UMS 2012-2013 Season Brochure

Hill Auditorium | 100 Years

2 0 1 2 -2 0 1 3 1 34

th

s e as on

university of michigan, ann arbor

What will create a stir?

What will change your perspective?

What will give you goosebumps?

What will make you think?

What will get you talking?

What will leave you speechless?

UMS unleashes the power of world-class performing arts in order to engage, educate, transform, and connect individuals with uncommon experiences.

w e W e lco m e yo u to t h e 2 0 1 2 -2 0 1 3 S e a s o n .

An exceptional collection of talent, creativity, performance, and passion. www . u m s . o r g

B e P r e s e n t.

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e s p e r a n z a s pa l d i n g

1 3 4 th

2012

season

SEPTEMBER

1 3 4 th

2013

season

january

21-22

Kidd Pivot: The Tempest Replica

Power Center

27

Chicago Symphony Orchestra Riccardo Muti, conductor

28-29

Suzhou Kun Opera Theater of Jiangsu Province

National Theatre of Scotland: The Strange Undoing of Prudencia Hart

Corner Brewery, Ypsilanti

Hill Auditorium

8-13

13

Detroit Symphony Orchestra Leonard Slatkin, conductor

Hill Auditorium

Lydia Mendelssohn Theatre

17-18

Gabriel Kahane & Friends

Arthur Miller Theatre

21

From Cass Corridor to the World: A Tribute to Detroit’s Musical Golden Age

Hill Auditorium

25-26

Martha Graham Dance Company

Power Center

27

Mariachi Vargas de Tecalitlán (Note New Date)

Hill Auditorium

31

Jazz at Lincoln Center Orchestra with Wynton Marsalis

Hill Auditorium

october 4

Basiani

St. Francis of Assisi Catholic Church

6-7

Aspen Santa Fe Ballet

Power Center

10

Jerusalem Quartet

Rackham Auditorium

11-13

Théâtre de la Ville: Ionesco’s Rhinocéros

Power Center

20

Murray Perahia, piano

Hill Auditorium

27

Mariinsky Orchestra of St. Petersburg Valery Gergiev, conductor

Hill Auditorium

november 11

Belcea Quartet

Rackham Auditorium

16

Gilberto Gil

Hill Auditorium

17

Dave Holland Big Band

Michigan Theater

december 1-2

Handel’s Messiah

Hill Auditorium

8

Dianne Reeves Quartet with special guest Raul Midón

Hill Auditorium

february 1

Angélique Kidjo

Hill Auditorium

2

New Century Chamber Orchestra Nadja Salerno-Sonnenberg, violin and leader

Rackham Auditorium

9

Berlin Philharmonic Wind Quintet with Martin Katz, piano

Rackham Auditorium

14

The King’s Singers

St. Francis of Assisi Catholic Church

15

Kodo

Hill Auditorium

16

Amjad Ali Khan with Amaan Ali Khan and Ayaan Ali Khan, sarods

Hill Auditorium

17

Handel’s Radamisto The English Concert with David Daniels, countertenor

Hill Auditorium

20-24

Propeller: Shakespeare’s Twelfth Night and The Taming of the Shrew

Power Center

23-24

New York Philharmonic Alan Gilbert, conductor

Hill Auditorium

13

Artemis Quartet

Rackham Auditorium

14

Anne-Sophie Mutter, violin

Hill Auditorium

16

Yo-Yo Ma and The Silk Road Ensemble (Ford Honors Program)

Hill Auditorium

23

Hamid Al-Saadi Iraqi Maqam Ensemble and Amir ElSaffar’s Two Rivers

Hill Auditorium

march

april

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H a n d e l’ s R a d am i st o / T h e E n g l i s h C o n c e r t

Esperanza Spalding Radio Music Society

Michigan Theater

10-14

1927: The Animals and Children Took to the Streets

Performance Network

12

Takács Quartet

Rackham Auditorium

18

Bobby McFerrin: spirit you all

Hill Auditorium

20

Alison Balsom, trumpet, and the Scottish Ensemble

Hill Auditorium

24

Ragamala Dance: Sacred Earth

Power Center

27-28

SITI Company: Trojan Women (after Euripides)

Power Center

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4 Darius Milhaud’s Oresteian Trilogy Hill Auditorium

University Symphony Orchestra UMS Choral Union & U-M School of Music, Theatre & Dance Choral Ensembles

Kenneth Kiesler, conductor

Hill Auditorium:

Hill Auditorium was imagined in 1909 with funds bequeathed to the University by Michigan Regent Arthur Hill. The vision was to construct an auditorium suitable for superior musical

A 100-year celebration

performances that was large enough for a gathering of the entire student body.

It was designed by legendary architect Albert Kahn and his associate Ernest Wilby, and completed in 1913. The auditorium opened with a UMS performance by the Chicago Symphony to open the 20th May Festival on May 14, 1913.

Hill Auditorium is renowned for its superior acoustics, which can be attributed to Kahn’s collaboration with acoustical engineer Hugh Tallant.

Hill also featured the Frieze Memorial Organ, named in honor of Simmons Frieze, the University’s acting President and first director of UMS. This year, we are pleased to honor 100 years of the legendary Hill Auditorium. Hill Auditorium is remarkable not only because

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acoustics, but also because of the role it plays in the cultural vibrancy of the entire state. Join us for special performances held throughout the year, as well as events, celebrations, educational series, and more.

U n i v e r s i t y o r g a n i s t E a r l V. M o o r e o u t s i d e o f Hill Auditorium with organ pipe, 1913.

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of its rich history and incredible

Hill at 100 Special Events

with ums 2012

Hill Auditorium I m m e r s i o n & C e l e b r at i o n Saturday, February 2, 2013 – beginning at 10 am Join UMS as we celebrate 100 years at Ann Arbor’s most beloved concert venue: Hill Auditorium. Our daylong celebration begins with a special “Saturday Morning Physics” event focusing on the marvelous and world-renowned acoustics of Hill Auditorium, followed by fun activities that explore the architecture of the building and the history of our community in the space, culminating with the worldpremiere screening of UMS’s new documentary about 100 years of performances at Hill. We’ll end the day with a cake and punch birthday party fit for an icon! Come for any or all of the activities — the full schedule will be announced later this fall.

Funded in part by the Michigan Humanities Council.

UMS N i g h t Sc h o o l : 1 0 0 Y e a r s o f UMS at H i l l A u d i t o r i u m Night School Dates (specific content to be announced in September)

On The Road is our annual dinner and auction with proceeds benefiting the UMS Education & Community Engagement Program. Learning is core to UMS’s mission, and it is our joy to provide creative learning experiences for our entire community.

Each season, we offer a spectrum of free or low-cost education and community engagement activities focusing on K-12 students, teachers, teens, university students, families, adults, and cultural communities. We exist to create a spark in people, young and old alike; to expose them to new artists, ideas, and cultures; and to leave them with an ongoing and lifelong passion for creativity and the performing arts. Funds raised from On The Road make it possible for UMS to impact nearly 20,000 youth, educators, and community members throughout the year.

Shining Star

Silver Star

Stout Systems

American Title

Platinum Star Center for Plastic and Reconstructive Surgery

Gold Star Anonymous Nancy Bishop, Associate Broker, Charles Reinhart Company, Realtors Charles Reinhart Company, Realtors

For reservations, contact Rachelle Lesko at 734.764.8489 or ralesko@umich.edu.

Sandy and Charlie Aquino Karen Bantel Gary Bloomfield, D.D.S Campus Realty Conlin Travel Dykema Gossett Barbara Eichmuller, Charles Reinhart Company, Realtors

Clark Hill PLC

Susan Fisher and John Waidley

Debbie and Norman Herbert

Liberty Title

Hooper Hathaway, P.C., Charles W. Borgsdorf & William J. Stapleton, attorneys Merrill Lynch Ren and Susan Snyder

In collaboration with the Ann Arbor District Library and the U-M School of Music, Theatre & Dance. Funded in part by the Michigan Humanities Council.

Armen Cleaners

Becki Spangler and Peyton Bland Louise Taylor

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Fran and Irwin Martin Raymond James

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What can we learn from the performing arts and from each other? What was it like to be in Hill Auditorium in 1913? How have the performing arts evolved and changed over the past 100 years? How has Hill Auditorium impacted our community? After last season’s successful launch of UMS Night School, we’re delighted to expand this program for 2012-2013. This season, Night School will focus on 100 years of UMS at Hill Auditorium and illuminate the special history behind the great performers and performances that have shaped our community. These 90-minute “classes” combine conversation, interactive exercises, and “lectures” with genre experts to draw you into the themes behind each performance. Sessions are designed to both deepen your knowledge of the performing arts and connect you with other audience members. Professor Mark Clague joins us again as host and resident scholar.

Join us for an evening of music, food, fun, and a live auction benefiting the UMS Education & Community Engagement Program and celebrating the 100th anniversary of UMS performances in Hill Auditorium.

Sp o n s o r s

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October 1 October 29 November 19 January 14 January 28 February 4 February 18 March 18

Mondays, 7 pm Hosted by Prof. Mark Clague, U-M School of Music, Theatre & Dance Ann Arbor District Library Multipurpose Room (343 S. Fifth Avenue)

F r i d ay, S e p t e m b e r 7, 6 : 0 0 p m H i l l A u d i t o r i u m, A n n A r b o r

kidd pivot

Renegade Ventures Fund:

“

GIL B ERTO GIL

Stuart and I believe the arts are fundamental in educating the leaders of tomorrow. We established the Renegade Ventures Fund to ensure that UMS, through programming, has the flexibility to consider the new, the different, the innovative, and the cutting-

What is it?

edge. Some performances are beautiful and aweinspiring; others are challenging, provocative, or controversial. Yet all engage the mind and the imagination. The University of Michigan is the ideal incubator for nurturing and fostering creative thinking and collaboration.

The Renegade Ventures Fund was established to support unique, creative, and transformative performing arts experiences within the UMS season. It supports artistic ventures that test us, redefine our limits, stimulate a robust conversation, and create value around a wide range of human responses. It supports artistic innovation that broadens the performance and educational experiences of U-M students and UMS audiences, taking them far beyond what we — and they — have come to expect. We call

and feed our insatiable curiosity.

Alison Balsom

Crystal Pite/Kidd Pivot — The Tempest Replica Théâtre de la Ville — Ionesco’s Rhinocéros Mariinsky Orchestra — Stravinsky’s The Rite of Spring Gilberto Gil Martha Graham Dance Company Alison Balsom and the Scottish Ensemble UMS must raise matching gifts totaling $100,000 annually to meet the Renegade Ventures Fund challenge. We invite you to engage in this exciting adventure by partnering with us to make these performances possible.

Please send your contribution to: Renegade Ventures Fund UMS Burton Memorial Tower 881 North University Avenue Ann Arbor, MI 48109-1011

For more information, contact: Margaret McKinley, 734-647-1177 or margiem@umich.edu

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challenging. They also unlock the arts adventurer in us all…

”

Maxine Frankel

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these ventures Renegade. They are often costly, risky, and

Supporting innovative and cutting-edge artistic work is a passion of Maxine and Stuart Frankel, who recognize that a national leader in the presentation of the performing arts must push the boundaries of knowledge forward by supporting new works, remounting important past works, and providing a venue and funding for artists to create.

