/20, 4pm, R
Kodo
MAR
Wed 10/27, 8pm, H1
The Tallis Scholars
Laurie Anderson/Delusion
APR
Sun 10/24, 2pm, P
Wed 2/23, 8pm, H2
Druid/Inishmaan
Thu 3/10, 8pm, P
Druid/Inishmaan
Fri 3/11, 8pm, P
Druid/Inishmaan
Sat 3/12, 8pm, P
Druid/Inishmaan
Sun 3/13, 2pm, P
Detroit Symph/Mahler 8
Sat 3/19, 8pm, H1
Bach Collegium Japan
Thu 3/24, 8pm, H1
Propeller/Richard III
Wed 3/30, 7:30pm, P
Propeller/Comedy
Thu 3/31, 7:30pm, P
Propeller/Richard III
Fri 4/1, 7:30pm, P
Propeller/Richard III
Sat 4/2, 2pm, P
Propeller/Comedy
Sat 4/2, 7:30pm, P
Propeller/Comedy
Sun 4/3, 2pm, P
Propeller/Richard III
Sun 4/3, 7:30pm, P
Septeto Nacional
Thu 4/7, 8pm, H3
Takács/Schubert 3
Fri 4/8, 8pm, R
Tetzlaff String Quartet
Sat 4/9, 8pm, R
Tony Allen’s Secret Agent Songs and Waltzes of Love
Sat 4/16, 8pm, H3 Sat 4/23, 8pm, H2
46
44
38
________
32
24
20
10
*
38
32
24
18
________
42
*
38
32
24
18
________
*
42
*
38
32
24
18
________
42
36
*
*
*
28
20
*
________
42
38
*
38
*
34
28
22
18
________
42
38
*
38
*
34
28
22
18
________
n/a
54
48
48
38
32
26
18
10
________
40
34
*
40
*
32
24
18
*
________
45 reserved
40
Total
________
_________ 35 general admission
________
_________ 35 general admission
42 36 30 45 general admission
32
24
*
*
*
10
________ ________
45 general admission
________
45 general admission
________ ________
45 general admission 42
38
*
42
*
32
24
18
*
________
32
26
22
26
22
20
16
12
10
________
32
26
22
26
22
20
16
12
10
________
52
46
*
46
*
42
34
24
18
________
52
46
*
46
*
42
34
24
18
________
42
38
*
38
*
34
28
22
18
________
42
38
*
38
*
34
28
22
18
________
*
35
25
35
25
*
*
*
*
________
45 reserved
________
_________ 35 general admission
n/a
68
60
60
50
40
34
20
10
________
54
46
40
44
38
32
24
20
10
________
*
48
42
*
*
*
32
24
*
________
46
42
38
40
30
*
*
*
10
________
n/a
44
36
38
32
26
22
18
10
________
42
38
*
38
*
34
26
20
16
________
*
42
36
*
*
*
28
20
*
________
54
50
*
50
*
46
36
26
20
________
54
50
*
50
*
46
36
26
20
________
*
48
42
*
*
*
32
24
*
________
54
50
44
48
42
36
28
22
10
________
52
46
*
46
*
42
34
24
18
________
56
50
*
50
*
46
36
26
20
________
56
50
*
50
*
46
36
26
20
________
52
46
*
46
*
42
34
24
18
________
n/a
68
60
60
50
40
34
20
10
________
n/a
58
50
50
40
34
28
18
10
________
56
50
*
50
*
46
36
26
20
________
56 60
50 54
* *
50 54
* *
46 46
36 36
26 26
20 20
________
56
50
*
50
*
46
36
26
20
________
60
54
*
54
*
46
36
26
20
________
56
50
*
50
*
46
36
26
20
________
56
50
*
50
*
46
36
26
20
________
42
36
30
32
24
*
*
*
10
________
*
48
42
*
*
*
32
24
*
________
*
42
36
*
*
*
28
20
*
________
46
42
38
40
30
*
*
*
10
________
n/a
44
36
38
32
26
22
18
10
________
________
Monogram Series Sub-Total $ ________ Less 10% (must purchase at least 5 events from Section 3 or any Series in Section 1 or 2) ________ 3. Monogram Series Total (please do not round your total) _ ______
4. Choral Union/Chamber Arts Events SUBSCRIBER BENEFIT! Subscribers to any series may order tickets to all Choral Union and Chamber Arts events now. Seating priority will be given to UMS Donors. We’re sorry, we are unable to offer discounts to these concerts unless they are purchased as part of an entire Choral Union or Chamber Arts Series, or as part of a Monogram Series where applicable (concerts also listed on Monogram are referenced with an asterisk). No. of Tickets
Gold Main
A Main
B Main
A Mezz / Gold Balc
B Mezz
B Balc
C
D
E
Total
Mariinsky Orch/ Gergiev/Matsuev
Sun 10/10, 4pm, H1
_______
80
72
66
66
56
44
36
26
10
________
Takács/Schubert 1