To encourage innovative and cutting-edge work, and to support UMS in the initial phase of providing Renegade ventures, the Frankels established the Renegade Ventures Fund with a multi-year challenge grant of $500,000 — $100,000 each year for five years.

In its first year, the Fund supported all events in Pure Michigan Renegade, a 10-week series of performances and educational events focused on gamechanging artists and artistic works that included the remounting of Philip Glass and Robert Wilson’s groundbreaking opera, Einstein on the Beach, and the San Francisco Symphony’s four-day American Mavericks residency. In the 2012-2013 season, the Renegade stories continue: Stravinsky ushered in a completely new sound in music with his ballet score and caused a riot in Paris; Martha Graham, through force of artistic will, created a whole new trajectory for dance; a supremely talented young woman has left all the guys in the dust when it comes to playing the trumpet. Those are just some of the stories that make up Renegade 2012-2013. The entire series includes:

Ionesco’s Rhinocéros Théâtre de la Ville Emmanuel Demarcy-Mota, director Power Center

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10/11-13

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Can the absurd change your point of view?

Kidd Pivot The Tempest Replica

9/21-22

Opening Night Post-performance Q&A

Integrating movement, original music, text, and rich visual design, Kidd Pivot’s performance work is assembled with recklessness and rigor, balancing sharp exactitude with irreverence and risk. Kidd Pivot’s distinct choreographic language, which fuses classical elements with the complexity and freedom of structured improvisation, is marked by a strong theatrical sensibility and a keen sense of wit and invention. The Tempest Replica is based on motifs from Shakespeare’s play. Artistic director Crystal Pite stages a game of revenge and forgiveness, reality and imagination.

Canadian Crystal Pite danced with William Forsythe’s Ballett Frankfurt and serves as associate choreographer of Nederlands Dans Theater. Her company has been based in Vancouver since its founding in 2002.

The 100th season of UMS concerts in Hill Auditorium begins the same way that Hill Auditorium itself did: with a concert by the Chicago Symphony Orchestra, which opened the 20th Ann Arbor May Festival in 1913. The concert opens with Wagner’s Overture to The Flying Dutchman, a work that was performed at another concert in that same May Festival. Frequently heard in the 1920s, this piece has not been programmed on a UMS concert in nearly 35 years. The program also includes Mason Bates’ Alternative Energy, which received rave reviews at its world premiere in February 2012. UMS audiences were introduced to Bates at last season’s San Francisco Symphony performances. This concert, conducted by CSO music director Riccardo Muti, marks the 204th Chicago Symphony program since its UMS debut in 1892.

Wagner

Overture to The Flying Dutchman (1843)

Mason Bates

Alternative Energy (2012)

Franck

Symphony in d minor (1888)

9/27 Riccardo Muti, music director Thursday, September 27, 7:30 pm Hill Auditorium

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Crystal Pite, artistic director Friday, September 21, 8 pm Saturday, September 22, 8 pm Power Center

Chicago Symphony Orchestra

A celebratory dinner precedes the concert in honor of 100 years of Hill Auditorium and Ken Fischer’s 25th anniversary at UMS. Reservations: 734.764.8489.

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s u pp orte d by

Renegade Ventures Fund and Linda and Richard Greene

M e d ia Pa rtn e rs

Metro Times, Between the Lines, and WDET 101.9 FM

sp o nso r e d by

F unde d i n pa rt by

National Endowment for the Arts

M e di a Pa rt ne r s

WGTE 91.3 FM, WRCJ 90.9 FM, and Ann Arbor’s 107one

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Suzhou Kun Opera Theater of Jiangsu Province 9/28-29 Cai Shaohua, director Friday, September 28, 8 pm Saturday, September 29, 8 pm Lydia Mendelssohn Theatre

Basiani

In 2001, UNESCO declared kunqu, the 600-year-old grand opera of China, a “Masterpiece of the Oral and Intangible Heritage of Humanity.” The declaration not only affirms the artistic and cultural distinctions of the genre, which is known for its perfect blending of dramatic literature, soulful singing, and elegant dancing, but also creates a context for its revival in contemporary and globalized China. The genre now attracts audiences inside and outside China with performances that judiciously blend classical stories and performance practices with contemporary staging interpretations and technologies. Kunqu is recognized internationally for being authentic yet fresh and updated. In its own way, it is similar to the Royal Shakespeare Company’s fresh, yet authentic, interpretations of classical English plays.

To experience kunqu is to encounter artistic and classical China interpreted for the globalized present and to see historical and contemporary Chinese characters come alive on stage, revealing their Chinese emotions and values.

friday Qintiao (Zither Seductions) Huozhuo (Captured Alive)

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Youyuan jingmeng (Strolling in the Garden and the Interrupted Dream) Xunmeng (Pursuing the Dream) Shihua jiaohua (The Portrait Retrieved and Examined) Yougou (Nightly Rendezvous)

Thursday, October 4, 7:30 pm St. Francis of Assisi Catholic Church

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s p on s ore d by

Confucius Institute at the University of Michigan

M e di a Pa rt ne r

WRCJ 90.9 FM

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10/4

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Xiaoyan (Garden Party)

saturday: four scenes from the peony pavilion (mudanting)

UMS is pleased to introduce to Michigan audiences the highly praised allmale choral/folk music ensemble Basiani from the Republic of Georgia. The extraordinary program performed by Basiani is representative of Georgia’s musical heritage and comprises samples from almost every geographical region of the Republic. It is an exceptional, highly memorable performance that embraces the range and variety of Georgian folk culture and its distinctive, highly developed forms of polyphony — a central aspect of the cultural legacy that led to UNESCO’s designation in 2001 of Georgian folklore as a masterpiece of the spiritual treasury of the world’s “non-material” culture (which includes folk traditions as a bearer of cultural heritage). Basiani’s members are young singers from various parts of Georgia; most come from families of traditional singers. They were introduced in the US at the Mostly Mozart Festival in New York City in 2010, receiving rave reviews from The New York Times and Wall Street Journal.

Aspen Santa Fe Ballet

10/6-7 Tom Mossbrucker, artistic director Saturday, October 6, 1 pm (Family Performance) Saturday, October 6, 8 pm Sunday, October 7, 2 pm Power Center

Jerusalem String Quartet

“Simply breathtaking,” proclaims the Chicago Sun-Times about Aspen Santa Fe Ballet, whose UMS debut features a program of contemporary ballet that exemplifies the company’s commitment to commissioning dance by both world-renowned and emerging choreographers. With a European aesthetic grounded in American sensibilities, this 11-member troupe of classically trained dancers has developed a worldwide following. “Stark, sleek, and chock-full of moves that skirt the edges of contemporary movement.” (The Boston Globe)

Square None (2011)

Choreography: Norbert De La Cruz, Music: Alva Noto, Michelle Ross, Handel, & Aphex Twin

Stamping Ground (1983) Choreography: Jirí Kylián, Music: Carlos Chávez Opening Night Post-performance Q&A

Over Glow (2011)

Choreography: Jorma Elo, Music: Mendelssohn & Beethoven

Shostakovich

Quartet No. 7 in f-sharp minor, Op. 108 (1960)

Beethoven

Quartet in B-flat Major, Op. 18, No. 6 (1800-01)

Shostakovich

Quartet No. 3 in F Major, Op. 73 (1946)

10/10 Wednesday, October 10, 7:30 pm Rackham Auditorium

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sponso red by

Tom and Debby McMullen

M e d ia Pa rtn e rs

Metro Times and Between the Lines

suppo rt e d by

Linda and Maurice Binkow Philanthropic Trust

P r ese nt e d w i t h suppo rt f ro m

Herbert E. and Doris Sloan Endowment Fund

M e di a Pa rt ne r s

WGTE 91.3 FM and Detroit Jewish News

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Aspen Santa Fe Ballet began in Aspen in 1996, and a partnership four years later led to the creation of a company that splits its time between Aspen and Santa Fe. Artistic director Tom Mossbrucker, a former principal dancer with the Joffrey Ballet, has been with the company since the beginning. He is dedicated to presenting an eclectic repertoire and committed to acquiring new works that persistently challenge, enliven, and educate both audiences and the company dancers.

The Jerusalem String Quartet returns for its fourth UMS concert to kick off the 50th Annual Chamber Arts Series. Comprised of four young musicians who began playing together in 1993 when they were in their mid-teens, they have matured into outstanding interpreters of the string quartet literature. They display a liveliness and spontaneity that has led to international acclaim, and each of their UMS concerts has led to immediate requests for a return appearance. The ensemble was recently awarded the BBC Music Magazine Award in Chamber Music for an unprecedented third time. “Their wonderfully full and vibrant sound is channeled through rhythms and phrasings that are crisp, tight-reined, and naturally flowing. Every deft switch of mood is caught to near-perfection…” (BBC Music Magazine)

Ionesco’s Rhinocéros

10/11-13

A farce. A tragedy. An experiment of the mind. Rhinocéros was initially a short story written in 1957 by Eugène Ionesco (1909-1994), who was influenced by his time in Romania as a young man when nearly everyone around him converted to fascism. Alongside Samuel Beckett, Jean Genet, and Harold Pinter, Ionesco was a major figure of the “Theater of the Absurd.”

Rhinocéros begins in a small town square where Jean meets his apathetic friend Berenger for a drink. A rhinoceros runs through the square, shocking all except Berenger. The square is soon overrun as people in the town begin to transform into rhinos. Berenger, on the other hand, transforms from being indifferent and aimless to a having something to believe in and fight against: the tyranny of the rhinos. A parable about French collaboration with the Nazis, Rhinocéros serves as a metaphor for people resisting the crowd and standing up for their own ideas.

The Théâtre de la Ville production of Rhinocéros has been hailed for its illuminating and insightful approach to Ionesco’s celebrated play, skillfully setting astonishing moments of physical theater and movement in a staging that showcases both the haunting beauty of Ionesco’s words and his singular vision for the stage. Remaining true to the spirit and letter of the play, the production rekindles the staggering sense of urgency and risk conveyed by the script, as it depicts the struggle of one man to maintain his individual identity and integrity in a world where others have successively yielded to the inevitable domination of brute force. When the play was first presented in Paris, critics were ecstatic.

“A masterpiece,” raved Le Monde. “A veritable tour de force on the part of the director... [and] a magical embrace between the show and the spectator.”

Opening Night Post-performance Q&A

Performed in French with English supertitles.

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.” The Seattle Times notes, “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.”

Haydn

Sonata in D Major, H XVI: 24 (1773)

Schubert

Moments musicaux, D. 780 (1823)

Beethoven

Sonata No. 14 in c-sharp minor “Quasi una fantasia”, Op. 27, No. 2 (Moonlight) (1801)

Schumann

Faschingsschwank aus Wien, Op. 26 (Carnival Scenes from Vienna) (1839)

Chopin

Impromptu No. 2 in F-Sharp Major, Op. 36 (1839)

Chopin

Scherzo No. 1 in b minor, Op. 20 (1839)

10/20 Saturday, October 20, 8 pm Hill Auditorium

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Théâtre de la Ville Emmanuel Demarcy-Mota, director Thursday, October 11, 7:30 pm Friday, October 12, 8 pm Saturday, October 13, 8 pm Power Center

Murray Perahia

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supp orted by

Renegade Ventures Fund

funded in pa rt by

Wallace Endowment Fund

M e d ia Pa rtn e rs

Between the Lines, Michigan Radio 91.7 FM, WDET 101.9 FM, and Ann Arbor’s 107one

sp o nso r e d by

suppo rt e d by

Natalie Matovinović, Donald Morelock, Robert and Marina Whitman, and Ann and Clayton Wilhite

M e di a Pa rt ne r s

WGTE 91.3 FM, WRCJ 90.9 FM, and Detroit Jewish News

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Mariinsky Orchestra of St. Petersburg

10/27

Valery Gergiev conducts the Mariinsky Orchestra (formerly known as the Kirov) for this 12th UMS appearance, which celebrates the centenary of Hill Auditorium. The program features Stravinsky’s The Rite of Spring, which had its world premiere in 1913 in Paris just 16 days after Hill Auditorium opened. The ballet, with choreography by Vaslav Nijinsky, caused a scandal, yet it has had a tremendous impact on music for the past 100 years and is now considered a masterpiece of the 20th century. This concert features the orchestral score.

The concert also features piano soloist Denis Matsuev, who made his UMS debut with the Mariinsky in October 2010 and returned for an equally stunning recital in January 2012. “Ever since his triumph in the 1998 Tchaikovsky Competition, Denis Matsuev’s name has inspired awe and amazement in musical circles. And for once, the hype…is, if anything, low-pitched. For here is a virtuoso in the grandest of Russian traditions.” (Gramophone Magazine) R. Strauss

Ein Heldenleben, Op. 40 (1898)

Shostakovich

Concerto in c minor for Piano, Trumpet, and String Orchestra, Op. 35 (1933)

Stravinsky

The Rite of Spring (1913)

A Prelude Dinner precedes the performance. Reservations: 734.764.8489.

Established at Royal College of Music in 1994, the Belcea Quartet boasts an impressive discography; their most recent release was nominated for a Gramophone Award, which they also won in 2001 for Best Debut Recording.

The Belcea has just embarked on an ambitious survey of the complete string quartets by Beethoven, with cycles planned in the UK, US, Austria, Sweden, and Germany. The cellist of the Belcea says, “There is no end to exploration of Beethoven’s riches for us as performers and yet what is most compelling for us is that his music speaks so directly to us as human beings. What seems to be the predominant impulse driving this music is man’s yearning for freedom, the unquenchable desire to expand his limits and to learn the truth about himself in this process. Beethoven inspires us as performers to take up this challenge. He also accompanies us in our own quest through our lives.”

Beethoven

Quartet in E-flat Major, Op. 127 (1825)

Beethoven

Quartet in B-flat Major, Op. 130 (1825)

Sunday, November 11, 4 pm Rackham Auditorium

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s upport ed by

Renegade Ventures Fund

Presented with supp ort from

Catherine S. Arcure Endowment Fund

h os te d by

Mainstreet Ventures

M e d ia Pa rtn e rs

WGTE 91.3 FM, WRCJ 90.9 FM, Detroit Jewish News, and WDET 101.9 FM

Sp o nso r e d by

M e di a Pa rt ne r

WGTE 91.3 FM

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Featuring the orchestral score to Stravinsky’s The Rite of Spring Valery Gergiev, music director Denis Matsuev, piano Saturday, October 27, 8 pm Hill Auditorium

Belcea Quartet

Gilberto Gil

Dave Holland Big Band

11/16

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For All Friday, November 16, 8 pm Hill Auditorium

A seminal figure in post-1960s jazz, Dave Holland has never allowed his work to be limited by tradition. A master of tone and rhythm, the bassist, composer, and bandleader is now in his fifth decade as a performer, and his music possesses a rich and kaleidoscopic history. His path has led him from the frontiers of free improvisation to his modern ensembles that fully embody the Sam Riversinstilled philosophy of “playing all of it.” The Wolverhampton, England, native got his big break from Miles Davis, with whom he played during the epochal Bitches Brew period. He formed his first working quintet in 1983 and continued to develop fruitful relationships with artists such as Anthony Braxton, Stan Getz, Cassandra Wilson, Jack DeJohnette, Chick Corea, Joe Henderson, Thelonious Monk, Betty Carter, Pat Metheny, Kenny Wheeler, Bill Frisell, Roy Haynes, and Herbie Hancock over the course of his career. This performance with his 13-piece big band is Dave Holland’s third appearance since his 2003 UMS debut. “One of the very best working bands in jazz.” (The New York Times)

This concert will be primarily performed in Gilberto Gil’s native Brazilian Portuguese.

Dave Holland, double bass Antonio Hart and Mark Gross, alto saxophone Frank Basile, baritone saxophone Robin Eubanks, Jon Arons, and Josh Roseman, trombone Taylor Haskins, Alex “Sasha” Sipiagin, and Duane Eubanks, trumpet Steve Nelson, vibraphone and marimba Nate Smith, drums Saturday, November 17, 8 pm Michigan Theater

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supp o rted by

Renegade Ventures Fund

H os te d by

Gary Boren

M e d ia Pa rtn e rs

WEMU 89.1 FM and Ann Arbor’s 107one

M e di a Pa rt ne r s

WEMU 89.1 FM, Metro Times, and Ann Arbor’s 107one

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11/17

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From musical revolutionary to international pop star to beloved statesman, Gilberto Gil has lived a life worthy of a Hollywood thriller. As a founding member of Brazil’s Tropicália movement, Gil and fellow Bahians Caetano Veloso and Gal Costa radically reinvented Brazilian popular music in the mid-60s by combining Beatlesque psychedelia, art rock, and Brazil’s northeastern roots rhythms. Since returning to Brazil from his London exile in the early 1970s, Gil has held center stage as a charismatic performer and songwriter. With several dozen standards to his credit, he has been interpreted by just about every major Brazilian artist of the past four decades. In recent years Gil once again found inspiration in the joyful, upbeat accordion-driven forró style of music and dance, starting with his soundtrack to the award-winning 2000 film Me You Them. After serving as Brazil’s Minister of Culture from 2003-2008, he went on to explore classics by forró heroes Luiz Gonzaga and Jackson do Pandeiro on his latest album, Fé Na Festa. Expect a party — and expect to dig deeply into Brazil’s musical heritage with one of the country’s major cultural icons.

Handel’s Messiah

UMS Choral Union Ann Arbor Symphony Orchestra Jerry Blackstone, conductor Saturday, December 1, 8 pm Sunday, December 2, 2 pm Hill Auditorium

The holiday season in Ann Arbor is never officially under way until Handel’s Messiah is performed at Hill Auditorium. 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. An Ann Arbor tradition, these performances are ultimately the heart and soul of UMS, connecting audiences not only with the talented people on stage, but also with the friends and family who attend each year. Join us for this very special Messiah as we celebrate the centenary of Hill Auditorium. In a true community tradition, the performance will feature the Ann Arbor Symphony Orchestra, the 175 voices of the all-volunteer UMS Choral Union, and conductor Jerry Blackstone. Soloists to be announced.

As a result of her virtuosity, improvisational prowess and unique jazz and R&B stylings, Dianne Reeves received the Grammy for Best Jazz Vocal Performance for three consecutive recordings – a Grammy first in any vocal category. One of the pre-eminent jazz vocalists in the world today, she has recorded, performed, and collaborated extensively with Wynton Marsalis, the Chicago Symphony, and the Berlin Philharmonic. She returns with her quartet for her fourth UMS appearance — and her first in five years. This special concert opens with a set by Raul Midón, a blind singer-songwriter and guitarist whose distinct voice, strumming, beats, and vocal trumpet resulted in a standing ovation when he appeared on “The Late Show with David Letterman” and an open invitation back to “The Tonight Show with Jay Leno.” He performed at The Ark in May 2010 and now makes his UMS debut. Guitar magazine describes him as “one of those rare musical forces that reminds us how strong and deep the connection between man and music can sometimes be.”

Saturday, December 8, 8 pm Hill Auditorium

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12/1-2

Dianne Reeves Quartet with special guest Raul Midón

The Silk Road Ensemble

Yo-Yo Ma and The Silk Road Ensemble Hill Auditorium

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3/16

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How does a legend bring you to unexpected places?

The Strange Undoing of Prudencia Hart

National Theatre of Scotland Created by David Grieg Directed by Wils Wilson Tuesday, January 8, 7:30 pm Wednesday, January 9, 7:30 pm Thursday, January 10, 7:30 pm Friday, January 11, 8 pm Saturday, January 12, 8 pm Sunday, January 13, 6 pm Corner Brewery (720 Norris St., Ypsilanti)

Pull up a chair and wet your whistle for an evening of anarchic theater, live music, and strange goings-on as UMS takes theater into the pub, moving to the Corner Brewery in Ypsilanti for six performances.

One wintry morning, Prudencia Hart, an uptight academic, sets off to attend a conference in the Scottish Borders, the region of Scotland that borders England.

As the snow begins to fall, she finds herself trapped in a secluded bar with strangers, only to be swept away on an enchanting, dream-like journey of selfdiscovery filled with magical moments, devilish encounters, and wittily wild karaoke.

UMS and the Detroit Symphony Orchestra have partnered together for years, bringing many moving performances to UMS audiences. This latest partnership seeks to celebrate the 100th birthday of Hill Auditorium with a concert that features the Frieze Memorial Organ. The organ was built in Detroit in 1893 and displayed at the Chicago World’s Fair: Columbian Exposition, which celebrated the 400th anniversary of Christopher Columbus’s arrival in the New World.

Shortly thereafter, the University purchased the organ, and it was a centerpiece of Albert Kahn’s design when Hill Auditorium was built.

McWilliam

Tu es Petrus (b.1977)

Bach/Stokowski

Toccata and Fugue in d minor, BWV 565 (1708)

Barber

Toccata Festiva for Organ and Orchestra, Op. 36 (1960)

Khachaturian

Symphony No. 3 in C (1947)

Hill Auditorium’s King of Instruments: The Frieze Memorial Organ Leonard Slatkin, conductor James David Christie, organ David Higgs, organ James Kibbe, organ UMS Choral Union Sunday, January 13, 4 pm Hill Auditorium

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1/8-13

Detroit Symphony Orchestra

Gabriel Kahane & Friends

From Cass Corridor to the World: A Tribute to Detroit's Musical Golden Age

Featuring yMusic: Rob Moose, violin and guitar Nadia Sirota, viola Clarice Jensen, cello Alex Sopp, flutes Hideaki Aomori, clarinets CJ Camerieri, trumpet and horn Thursday, January 17, 7:30 pm Friday, January 18, 8 pm Arthur Miller Theatre

New to UMS, but not to Ann Arbor (he has performed at the Kerrytown Concert House), Kahane will be performing songs from his latest album, Where Are The Arms, along with material drawn from his diverse songbook and musical theater compositions. He performs with friends and collaborators yMusic, featuring guitarist/violinist Rob Moose (Bon Iver, Antony and the Johnsons) and trumpet player CJ Camerieri (Sufjan Stevens, American Composers Orchestra).