Thu 10/14, 8pm, R
_______
*
48
42
*
*
*
32
24
*
________
Jerusalem SQ*
Thu 10/21, 8pm, R
_______
*
42
36
*
*
*
28
20
*
________
Venice Baroque Orch*
Wed 10/27, 8pm, H2
_______
60
54
48
48
38
32
26
18
10
________
ONCE.MORE
Tue 11/2, 8pm, R
_______
*
2
2
*
*
*
2
2
*
________
Murray Perahia
Wed 11/10, 8pm, H2
_______
75
68
60
60
50
40
34
20
10
________
Renée Fleming
Sun 1/16, 4pm, H2
_______
65
60
56
56
46
36
30
20
10
________
Cleveland Orch/ Möst/Aimard*
Tue 2/1, 8pm, H1
_______
75
68
60
60
50
40
34
20
10
________
Salerno-Sonnenberg/ New Century Chamber*
Fri 2/4, 8pm, R
_______
*
48
42
*
*
*
32
24
*
________
Rafał Blechacz*
Fri 2/11, 8pm, H2
_______
50
44
36
38
32
26
22
18
10
________
Concertante/Blechacz*
Sun 2/13, 4pm, R
_______
42
36
*
*
*
28
20
*
________
Takács /Schubert 2*
Sun 2/20, 4pm, R
_______
*
48
42
*
*
*
32
24
*
________
Scharoun Ensemble
Wed 3/9, 8pm, R
_______
*
48
42
*
*
*
32
24
*
________
68
60
60
50
40
34
20
10
________
DSO/Mahler 8*
Sat 3/19, 8pm, H1
_______
75
Bach Collegium Japan*
Thu 3/24, 8pm, H1
_______
65
58
50
50
40
34
28
18
10
________
St. Petersburg Phil/ Temirkanov/Lugansky
Sat 4/2, 8pm, H1
_______
80
72
66
66
56
44
36
26
10
________
Takács/Schubert 3*
Fri 4/8, 8pm, R
_______
*
48
42
*
*
*
32
24
*
________
Tetzlaff SQ*
Sat 4/9, 8pm, R
_______
*
42
36
*
*
*
28
20
*
________
Songs &Waltzes of Love*
Sat 4/23, 8pm, H2
_______
50
44
36
38
32
26
22
18
10
________
4. Choral Union/Chamber Arts Sub-Total $
______
5. Parking & Transportation
Pre-Paid Event Parking Passes may be purchased in advance for $5 each for the Thayer and Fletcher Street parking structures, just a short walk from most concert venues in Ann Arbor. Vouchers may be redeemed for parking beginning two hours before the event and expire at the end of the 10/11 season. Each parking pass is good for one use only. Parking is not guaranteed with vouchers, so please arrive early to allow enough time to park.
Pre-Paid Parking Passes_ _____ @ $5 Round-trip transportation to Detroit/Ailey* (Thu 3/3) _______ @ $10 *see page 15 for details
5. Parking Sub-Total $__________
■ SUBSCRIBER BENEFIT: I subscribed to eight or more events prior to June 25, 2010 and would like free parking in the Power Center (Fletcher Street) structure on UMS concert nights. Please send special vouchers with my tickets.
6. Support UMS
Totals
Don’t Forget! Ticket prices cover only 46% of our costs. Please help UMS maintain its standard of excellence with your tax-deductible donation. See page 49 for details.
1. Fixed Series Package Sub-Total
Giving Levels
3. Monogram Series Total (do not round)
Presenters Circle Director $100,000 or more Soloist $50,000-$99,999 Maestro $20,000-$49,999 Virtuoso $10,000-$19,999 Concertmaster $7,500-$9,999 Producer $5,000-$7,499 Leader $3,500-$4,999 Principal $2,500-$3,499 Patron $1,000-$2,499
Friends Benefactor Associate Advocate Friend
$500-$999 $250-$499 $100-$249 $1-$99
If you are a donor, please print your name(s) as you would like it to appear in the program book listing, or check here ■ to remain anonymous. Donors of $250 or more will be listed in the program book.
___________________________________________________________
2. Family Series Sub-Total
4. Choral Union/Chamber Arts Sub-Total 5. Parking/Transportation Sub-Total 6. Postage/Handling
$8.00
7. Total 1-6 8. Tax-Deductible Contribution to UMS
9. Grand Total (Lines 7 + 8) Did you double-check your order? Please review the checklist on the mailing/payment page to be sure that you haven’t forgotten anything.