On Martin Luther King, Jr. Day, UMS and the U-M MLK Day Symposium celebrate the unique relationship of the city of Detroit to the music it helped create and shape. Beginning with trumpeter and educator Gerald Wilson (a Cass Technical High School graduate) and continuing through the great Detroit artists and mentors who have sustained the music through the second half of the 20th century, Detroit continues to nurture and create international trends in contemporary music-making and songwriting. With world-renowned jazz pianist and Detroit native Geri Allen serving as music director and the D3 trio serving as house band, From Cass Corridor to the World musically narrates this spectacular and unique journey with celebrated Detroit artists.

A co-presentation with the University of Michigan Office of Academic Multicultural Initiatives.

Featuring D3: Geri Allen, music director and piano Robert Hurst, bass Karriem Riggins, drums with Marcus Belgrave, trumpet and special Detroit artists to be announced Monday, January 21, 7:30 pm Hill Auditorium

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1/17-18

Writing and performing music that moves effortlessly from dense modernism to spare vernacular song, pianist, composer, and singer Gabriel Kahane has established himself as a leading voice among a generation of young indie composers redefining music for the 21st century. Kahane performs with a variety of influential artists, including Chris Thile, Brad Mehldau, cellist Alisa Weilerstein, and his father, the noted pianist and conductor Jeffrey Kahane. He has also written the music and lyrics for February House, which ran at New York City’s Public Theater in 2012.

Every city has had a Golden Age. In most places, the Golden Age dies, but in Detroit it remains unbroken through many different forms, from Jazz to Motown to techno and hip-hop.

Martha Graham Dance Company 1/25-26

Mariachi Vargas de Tecalitlán

Founded in 1926 by pioneering choreographer Martha Graham, this modern dance company is one of the oldest and most celebrated in America. Graham’s innovative body of work stands alongside that of Pablo Picasso, Igor Stravinsky, George Balanchine, and Coco Chanel as a pillar of 20th-century Modernism. Her company has performed all over the world, including at the base of the Great Pyramids and in the ancient Herod Atticus Theatre on the Acropolis. The Martha Graham Dance Company has nurtured many choreographers of the 20th and 21st centuries, including Merce Cunningham, Pearl Lang, Paul Taylor, Pascal Rioult, and U-M’s Peter Sparling, whose film montage opens Friday’s program. The Saturday evening performance brings back the work of Robert Wilson (Einstein on the Beach), who created a magical evocation of Graham as an artist, using abstract forms and movements to recall the American images that gave meaning to her work and her life.

Janet Eilber, artistic director Friday, January 25, 8 pm Saturday, January 26, 8 pm Power Center

friday: inner landscape “Beautiful Captives”

A film montage by Peter Sparling with music by Eric Santos

Witch Dance (1914)

Choreography: Mary Wigman

Every Soul Is a Circus (1939)

Choreography: Martha Graham, Music: Paul Nordof, Décor: Philip Stapp

Lamentation Variations (2009) Choreography: Aszure Barton, Yvonne Rainer,

Lar Lubovitch

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Choreography: Martha Graham, Music: William Schumann, Décor: Isamu Noguchi

saturday Opening Night Post-performance Q&A

Appalachian Spring (1944)

Choreography: Martha Graham, Music: Aaron Copland, Décor: Isamu Noguchi

Snow on the Mesa (1995)

Décor and Direction: Robert Wilson

(New Date)

Sunday, January 27, 4 pm Hill Auditorium

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Night Journey (1947)

We are proud to bring back Mariachi Vargas de Tecalitlán after an extremely popular UMS debut in November 2010. Mariachi Vargas is one of the most highly regarded ensembles in the history of mariachi, decisively shaping the art form. Founded in a small city near Jalisco by Don Gaspar Vargas in the 1890s, this band basically invented the modern mariachi, and five generations later, is still playing today. They have recorded over 100 CDs, with original songs and arrangements that set the standard for mariachi music. Masters at melding the Old World style of mariachi music with new, innovative pieces, Mariachi Vargas is appealing to audiences across all generations.

Jazz at Lincoln Center Orchestra with Wynton Marsalis

1/31

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 music-making. Performing music that links today’s improvisers with the rich history of traditional and contemporary big-band composition, the Jazz at Lincoln Center Orchestra, led by Marsalis, brings an expansive range of music to the most treasured international stages. 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)

“I am a witness of my time,” says Angélique Kidjo, a bona fide world music superstar and activist from Benin who makes her UMS debut with this performance. “When your history is not written, you count on traditional singers to tell you who you are and what is going on in your society. That is what I do with my music.” With James Brown, Jimi Hendrix, Miriam Makeba, and Carlos Santana credited as influences, she brings a passion to her art that is filled with her amazing spirit and experiences from her life’s incredible journey. Angélique Kidjo is a UNICEF and Oxfam Goodwill Ambassador, has her own charitable organization dedicated to supporting the education of young girls in Africa, and passionately campaigns for women’s health in Africa. In 2011 she performed at the Nobel Peace Prize ceremony and concert and was named by The Guardian as one of the Top 100 most inspiring women in the world. A riveting performer, “[Kidjo’s] supercharged pipes have never sounded better, her irresistible energy and joie de vivre never more palpable.” (The Los Angeles Times)

Friday, February 1, 8 pm Hill Auditorium

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Thursday, January 31, 7:30 pm Hill Auditorium

Angélique Kidjo

New Century Chamber Orchestra & Nadja SalernoSonnenberg

Berlin Philharmonic Wind Quintet

“An enthralled crowd, listening agog to the amazing woodwind [quintet] from the Berlin Philharmonic, heard wind playing that was out of this world. Equally, however, the performance provided a unique opportunity for a microcosmic view of the philosophy and practice of the world’s most famous orchestra.

Everything that you could see and hear, in intimate detail, that made this quintet so breathtakingly perfect, was a representation of the way the full band operates.

An astonishing experience.” (The Herald, Glasgow)

2/2

An exquisite blend of woodwind instruments performing a selection of wind quintet pieces, the Berlin Philharmonic Wind Quintet continues to astonish audiences worldwide with their range of expression, tonal spectrum, and conceptual unity. Indeed, many listeners and critics agree that the ensemble has succeeded in virtually redefining the sound of the classic wind quintet, comprised of flute, oboe, clarinet, horn, and bassoon. U-M Professor Martin Katz, one of the most sought-after collaborative pianists, joins the ensemble for the Poulenc Sextet.

Danzi

Quintet in F Major, Op. 68, No. 2 (1813-14)

Mendelssohn

Symphony No. 10 in b minor (1823)

Kalevi Aho

Windquintet (2006)

Bolcom

Romanza for Violin and String Orchestra (2010)

Ibert

Trois pieces brèves (1939)

Villa Lobos

Bachianas Brasileiras No. 5 (1938-45)

Milhaud

La cheminée du roi Rene (1939)

R. Strauss

Metamorphosen (1944-45)

Poulenc

Sextet for Wind Quintet and Piano (1939)

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Martin Katz, piano Saturday, February 9, 8 pm Rackham Auditorium

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Saturday, February 2, 8 pm Rackham Auditorium

This San Francisco-based group made its UMS debut in February 2011 to huge audience acclaim with a performance of remarkable precision, passion, and power. Their return appearance with artistic director Nadja Salerno-Sonnenberg offers the area premiere of a new work that NCCO commissioned by U-M Professor Emeritus of Composition William Bolcom, as well as Heitor Villa-Lobos’ hauntingly beautiful Bachianas Brasileiras No. 5. “Salerno-Sonnenberg was and most definitely is a force to be reckoned with [and] the superb musicianship of her cohorts ensured that it was far more than her show.” (San Francisco Classical Voice)

2/9

The King’s Singers

2/14

Instantly recognizable from their spot-on intonation, impeccable vocal blend, flawless articulation of text, and incisive timing, The King’s Singers are consummate entertainers, charming the audience with a delightful British wit along with their stunning vocal performance. The group takes its name from King’s College, Cambridge, where the original members were choral scholars.

Composed of a bass, two baritones, a tenor, and two countertenors, The King’s Singers have a discography of over 150 recordings and have commissioned more than 200 works from prominent contemporary composers. A favorite of the Mormon Tabernacle Choir, they performed together at the 2002 Winter Olympics. The group returns to Ann Arbor for the first time since 2005.

Drums did more than make music in Japanese tradition. They were valuable tools found at every shrine. They marked the physical and metaphorical edge of a village. If you could hear them beat, you were part of the community. Kodo has lived this principle for 30 years, using thundering, soothing sounds that turn audiences into one big village from Asia to South America. “The drum is a ritual tool in Japan, played whenever a community needs to come together…If Kodo can bring drums and travel around the world and deliver the sound of drums there, we can unite the people who hear the sound and make them part of a community,” says Kodo member Jun Akimoto. Under its new artistic director, Kabuki luminary Tamasaburo Bando, the group’s 23rd UMS appearance features a brand-new performance that includes new visual flair alongside its high-energy percussion, elegant music, dance, and the striking physical prowess needed to sustain a precise yet powerful sound.

One Earth Tour 2013: Legend Friday, February 15, 8 pm Hill Auditorium

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Thursday, February 14, 7:30 pm St. Francis of Assisi Catholic Church

Kodo

Amjad Ali Khan

2/16

“Amjad Ali Khan may be a master of the sarod rather than the guitar, but once he had built up to the crescendo of his solo set — improvising furiously around the melody line with repeated, rapid-fire playing and then letting his equally frantic tabla player take over — it was easy to see why great Indian music can be as exciting as classic blues and rock.” (The Guardian) UMS welcomes sarod master Amjad Ali Khan for his UMS debut appearance this season. The sarod is smaller than the sitar and sits in the player’s lap. Its metal fingerboard has no frets and is played with the tips of the fingernails.

Amjad Ali Khan was only six years old when he gave his first sarod recital. After his debut, the career of this musical legend took off, and the Indian classical music scene was witness to regular and scintillating bursts of Raga supernovas.

He was born to the illustrious Bangash lineage rooted in the Senia Bangash School and studied with his father and guru, the great Haafiz Ali Khan. Today he shoulders the sixth generation inheritance of this legendary lineage — and his sons, who perform with him, belong to the seventh generation.

For his first opera at the Royal Academy, Handel chose an imposing subject: desire, dictatorship, and personal infatuation at the court of the Armenian King Tiridate. After its first airing in London in 1720, Radamisto was described by a critic as “more solid, ingenious, and full of fire than any drama which Handel had yet produced in this country.” But there’s intense subtlety and humanity in Radamisto, too, in the delicate poise of its very personal and artful arias and ensembles. Baroque aficionado Harry Bicket assembles an all-star cast to join the musicians of the English Concert for this rare performance of Handel’s exquisite opera.

In UMS’s early history, the concert opera was a standard feature on many UMS seasons. We’re delighted to present this concert version of Radamisto featuring U-M alumnus David Daniels, who has led the resurgence of interest in countertenors over the past two decades. “To say he is the most acclaimed countertenor of the day, perhaps the best ever, is to understate his achievement.

He is simply a great singer.” (The New York Times)

The English Concert Harry Bicket, conductor David Daniels, countertenor Patricia Bardon, mezzo-soprano Luca Pisaroni, bass-baritone Elizabeth Watts, soprano Brenda Rae, soprano Sunday, February 17, 4 pm Hill Auditorium

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with Amaan Ali Khan and Ayaan Ali Khan, sarods Saturday, February 16, 8 pm Hill Auditorium

Handel’s Radamisto

Shakespeare’s Twelfth Night & The Taming of the Shrew

2/20-24

The New York Philharmonic returns to Ann Arbor for the first time since 2009. For this first residency led by music director Alan Gilbert, they perform two different programs. The Philharmonic has given over 15,000 concerts in 430 cities, 63 countries, and five continents, and 16 of those have been given in Hill Auditorium, beginning three years after the venue opened.

Twelfth Night Wednesday, February 20, 7:30 pm Friday, February 22, 7:30 pm Saturday, February 23, 2 pm Sunday, February 24, 7:30 pm Power Center

In The Taming of the Shrew, a man playing a boy dresses up as a girl, which confuses Christopher Sly. In Twelfth Night, a man plays a girl disguised as a boy, which confuses everybody.

The Taming of the Shrew Thursday, February 21, 7:30 pm Saturday, February 23, 7:30 pm Sunday, February 24, 2 pm Power Center

Propeller uses an all-male cast as was done in Shakespeare’s day. Mixing a rigorous approach to the text with a modern physical aesthetic, the company updates the productions in surprising ways, with actors also performing live music.

Mussorgsky

Night on Bald Mountain (1886)

“As directed by Edward Hall, Propeller specializes in knuckle-duster Shakespeare that digs for the harshness beneath the lyricism. Funny, antic, bawdy: the productions are all these expected things. But they also make sure that the chuckles stick in your throat. The poetry may still be pretty; the comedy definitely is not.” (The New York Times)

Bloch

Schelomo (Hebraic Rhapsody for Cello and Large Orchestra) (1917)

Tchaikovsky

Symphony No. 6 in b minor, Op. 74 (“Pathetique”) (1893)

Opening Night Post-performance Q&A

Both plays explore beautifully how being in love with the wrong person can reveal true feeling.

saturday Mozart

Overture to The Marriage of Figaro, K. 492 (1786)

Mozart

Symphony No. 36 in C Major, K. 425 (“Linz”) (1783)

Brahms

Symphony No. 1 in c minor, Op. 68 (1855-76)

2/23-24 Alan Gilbert, conductor Jan Vogler, cello [Sunday] Saturday, February 23, 8 pm Sunday, February 24, 2 pm Hill Auditorium

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Propeller Ed Hall, director

Propeller returns after its much talked-about 2011 performances of Richard III and The Comedy of Errors with new productions of Twelfth Night and The Taming of the Shrew, two comedies full of mistaken identities, transformations, and deceptions that ultimately reveal truth.

New York Philharmonic

A Prelude Dinner precedes the Saturday performance. Reservations: 734.764.8489.

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Charles H. Gershenson Trust, Maurice Binkow, Trustee

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P r ese nt e d w i t h suppo rt f ro m

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Artemis Quartet

3/13 Wednesday, March 13, 7:30 pm Rackham Auditorium

Anne-Sophie Mutter

The Berlin-based Artemis Quartet was founded in 1989. While a couple of big awards and prizes signaled their success early on, they elected to immerse themselves in further study with the Alban Berg Quartet rather than pitching into the tempting fast track of career success. They turned professional in 1994 and have since drawn attention for their performances, which overflow with fullness of sound and unparalleled drama. Now in residence at Konzerthaus Vienna with a regular concert series at the Berlin Philharmonie, the Artemis Quartet makes its UMS debut with an interesting program that pairs Bach preludes and fugues with Piazzolla tangos that were originally written for a stage play. The program is bookended by two Mendelssohn quartets.

Mendelssohn

Quartet in D Major, Op. 44, No. 1 (1838)

J. S. Bach

Contrapunctus I from The Art of Fugue, BWV 1080 (1742)

Bach

Prelude in e minor from The Well-Tempered Clavier I, BWV 855 (1722)

Piazzolla

Muerte del Angel I (1962)

Bach

Prelude in A Major from The Well-Tempered Clavier I, BWV 862 (1722)

Piazzolla

Milonga del Angel (1962)

Bach

Fugue in f minor from The Well-Tempered Clavier I, BWV 857 (1722)

Mozart

Sonata in G Major for Violin and Piano, K. 379 (1781)

Piazzolla

Muerte del Angel II (1962)

Schubert

Fantasy in C Major, D. 934 (1827)

Bach

Prelude in c minor from The Well-Tempered Clavier I, BWV 847 (1722)

Lutosławski

Partita (1984)

Quartet in f minor, Op. 80 (1847)

Saint-SaĂŤns

Sonata No. 1 in a minor, Op. 75 (1885)

Mendelssohn

Lambert Orkis, piano Thursday, March 14, 8 pm Hill Auditorium

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Astor Piazzolla Tango del Angel (1957)

With unparalleled distinction in the world of classical music, Anne-Sophie Mutter returns to UMS for her sixth appearance since her 1989 UMS May Festival debut with the Leipzig Gewandhaus Orchestra. With an international career that began at age 13, when Herbert von Karajan invited her to perform with the Berlin Philharmonic, she also devotes time to numerous charity projects and supports the development of young, exceptionally talented musicians. Accompanied by her longtime recital partner, Lambert Orkis, she offers a performance that gives proof to her reputation as one of very best violin virtuosos in the world.

Yo-Yo Ma and The Silk Road Ensemble

3/16 Saturday, March 16, 8 pm Hill Auditorium

The DTE Energy Foundation Educator and School of the Year Awards are made possible by

“Yo-Yo Ma is part modern Marco Polo, an explorer of cultures far beyond his own; part musical missionary, eager to share ideas and make vital connections between peoples.” (The Chicago Tribune) Founded by Yo-Yo Ma in 1998, the Silk Road Project is about “seeing the world’s multiple perspectives, stirring the imagination, getting people to dream.” It has been a catalyst for a new kind of conversation, opening avenues of inter-cultural communication and collaborative thinking. For about 2,000 years the Silk Road was the main conduit for the spread and exchange of goods, ideas, religions, and culture, connecting people from Asia to the Mediterranean. The collective is drawn from internationally renowned musicians who share traditions from various cultures and develop and perform new music and multimedia pieces, exploring and expanding contemporary music crossroads. Yo-Yo Ma believes that “when we enlarge our view of the world, we deepen our understanding of our own lives and culture.”

At this concert, Yo-Yo Ma and the Silk Road Project will be recognized as recipients of the 2013 UMS Distinguished Artists Award, presented as part of the Ford Honors Program. Details about a gala dinner to benefit UMS education and community engagement programs will be announced later this fall.

When Iraqi heritage meets American jazz you get something “hypnotic and utterly unique.” (TimeOut Chicago) Hamid Al-Saadi is a master of the centuriesold tradition of Iraqi maqam, a system of melodic modes in traditional Arabic instrumental and vocal music. He is the only living performer who has mastered all of the compositions of the maqam repertoire. Due to its intricate details, variations, and highly demanding vocal techniques, very few performers master the entire repertoire.

Amir ElSaffar, an Iraqi-American trumpeter, santur player, vocalist, and composer, has distinguished himself with a mastery of disparate musical styles and a singular approach to combining aspects of Middle Eastern music with American jazz, extending the boundaries of each tradition. In 2002, he put his New York jazz career on hold to immerse himself in the music of his father’s ancestral past, the Iraqi maqam, and has made innovative strides in creating a language that reconciles and combines the aesthetics and techniques of jazz and Middle Eastern music. Two Rivers was commissioned by Vijay Iyer, Cecil Taylor, and Daniel Barenboim as a suite that invokes Iraqi musical traditions framed in a modern jazz setting. The resultant sound is new and fresh, differing considerably from other contemporary cross-cultural musical fusions.

This double-bill performance brings together the traditional and the everevolving. As Yo-Yo Ma says, “If we want to preserve a tradition, the best way to preserve it is to let it evolve.”

Hamid Al-Saadi and the Iraqi Maqam Ensemble Hamid Al-Saadi, vocals Baher Al-Rejab, qanun Amir ElSaffar, santur Fadhel Al-Saadi, dumbek Amir ElSaffar’s Two Rivers Amir ElSaffar, trumpet, santur, vocals Ole Mathisen, tenor saxophone Zafer Tawil, oud, percussion Tareq Abboushi, buzuq Carlo DeRosa, bass Nasheet Waits, drums Saturday, March 23, 8 pm Hill Auditorium

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Virtuoso Sp onso rs

Bank of Ann Arbor; Miller, Canfield, Paddock and Stone, P.L.C.; MOSAIC FOUNDATION (of R. & P. Heydon); and University of Michigan Health System

M e d ia Pa rtn e rs

WDET 101.9 FM, WEMU 89.1 FM, and Ann Arbor’s 107one

host e d by

Comerica Bank

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The Ford Honors Program recognizes the longtime and generous support of UMS’s education and community engagement programs by

Hamid Al-Saadi and Amir ElSaffar’s Two Rivers

Darius Milhaud’s Oresteian Trilogy

Agamemnon, Les Choëphores, Les Euménides University Symphony Orchestra UMS Choral Union U-M School of Music, Theatre & Dance Choral Ensembles Kenneth Kiesler, conductor Thursday, April 4, 7:30 pm Hill Auditorium

When Hill Auditorium was first built, UMS was the organization that oversaw the School of Music, a situation that held true until the early 1940s, when UMS transferred oversight of the School of Music to the University of Michigan. To commemorate 100 years of collaboration, we celebrate with a massive orchestral and choral work, Darius Milhaud’s Oresteian Trilogy, set for vocal soloists, chorus, orchestra, and a battery of percussion instruments. Based on the plays by Aeschylus and the only trilogy in Greek drama that has survived from antiquity, it relates the bloody chain of murder and revenge within the royal family of Argos. The work has rarely been performed in its entirety and, as with William Bolcom’s Songs of Innocence and of Experience in 2004, will be recorded for international release. The concert and recording feature ensembles from the University of Michigan School of Music, Theatre & Dance alongside the UMS Choral Union and a cast of soloists, all conducted by U-M’s Kenneth Kiesler.

With her ample talent and beauty, singer, bassist, and composer Esperanza Spalding instantly found herself ranked among the darlings of jazz despite — or perhaps because of — her unusual background. At 15 she left high school and, armed with a GED, entered Portland State University to study music. By age 20, she was one of the youngest faculty members in the history of the Berklee College of Music. At 26, she captured the world’s attention when she was awarded the 2010 Grammy for Best New Artist, the first time the award had gone to a jazz musician in 35 years. After wowing us as a member of Joe Lovano’s “Us Five” Quintet in 2007, she returns with her new album, Radio Music Society, which explores song forms and melodies that are formatted as “pop” songs.

“Whether exploding into vocalese or making her bass solo sound like a horn, she’s a spark plug who dances as she grooves through a funked-up and rockedout repertoire.” (Billboard)

Esperanza Spalding, double bass and vocals Leo Genovese, piano Lyndon Rochelle, drums Jef Lee Johnson, guitar Jeff Galindo and Corey King, trombone Igmar Thomas and Leala Cyr, trumpet Dan Blake, Tia Fuller, and Aaron Burnett, saxophones Cris Turner, backing vocals Saturday, April 6, 8 pm Michigan Theater

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Esperanza Spalding Radio Music Society

The Animals and Children Took to the Streets

4/10-14

Opening Night Post-performance Q&A

Like a graphic novel burst into life, 1927 invites you on a theatrical journey of startling originality.