Important Notes from the Ticket Office Subscription Tickets/Seating Priority Subscription tickets will be mailed in mid-August. Donors Donors of at least $2,500 annually receive the highest priority seating based on level of giving for fixed series and Monogram packages. Donations may be included with your ticket order. Ticket orders must be received by Friday, June 4 to be eligible for seating priority. Within each subscription category listed below, annual donations of $500 or more receive special consideration for seating. Fixed Series Renewing and fixed series subscribers (for packages listed on pages 6-23 and page 45 of this brochure) receive priority before Monogram Series subscribers and individual event purchasers. Subscriptions will be filled by series, in the order received. Monogram Series Monogram subscribers (those who choose at least five events from pages 24-43 of this brochure) will receive priority before individual event purchasers. Subscriptions will be filled in the order received and must be received by Friday, August 20.
Please Note Please Make Sure We Have Your E-Mail Address on File! UMS regularly sends updated concert-related parking and late seating information via e-mail a few days before the event. Please be sure that the Ticket Office has your correct e-mail address on file. Subscription Ticket Exchanges Subscribers may exchange tickets free of charge. Exchanged tickets must be received by the Ticket Office (by mail or in person) at least 48 hours prior to the performance. The value of the ticket(s) may be applied to another performance or will be held as UMS Credit until the end of the season. You may fax a photocopy of your torn tickets to 734-647-1171. UMS Credit must be redeemed by April 23, 2011. For information about exchanging tickets within 48 hours of the performance, please call the Ticket Office.
The UMS Ticket Office will accept subscription ticket exchanges after tickets are mailed in August. Ticket Donations/Unused Tickets Unused tickets may be donated to UMS for a tax-deductible contribution up until the published start time of the performance. Unused tickets that are returned after the performance are not eligible for UMS Credit or for a tax-deductible contribution. Refunds Due to the nature of the performing arts, programs and artists are subject to change. If an artist cancels an appearance, UMS will make every effort to substitute that performance with a comparable artist. Refunds will only be offered if a substitute cannot be found, or in the event of a date change. Handling fees are not refundable. Access for People with Disabilities All UMS venues are accessible for people with disabilities. Call 734-764-2538 for more information.
Season Media Partner
Special thanks to the following supporters:
Media Partners
Arts at Michigan. Arts at Michigan provides programs and services that enable students to integrate arts and culture into their undergraduate experience at the University of Michigan. Doris Duke Charitable Foundation Endowment Fund. Special project support for several components of the 2010/11 UMS season is provided by the Doris Duke Charitable Foundation Endowment Fund, established with a challenge grant from the Leading College and University Presenters Program at the Doris Duke Charitable Foundation. Japan Foundation. Sankai Juku is funded in part by the Japan Foundation through its Performing Arts JAPAN program. The Andrew W. Mellon Foundation. Special project support for several components of the 10/11 season is provided by The Andrew W. Mellon Foundation. National Endowment for the Arts. Special project support for several components of the 10/11 season is provided by the National Endowment for the Arts through its American Masterpieces: Three Centuries of Artistic Genius program. Wallace Endowment Fund. The Paul Taylor Dance Company is funded in part by the Wallace Endowment Fund, established with a challenge grant from the Wallace Foundation to build public participation in arts programs.
Education Program Supporters Reflects gifts received from July 1, 2008 – November 1, 2009.
Credits
Michigan Council for Arts and Cultural Affairs University of Michigan
UMS is a member of the University of Michigan Public Goods Council and the Cultural Alliance of Southeastern Michigan.
The University of Michigan is an Equal Opportunity Employer and provides programs and services without regard to race, sex, color, religion, sexual orientation, gender identity, national origin, or disability.
10/11 ums season | www.ums.org | 734-764-2538
Anonymous Arts at Michigan Arts Midwest’s Performing Arts Fund Association of Performing Arts Presenters Bank of Ann Arbor The Dan Cameron Family Foundation/Alan and Swanna Saltiel Community Foundation for Southeast Michigan Doris Duke Charitable Foundation Doris Duke Foundation for Islamic Art DTE Energy Foundation David and Phyllis Herzig Endowment Fund The Esperance Family Foundation Honigman Miller Schwartz and Cohn LLP JazzNet Endowment W.K. Kellogg Foundation Masco Corporation Foundation Miller, Canfield, Paddock and Stone, P.L.C. THE MOSAIC FOUNDATION (of R. and P. Heydon) The Mosaic Foundation [Washington, DC] National Dance Project of the New England Foundation for the Arts National Endowment for the Arts Prudence and Amnon Rosenthal K-12 Education Endowment Fund Rick and Sue Snyder TCF Bank UMS Advisory Committee University of Michigan Credit Union University of Michigan Health System U-M Office of the Senior Vice Provost for Academic Affairs U-M Office of the Vice President for Research Wallace Endowment Fund
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Connecting Audiences and Artists in Uncommon and Engaging Experiences