The Bayou is a feared and loathed part of the city, wherein lies the infamous Bayou Mansions: a sprawling, stinking tenement block where curtain-twitchers and peeping-toms live side by side, where children have gone completely feral, and the wolf is always at the door.

When the idealistic Agnes Eaves and her daughter arrive late one night, does it signal hope in this hopeless place, or has the real horror only just begun?

Seamlessly synchronizing original live music, physical performance, a darkly humorous narrative, and striking video animation, Animals and Children is a visually stunning and wickedly twisted tale of intrigue and paranoia from 1927, the London-based performance company that specializes in combining performance and live music with animation and film.

“A jaw droppingly clever and gloriously subversive parable…1927 conjures a world so complete it feels as if you’ve fallen down a rabbit hole.” (The Guardian)

Recognized as one of the world’s great ensembles, the Takács Quartet plays with a unique blend of drama, warmth, and humor, combining four distinct musical personalities to bring fresh insights to the string quartet repertoire. They return for their 16th UMS performance since 1984 and their first since their terrific three-concert Schubert series two years ago. “Every time one is blown away by the rightness and freshness of everything they do.” (The Guardian) Haydn

Quartet in B-flat Major, Op. 76, No. 4 (“Sunrise”) (1796-97)

Britten

Quartet No. 3 in G Major, Op. 94 (1975)

Beethoven

Quartet in c-sharp minor, Op. 131 (1826)

Friday, April 12, 8 pm Rackham Auditorium

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Richard and Susan Gutow

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1927 Suzanne Andrade, performance poet Paul Barritt, animator Wednesday, April 10, 7:30 pm Thursday, April 11, 7:30 pm Friday, April 12, 8 pm Saturday, April 13, 2 pm & 8 pm Sunday, April 14, 2 pm Performance Network

Takács Quartet

Bobby McFerrin

4/18

Listening to Bobby McFerrin sing may be hazardous to your preconceptions; side effects may include unparalleled joy and a sudden, irreversible urge to lead a more spontaneous existence. The ten-time Grammy Award winner will always be the guy who sang “Don’t Worry, Be Happy,” but his “greatest gift to audiences may be transforming a concert hall into a playground, a village center, a joyous space.” (The Los Angeles Times) What Bobby McFerrin does is not an act; it’s spontaneous invention. His legendary vocal performances have dazzled audiences all over the world and sent them home singing. With his new project, spirit you all, Bobby pays homage to his father (the opera singer Robert McFerrin, Sr.) and the generations of Americans who sang of shared joy and pain through the songs commonly known as the Negro Spirituals. McFerrin says, “Music for me is like a spiritual journey down into the depths of my soul. And I like to think we’re all on a journey into our souls…That’s why I do what I do.”

Firmly established as one of the world’s leading trumpeters, Alison Balsom makes her UMS debut with an evening of supremely beautiful music. Born in 1978, Balsom was recently crowned “Female Artist of the Year” at the Classical BRITs for the second time, and in 2009 she headlined one of classical music’s most celebrated concerts — the last night of the BBC Proms, which reached its biggest ever global TV audience, an estimated 200 million. She is joined by the Scottish Ensemble, the UK’s only professional string orchestra and one that brings an energetic and passionate dynamic to every performance.

Handel

Concerto Grosso in B-flat Major, Op. 6, No. 7 (1739)

Albinoni

Oboe Concerto in B-flat, Op. 7, No. 3 (arr. Balsom) (1712)

Bach

Violin Concerto in E Major (Violin Soloist TBA) (c.1723)

Vivaldi

Violin Concerto in D Major, RV 230 (arr. Balsom) (1711)

Purcell

Dance of the Furies from Dido and Aeneas (1688)

Purcell

Chacony in g minor (1680)

Purcell

Fantasia on One Note (1680)

Biber

Batallia (1673)

Handel

Suite in D Major for Trumpet and Strings (1733)

4/20 The Scottish Ensemble Saturday, April 20, 8 pm Hill Auditorium

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spirit you all Thursday, April 18, 7:30 pm Hill Auditorium

Alison Balsom, trumpet

A Prelude Dinner precedes the performance. Reservations 734.764.8489.

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James and Nancy Stanley and Jay Zelenock and Family

Medi a Partners

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Trojan Women (after Euripides)

Ragamala Dance

4/24

Opening Night Post-performance Q&A

Sacred Earth’s choreography, ranging from contemplative to ecstatic, brings both internal (akam) and external (puram) landscapes to life through two ephemeral visual traditions — kolam floor designs and Warli wall paintings — creating a sacred space and becoming a link between the intimate home and the vastness of the outside world. Kolams are rice flour designs made each morning by women in southern India as conscious offerings to Mother Earth.

The Warli people of western India revere the land and live in perfect coexistence with nature. Using their everyday lives as inspiration, they create dynamic wall paintings that find the spiritual in the everyday.

Sacred Earth reframes the cultural specificity of the Bharatanatyam dance tradition, bringing the eloquence of the form to universal themes in order to spark a global conversation.

The Trojan Women, by the Greek playwright Euripides, was first performed over 2,400 years ago during the Peloponnesian War and is often considered a commentary on the barbaric behavior of the Athenians toward the women and children of the people they subjugated. In the ruins of their burning city, the royal women of Troy — still mourning the slaughter of their husbands and sons — await enslavement and exile. The play is a timeless meditation on the moments of individual choice that separate death and life, despair and hope, future and past.

This adaptation by Jocelyn Clarke isn’t a literal staging of the ancient Greek play, but uses Euripides’ text as a framework, imbuing his characters with the sensibilities and souls of 21st-century individuals. Anne Bogart, the founder of SITI Company and interviewer of Philip Glass and Robert Wilson for last year’s Einstein on the Beach Penny Stamps lecture, directs.

SITI Company Anne Bogart, director Adapted by Jocelyn Clarke Saturday, April 27, 8 pm Sunday, April 28, 2 pm Power Center

Opening Night Post-performance Q&A

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Fu n d e d in pa rt by

Arts Midwest Touring Fund

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P r ese nt e d w i t h suppo rt f ro m

Herbert S. and Carol L. Amster Fund

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Sacred Earth Ranee and Aparna Ramaswamy, co-artistic directors Wednesday, April 24, 7:30 pm Power Center

Choreographers Ranee and Aparna Ramaswamy use the philosophy and myth of Indian traditions to explore the interconnectedness between humans and the landscapes that shape them. Accompanied by live music, the evening builds from silent, meditative beginnings to a thrilling crescendo as the performers surrender to the beauty of the sacred earth that has been given to us to safeguard, cherish, and pass on to future generations.

Shakespeare’s Twelfth Night & The Taming of the Shrew Propeller Ed Hall, director

Power Center

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What will take you by surprise?

UMS Choral Union

Just Announced h a n d e l’ s mess i ah

N at i o n a l T h e at r e Live Season 4 In addition to the live theater events included in this brochure, UMS and the Michigan Theater will again join together to bring high-definition broadcasts from London’s National Theatre during the 2012-2013 season. The season will include productions of Stephen Beresford’s new play, The Last of the Haussmans, as well as The Curious Incident of the Dog in the Night-Time, Timon of Athens, and Othello. Local broadcast details will be announced in August. Additional titles will be announced later this fall.

Residency with the Chiara String Quartet Detroit Symphony Orchestra

Ann Arbor Symphony Orchestra Jerry Blackstone, conductor Saturday, December 1, 8 pm Sunday, December 2, 2 pm Hill Auditorium

Beethoven Symphony No. 9 Leonard Slatkin, conductor Thursday, February 21, 7:30 pm Friday, February 22, 8 pm Saturday, February 23, 8 pm Sunday, February 24, 3 pm Orchestra Hall, Detroit

Tickets: 734.764.2538, www.ums.org

Detroit Symphony Orchestra

Tickets: 313.576.5111, www.dso.org

Leonard Slatkin, conductor Sunday, January 13, 4 pm Hill Auditorium

Detroit Symphony Orchestra

Tickets: 734.764.2538, www.ums.org

Darius Milhaud’s Oresteian Trilogy University Symphony Orchestra Choral Ensembles from the U-M School of Music, Theatre & Dance Kenneth Kiesler, conductor Thursday, April 4, 7:30 pm Hill Auditorium Tickets: 734.764.2538, www.ums.org

Ives Symphony No. 4 Leonard Slatkin, conductor Sunday, April 28, 3 pm Orchestra Hall, Detroit Tickets: 313.576.5111, www.dso.org

Celebrating the 50th Anniversary of the UMS Chamber Arts Series Special Free Community Concert: Friday, October 19, 8 pm Location and program TBA In celebration of the 50th Anniversary of the UMS Chamber Arts Series, the Chiara Quartet, lauded for its “highly virtuosic, edge-of-the-seat playing” (The Boston Globe), will take chamber music out of the concert hall and into the streets during a three-day educational and community residency. While in residence, the Chiara will work with young musicians from Ann Arbor and Detroit and with students at the University of Michigan. The residency culminates with a free community concert in an “unconventional” venue in Ann Arbor. The residency is presented in collaboration with local chapters of Classical Revolution, whose goal is to make chamber music open, accessible, and fun by bringing it directly into our neighborhoods.

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To audition, call 734.763.8997 or email choralunion@umich.edu.

Handel’s Messiah

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The UMS Choral Union, UMS’s Grammy Award-winning chorus, is best known locally for its annual performances of Handel’s Messiah. The volunteer ensemble also performs throughout southeastern Michigan each year under the direction of Jerry Blackstone and other conductors.

ko d o

UMS Kids Club and Family-Friendly Performances M a r i ac h i Va rg a s d e T ec a l i t l á n

All Ages

Ages 12 and up (middle school)

Ages 14 and up (high school)

Aspen Santa Fe Ballet One-Hour Family Performance Sat, Oct 6

Murray Perahia, piano Sat, Oct 20

Kidd Pivot: The Tempest Replica Fri-Sat, Sep 21-22

Handel’s Messiah Sat-Sun, Dec 1-2

Mariinsky Orchestra of St. Petersburg Sat, Oct 27

Ages 8 and up (3rd grade)

Dianne Reeves Quartet with Raul Midón Sat, Dec 8

Belcea Quartet Sun, Nov 11

Aspen Santa Fe Ballet Sat-Sun, Oct 6-7

U M S K ids C lub Open to students in grades 3-12 and encompassing the entire UMS season, the UMS Kids Club allows families to purchase up to two kids’ tickets for $10 each with the purchase of at least one adult ticket for $20. See age recommendations at right.

Please remember that children under 3 are only allowed to attend UMS Family Performances.

Kodo Fri, Feb 15 1927: The Animals and Children Took to the Streets Wed-Sun, Apr 10-14 Ragamala Dance: Sacred Earth Wed, Apr 24

Jazz at Lincoln Center Orchestra with Wynton Marsalis Thu, Jan 31 The King’s Singers Thu, Feb 14 Amjad Ali Khan, sarod Sat, Feb 16 Bobby McFerrin: spirit you all Thu, Apr 18 Alison Balsom, trumpet and the Scottish Ensemble Sat, Apr 20

From Cass Corridor to the World Mon, Jan 21 New Century Chamber Orchestra Sat, Feb 2 Berlin Philharmonic Wind Quintet Sat, Feb 9 New York Philharmonic Sat-Sun, Feb 23-24 Propeller: Shakespeare’s Twelfth Night and The Taming of the Shrew Wed-Sun, Feb 20-24 Artemis Quartet Wed, Mar 13 Anne-Sophie Mutter, violin Thu, Mar 14

UMS Family Programs are sponsored by

Esperanza Spalding: Radio Music Society Sat, Apr 6 SITI Company: Trojan Women (after Euripides) Sat-Sun, Apr 27-28

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UMS Kids Club tickets for the entire season will go on sale beginning Tuesday, September 4 (rather than two weeks before each concert). Seating is subject to availability and box office discretion, but UMS guarantees that at least 30 tickets will be available for each event (opening night for multiple performance runs). Act early to lock in your tickets. Kids Club tickets will not be mailed and must be picked up at will-call, with the student present.

While parents are the best judges about what’s age-appropriate for their own children, UMS offers these recommendations to guide you through our season. If in doubt, feel free to contact the UMS Ticket Office, who will be happy to put you in touch with a staff member with children to discuss whether an event might be appropriate for your family.

1 9 2 7 : T he A n i mals an d C h i l d ren T o o k t o the S treets

Martha Graham Dance Company Fri-Sat, Jan 25-26

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New this year.

F amily F riendly O pportunities

Mariachi Vargas de Tecalitlán Sun, Jan 27

Gilberto Gil Fri, Nov 16

What will inspire young minds?

Youth education is at the heart of UMS’s mission.

Through experiences with the performing arts, we are helping to create the next generation of global citizens who understand and appreciate diversity, creativity, collaboration, and self-expression. We open

truly possible.

This work is possible through your support of UMS, your support of teachers and arts initiatives in your district, and your belief in the performing arts as an absolutely vital component of the educational experience.

To learn how to involve your child’s school in our K-12 educational program, visit www.ums.org/learn.

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allowing them to see what is

Last season, we welcomed over 10,000 youth to school day performances, introducing them to artists from around the globe. We also supported area teachers in bringing the arts into the classroom by providing curriculum connections, teacher resource guides, and workshops in cultural literacy, specific art forms, and arts integration. Through our Teacher Insight Group, we stay aware of changing trends in the classroom, changing resources, and new opportunities for learning.

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new worlds for each student,

Education experiences for youth

e i nste i n o n the beach

What will you discover?

Education experiences for all p o s t- s h o w q&as with artists

Look for the education icon on artist pages

ums on film

At UMS, our mission is to harness the power of the performing arts to enrich our community, individuals, and society. We aim to break down the fourth wall on the stage, bringing experiences to people of all ages and access to some of the most talented artists on the globe. Each season, we offer a spectrum of interactive

connect you to interesting people and unexpected ideas, and bring you closer to the heart of the artistic experience.

UMS on Film is presented in collaboration with the U-M Museum of Art. Icons Among Us: Jazz in the Present Tense

Messiah

(2010, Lars Larson, Michael Rivoira & Peter J. Vogt , 93 min.)

Wednesday, September 19, 6 pm

(1999, William Klein, 117 min.)

Tuesday, November 27, 7 pm

Jazz is undergoing changes of monumental magnitude and importance. Icons Among Us examines the jazz music scene today by focusing the spotlight on many current jazz icons, including Terence Blanchard, Ravi Coltrane, Robert Glasper, Donald Harrison Jr., Anat Cohen, and Esperanza Spalding, among others. The film also features the legendary predecessors and influences of today’s contemporary jazz stars, including Herbie Hancock and Wynton Marsalis.

The film is followed at 8 pm by the UMMA Jazz Series: Pete Siers Organ Trio in the Forum.

Rite of Spring Mash-Up Tuesday, October 9, 7 pm In celebration of the 100th anniversary of the explosive debut of Stravinsky’s The Rite of Spring, UMS will screen versions of the work from different choreographers.

Photographer-filmmaker William Klein takes on Handel’s Messiah, creating a gorgeous concert-film that mixes the sacred with the profane. Performed in its entirety and conducted by Mark Minkowski, the oratorio provides a narrative of Christ’s nativity, passion, and resurrection juxtaposed against images of the absurdities of and abuses against humans around the world. The film reveals a wide array of worshippers, from the Bodybuilders of Christ to the Lavender Light Gay and Lesbian Interracial Choir and the Dallas police choir.

Part of the UMMA film series presented in conjunction with the exhibition “Benjamin West: General Wolfe and the Art of Empire” (September 22, 2012-January 13, 2013), exploring ideas of the hero and the iconic.

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For a full listing of our education events and opportunities, please visit www.ums.org.

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you in and out of your comfort zone,

A series of films that expand our understanding of the artists and cultures represented on the UMS season and reveal the emotions and ideas behind the creative process. Films are screened in the U-M Museum of Art Stern Auditorium (525 S. State Street).

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educational activities designed to draw

Where does inspiration come from? What makes an artist tick? After all opening night dance performances and most opening night theater performances, join us for a post-performance Q&A and get a glimpse into the lives and minds of the artists that bring creativity to the stage. These opportunities can be found throughout the performance pages indicated by our education icon. Must have a ticket to that evening’s performance to attend.

B e P resent

h a n d e l’ s mess i ah

What can the arts do for you?

There are many ways to support UMS. m a rt h a g r a h a m da n c e co m pa n y

artist

Annual gifts of any size help to cover the costs of the performances and educational programs you enjoy each year.

To make a gift, you may send a check payable to UMS to: UMS Development Burton Memorial Tower 881 North University Avenue Ann Arbor, MI 48109-1011

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For more information about UMS giving opportunities, please contact Margaret McKinley, Director of Development, at 734.647.1177 or margiem@umich.edu.

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UMS exists to connect. We connect individuals to creativity. We connect passion with performance. We connect artists to willing participants.

We connect community members to community members. We connect youth to possibility. And we hope to connect individuals with their own inner selves in ways they were not expecting. All of this takes generous support from our community.

Charitable estate gifts, including bequests, charitable remainder trusts, and annuities, are used as directed by the donor to support UMS in a single season or to create an endowment to support the organization in perpetuity.

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UMS represents something fundamental and essential to our community, to individuals, and to an enriched life. We believe that live performance at its highest level defines a community’s greatest characteristics: giving, sharing, embracing creativity, and seeing the best in humanity.

Endowment gifts help to secure UMS for future generations. The principal is invested and a portion of the investment income is made available each year to support UMS programs. The remaining investment income is reinvested in the endowment to provide growth over time. Any size gift may be added to the UMS endowment. A minimum gift of $25,000 allows you to establish an endowment in your name or the name of someone you wish to honor or remember.

Tickets & info

H e l pf u l T i p s f o r a Hassle-Free Experience P l e a s e m a k e s u r e w e h av e yo u r e - m a i l a d d r e ss o n f i l e UMS regularly sends updated concert-related parking and late seating information via e-mail a few days before each event. Please be sure that we have your e-mail address on file so that you receive these helpful communications.

A l l T i ck e t s O n S a l e B e g i n n i n g M o n d ay, A u g u s t 6 , at 1 0 a m !

refunds

Donors of $500+ m ay o r d e r t i ck e t s b e g i n n i n g M o n d ay, J u ly 3 0 , at 1 0 a m .

UMS will not cancel performances or refund tickets because of inclement weather, unless the University of Michigan closes. An artist may choose to cancel a performance if weather prevents the artist’s arrival in Ann Arbor, but that decision rests solely with the artist and not with UMS.

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.

Ticket Exchanges

how to order

web

ums.org phone

734.764.2538 Outside the 734 area code, call toll-free 800.221.1229 fa x

734.647.1171

mail UMS Ticket Office Burton Memorial Tower 881 North University Avenue Ann Arbor, MI 48109-1011

summer hours 10 am to 5 pm Mon-Fri Closed Sat and Sun

in person Please visit the Ticket Office on the north end of the Michigan League building (911 North University Avenue).

9 am to 5 pm Mon-Fri 10 am to 1 pm Sat Performance hall ticket offices open 90 minutes before performance start time.

hours Beginning Tuesday, September 4

The Ticket Office also sells tickets for all U-M School of Music, Theatre & Dance productions and the Ann Arbor Summer Festival.

fees Service fees of $2.50-$6.00 per ticket apply to all internet and phone orders. There are no fees for tickets purchased at the League Ticket Office or at the venue immediately before the performance. groups of 10 or more

UMS will also accept ticket exchanges within 48 hours of the performance for a $10 per ticket exchange fee (applies to both subscribers and single ticket buyers). Tickets must be exchanged at least one hour before the published start time. Tickets received less than one hour before the performance will be returned as a donation.

The value of the ticket(s) may be applied to another performance or will be held as UMS Credit until the end of the 2012-2013 season.

Credit must be redeemed by April 28, 2013.

Exchanges within 48 hours of the performance are subject to a $10 per ticket exchange fee (applies to both subscribers and single ticket buyers). Tickets must be exchanged at least one hour before the published concert time. Tickets received less than one hour before the performance will be returned as a donation.

T i c k e t D o n at i o n s / U n u s e d T i c k e t s Unused tickets may be donated to UMS until the published start time of the concert. A receipt will be issued for tax purposes.

Please consult your tax advisor. Unused tickets that are returned after the performance are not eligible for UMS Credit or as a contribution/donation.

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.

C h i l d r e n a n d Fa m i l i e s Children under the age of three will not be admitted to regular UMS performances. All children attending 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 pages 62-63 for information about family-friendly performances and the UMS Kids Club.

A c c e ss f o r P e o p l e w i t h D i s a b i l i t i e s Accessible parking is provided in University of Michigan parking structures for those with a state-issued disability permit or a U-M handicap verification permit. There is a drop-off area near Hill Auditorium and Rackham Auditorium, and inside the Power Center structure. For more information, please contact the UMS Ticket Office at 734.764.2538.

All UMS venues have barrier-free entrances for persons with disabilities. Patrons with disabilities or special seating needs should notify the UMS Ticket Office of those needs at the time of ticket purchase. UMS will make every effort to accommodate special needs brought to our attention at the performance but requests that these arrangements be made in advance, if at all possible.

Seating spaces for wheelchair users and their companions are located throughout each venue, and ushers are available to assist patrons, if needed. Several venues also have wheelchairs to assist patrons to their seats. Please explain to the usher how best to assist you.

Assistive listening devices are available in Hill Auditorium, Rackham Auditorium, Lydia Mendelssohn Theatre, and the Power Center. Earphones may be obtained upon arrival. Please ask an usher for assistance.

S ta r t T i m e & L at e c o m e r s UMS makes every effort to begin concerts at the published start time. Latecomers will be asked to wait in the lobby and will be 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 to other patrons and the artists on stage.

Please allow extra time to park and find your seats.

A note about performance times: All Monday-Thursday performances begin at 7:30 pm. Please be advised that dance and theater performances often have a “no late seating” policy. UMS often doesn’t learn a specific company’s late seating policy until a few weeks before the performance and makes every effort to contact ticket buyers via e-mail if there will be no late seating. Be sure the Ticket Office has your e-mail address on file.

V e n u e S e at M a p s Seat maps of all UMS venues are available at www.ums.org/visit/venues.

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Exchanged tickets must be received by the Ticket Office (by mail or in person) at least 48 hours prior to the performance. You may also fax a photocopy of your torn tickets to 734.647.1171, or e-mail a photo to umstix@umich.edu.

Detailed directions and parking information will be mailed with your tickets and are also available at www.ums.org.

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Groups of 10 or more people to a single performance may purchase tickets now and save 15-25% off the regular ticket prices to most performances. For more information, contact the UMS Group Sales Office at 734.763.3100 or umsgroupsales@umich.edu.

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.

Pa r k i n g / Pa r k i n g T i p s

St. Francis of Assisi Catholic Church (SF)

Arthur Miller Theatre (AMT)

b

2250 East Stadium Boulevard

1226 Murfin Avenue

Basiani Gabriel Kahane & Friends Thursday, October 4 Thursday-Friday, January 17-18 The King’s Singers Thursday, February 14

d

e

Pricing levels apply to all venues.

S TA G E

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National Theatre of Scotland: The Strange Undoing of Prudencia Hart Tuesday-Sunday, January 8-13

M I C H I G A N T H E AT E R

5

1927: The Animals and Children Took to the Streets Wednesday-Sunday, April 10-14

2

3

Performance Network (PN)

720 Norris Street, Ypsilanti

c

6 0 3 e . l i b e r t y s t.

S TA G E

120 East Huron Street

a

m i c h i g a n t h e at e r

1 2 1 f l e t c h e r s t.

POWER CENTER

Corner Brewery (CB)

Pricing levels

power center

6

10

A

Seat Maps

general admission

MAIN FLOOR

9

7

8 BALCONY

MAIN FLOOR

Power Center (P) Kidd Pivot: Tempest Replica Friday-Saturday, September 21-22

Hill Auditorium

Aspen Santa Fe Ballet Saturday-Sunday, October 6-7

8 2 5 n . u n i v e r s i t y av e .

HILL AUDITORIUM

HILL AUDITORIUM

HILL AUDITORIUM

S TA G E

S TA G E

S TA G E

4

5

3

4

4

2

1

2

3

5

3

4

10

9

6

10

11

16

9

MEZZANINE

16 21

15 20

19

4

18

17

BALCONY

21

15 20

7

6

10

11

16

9

SITI Company: Trojan Women (after Euripides) Saturday-Sunday, April 27-28

Dave Holland Big Band Saturday, November 17 Esperanza Spalding Radio Music Society Saturday, April 6

6

7

8

MEZZANINE

12

13 19

1

Ragamala Dance: Sacred Earth Wednesday, April 24

Michigan Theater (MT)

MAIN FLOOR

8

14

Propeller: Twelfth Night and Taming of the Shrew Wednesday-Sunday, February 20-24

2

3

MEZZANINE

12

13

14

5

BALCONY

Martha Graham Dance Company Friday-Saturday, January 25-26

2

3

MAIN FLOOR

7

8

1

2

3

MAIN FLOOR

4

2

Théâtre de la Ville: Rhinocéros Thursday-Saturday, October 11-13

18

17

BALCONY

21

15

13

14

20

19

12

18

11

r a ck h a m a u d i t o r i u m

Ly d i a M e n d e l s s o h n T h e at r e

9 1 5 e . w a s h i n g t o n s t.

9 1 1 N . U n i v e r s i t y AV E .

17

RACKHAM AUDITORIUM

S TA G E

S TA G E

BALCONY

LY D I A M E N D E L S S O H N T H E AT R E

1

3

Hill Auditorium (H2)

Hill Auditorium (H3)

Chicago Symphony Orchestra Thursday, September 27

Murray Perahia, piano Saturday, October 20

Dianne Reeves with Raul Midón Saturday, December 8

Mariinsky Orchestra Saturday, October 27

Gilberto Gil Friday, November 16

Handel’s Messiah Saturday-Sunday, December 1-2

Jazz at Lincoln Center Orch/Marsalis Thursday, January 31

From Cass Corridor to the World: A Tribute to Detroit’s Musical Golden Age Monday, January 21

Detroit Symphony Orchestra Sunday, January 13

Kodo Friday, February 15

Handel’s Radamisto Sunday, February 17

Anne-Sophie Mutter, violin Thursday, March 14

New York Philharmonic Saturday-Sunday, February 23-24

Yo-Yo Ma/Silk Road Ensemble Saturday, March 16

Milhaud’s Oresteian Trilogy Thursday, April 4

Bobby McFerrin: spirit you all Thursday, April 18 Alison Balsom/Scottish Ensemble Saturday, April 20

Mariachi Vargas de Tecalitlán Sunday, January 27 Angélique Kidjo Friday, February 1 Amjad Ali Khan, sarod Saturday, February 16 Hamid Al-Saadi Iraqi Maqam Ensemble and Amir ElSaffar’s Two Rivers Saturday, March 23

8

4 7

5 6 ORCHESTRA

Rackham Auditorium (R) Jerusalem Quartet Wednesday, October 10 Belcea Quartet Sunday, November 11 New Century Chamber Orchestra Saturday, February 2 Berlin Philharmonic Woodwind Quintet Saturday, February 9 Artemis Quartet Wednesday, March 13 Takács Quartet Friday, April 12

BALCONY

Lydia Mendelssohn Theatre (LMT) Suzhou Kun Opera Theater of Jiangsu Province Friday-Saturday, September 28-29

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Hill Auditorium (H1)

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Credits Sp e c i a l t h a n k s t o t h e f o l l o w i n g s u pp o r t e r s Arts Midwest’s Touring Fund Ragamala Dance is funded in part by the Arts Midwest Touring Fund, a program of Arts Midwest, funded by the National Endowment for the Arts, with additional contributions from Michigan Council for Arts and Cultural Affairs, General Mills Foundation, and Land O’Lakes Foundation.

D o r i s D u k e C h a r i ta b l e F o u n d at i o n E n d o w m e n t F u n d Special project support for several components of the 2012-2013 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.

T h e A n d r e w W . M e l l o n F o u n d at i o n Special project support for classical music offerings, as well as commissioning and associated residency activities, is provided by The Andrew W. Mellon Foundation as part of a multi-year grant to UMS.

Michigan Humanities Council Educational programs for 100 Years of UMS in Hill Auditorium are funded in part by the Michigan Humanities Council, an affiliate of the National Endowment for the Humanities. Any views, findings, conclusions, or recommendations expressed in this project do not necessarily represent those of the National Endowment for the Humanities or Michigan Humanities Council.

u m s l o bb y. o r g Join us in the Lobby!

Engage more fully with all that is UMS on The Lobby, where you can gain access to the behind-the-scenes activities that keep us humming year-round. Visit www.umslobby.org to explore our multimedia blog, visit the archives, and participate in conversation, offering up your own observations or opinions and learning from others.

N at i o n a l E n d o w m e n t f o r t h e A r t s Special project support for the Chicago Symphony, the Martha Graham Dance Company, and Propeller is provided by the National Endowment for the Arts. Art Works.

UMS is grateful to the Doris Duke Charitable Foundation for supporting the UMS Lobby as part of its “Continuing Innovation” grant program.

University of Michigan The University of Michigan provides special project support for many activities in the 2012-2013 season through the U-M/UMS Partnership Program. Additional support is provided by the University of Michigan Health System, the U-M Office of the Vice President for Research, the U-M Office of the Senior Vice Provost for Academic Affairs, Arts at Michigan, the Confucius Institute, and many other individual academic units.

Wa l l ac e E n d ow m e n t F u n d

ums.org WWW.UMS.ORG has a brand-new look and continues to be an information hub for all UMS services and performance information. Visit to view the 2012-2013 season calendar, learn more about the artists we’re presenting, and purchase tickets.

The Théâtre de la Ville production of Ionesco’s Rhinocéros 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.

m e d i a pa rt n e r s

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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.

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youtube.com/umsvideos

P h o t o c r e d i t s Cover (front & back): Kidd Pivot by Jorg Baumann. Pg 2: Esperanza Spalding by Carlos Pericas. Pg 4: The English Concert by Richard Haughton. Pg 10: Kidd Pivot by Jorg Baumann. Pg 11: Gilberto Gil by Marcos Hermes; Alison Balsom by Chris Dunlop, EMI Classics. Pg 12-13: Ionesco’s Rhinocéros by Jean-Louis Fernandez. Pg 14: Kidd Pivot by Jorg Baumann. Pg 15: Riccardo Muti by Todd Rosenberg. Pg 18: Aspen Santa Fe Ballet by Rosalie O’Connor. Pg 19: Jerusalem Quartet by Felix Broede. Pg 20: Ionesco’s Rhinocéros by Jean-Louis Fernandez. Pg 21: Murray Perahia by Felix Broede. Pg22: Rite of Spring by Francette Levieux. Pg 24: Gilberto Gil by Jorge Bispo. Pg 25: Dave Holland by Mark Higashino. Pg 26: Handel’s Messiah by Mark Gjukich. Pg 27: Dianne Reeves by Christian Lantry. Pgs 28-29: Yo-Yo Ma by Todd Rosenberg; Silk Road Ensemble by Max Whittaker; Silk Road Ensemble by Todd Rosenberg. Pg 30: National Theatre of Scotland by Drew Farrell. Pg 31: Frieze Memorial Organ by Mark Gjukich.

Pg 34: Martha Graham Dance Company by Costas. Pg 36: Wynton Marsalis by Clay McBride. Pg 37: Angélique Kidjo by Nabil Elderkin. Pg 38: New Century Chamber Orchestra by Jim Block. Pg 39: Berlin Philharmonic Wind Quintet by Peter Adamik. Pg 40: The Kings Singer’s by Alex McNaughton. Pg 41: Kodo by Takashi Okamoto. Pg 43: David Daniels by Robert Recker. Pg 44: Propeller by Manuel Harlan.

Pg 46: Artemis Quartet by Boris Streubel. Pg 47: Anne-Sophie Mutter by Harald Hoffman. Pg 48: Yo-Yo Ma by Michael O’Neill. Pg 51: Esperanza Spalding by Carlos Pericas, courtesy Montuno. Pg 53: Takács Quartet by Ellen Appel. Pg 54: Bobby McFerrin by Carol Friedman. Pg 55: Alison Balsom by Mat Hennek, EMI Classics. Pg 56: Ragamala Dance by Ed Bock. Pg 58-59: Propeller by Manuel Harlan. Pg 61: National Theatre Live by Catherine Ashmore; Chiara String Quartet by Christian Steiner; Chiara String Quartet by Liz Linder. Pg 63: Kodo by Takashi Okamoto. Pg 64-65: UMS Youth Education activities by Mark Gjukich. Pg 66: Cloud Gate Dance Theatre Calligraphy Workshop by Mark Gjukich. Pg 67: Handel’s Messiah by Mark Gjukich. Pg 69: Martha Graham Dance Company by Costas.

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UMS is a member of the University of Michigan Arts Consortium, the Arts Alliance, and the Cultural Alliance of Southeastern Michigan.

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Non-Profit Organization U.S. Postage Paid

Burton Memorial Tower

Ann Arbor, MI

University of Michigan

Permit No. 27

881 North University Avenue Ann Arbor, MI 48109-1011

www . u m s . o r g Publication Date: July 2012