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p h o t o : A k a d e m i e f 端 r A lt e M u s i k B e r l i n

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1 3 5 th s e a s o n

2 0 1 3 -2 0 1 4 season photo: blind summit

Surprising.

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I n v i g o r at i n g .

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Disruptive. Inspiring. C a p t i v at i n g .

These are just a few of the words we heard when asking audiences for their impressions immediately following performances they experienced last season. This instant reaction gets to the heart of what it means to be present: to be there, in person with neighbors and friends, interacting with some of the best performers in the world in the extraordinary conversation between artist and audience. This emotional dialogue is why we exist: affecting, teaching, and helping individuals grow. This year, the season’s performances go even one step beyond. Some traditional. Some outside the lines. All designed to move you. We have many ways to connect. But only if you choose to be present.


2013-20 14 ser i es

Connection The performing arts are not a oneway experience, but a conversation in which you participate. Our programs feature audience participation events, online dialogue through umslobby.org, community events, and so much more. We hope UMS lives beyond the walls of our venues and becomes part of your thinking, your memories, and your lives.

learning 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 fun and fascinating lineup of workshops, artist Q&As, film screenings, conversations, and interactive experiences to draw you in and out of your comfort zone, connect you to interesting people and unexpected ideas, and bring you closer to the heart of the artistic experience. Through our K-12 and university engagement programs, we are developing the next generation of global citizens and creative artists. We exist to create a spark in each person, young and old alike, exposing them to things they haven’t seen before, and leaving them with a lifelong passion for creativity and the performing arts.

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I n t e r v i e w i n g b a s s i s t R o b e r t H u r s t at D e t r o i t S c h o o l o f A r t s b e f o r e C a s s C o r r i d o r s c h o o l- d ay p e r f o r m a n c e

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G i f t s o f A r t at U - M H o s p i ta l

Performances The center of all that is UMS. We believe in the power of worldclass performing arts to inspire, transform, and connect individuals with transcendent experiences. From the illustrious to the unknown, from the traditional to the experimental, UMS opens the doors to a fascinating journey, full of new discoveries.

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w h at will you discover?

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1 3 5 th s e a s o n

2 0 1 3 -2 0 1 4 calendar SEPTEMBER 6

Jason Moran’s Fats Waller Dance Party

Jazz, Series:You

15

Audra McDonald

Choral Union, Series:You

18–21

Complicite and Setagaya Public Theatre: Shun-kin

Theater, Series:You

27–28

Hubbard Street Dance Chicago: One Thousand Pieces

Dance, Series:You

october 10

Chanticleer Series:You

11

Buika

Global, Series:You

12

Takács Quartet

Chamber Arts

18

Chris Thile Series:You

25

András Schiff, piano: Bach’s Goldberg Variations

Choral Union, Series:You

26–27

The Manganiyar Seduction

Global, Series:You

29–Nov 2

Blind Summit: The Table

Theater, Series:You

1–2

Ballet Preljocaj: And Then, One Thousand Years of Peace

Dance, Series:You

3

Apollo’s Fire: Bach’s Brandenburg Concerti

Choral Union, Series:You

9

Steve Lehman Octet

Jazz, Series:You

12

Ukulele Orchestra of Great Britain Series:You

13

Hagen Quartet

Chamber Arts, Series:You

16

San Francisco Symphony: Mahler’s Symphony No. 3 Michael Tilson Thomas, conductor

Choral Union

24

Brooklyn Rider with Béla Fleck

Chamber Arts, Series:You

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november

6

december 7–8

Handel’s Messiah Series:You


2013 -2014 ca l enda r

january 7–12

Bullet Catch

15–16

Colin Stetson Series:You

17–18

Kronos Quartet

Chamber Arts, Series:You

26

Denis Matsuev, piano

Choral Union, Series:You

30

Fred Hersch Trio

Jazz, Series:You

5

Ariel Quartet with Alisa Weilerstein, cello

Chamber Arts, Series:You

6

Kremerata Baltica Gidon Kremer, violin

Choral Union, Series:You

7

One Night in Bamako Bassekou Kouyaté & Ngoni Ba and Fatoumata Diawara

Global, Series:You

14

St. Lawrence String Quartet

Chamber Arts

14–15

Compagnie Käfig

Dance, Series:You

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Joshua Bell, violin

Choral Union, Series:You

19-22

Théâtre des Bouffes du Nord: Can Themba’s The Suit Directed by Peter Brook

Theater, Series:You

22

St. Petersburg Philharmonic Yuri Temirkanov, conductor Denis Kozhukhin, piano

Choral Union

14

Alfredo Rodríguez Trio and the Pedrito Martinez Group

Global, Series:You

15

Israel Philharmonic Orchestra: Bruckner’s Symphony No. 8 Zubin Mehta, music director

Choral Union

18

Elias Quartet

Chamber Arts, Series:You

20

Tara Erraught, mezzo-soprano

Choral Union, Series:You

21

Asif Ali Khan Qawwali Music of Pakistan

Global, Series:You

25

Wendy Whelan: Restless Creature

Dance, Series:You

27

Tenebrae Series:You

30

Jazz at Lincoln Center Orchestra with Wynton Marsalis

Theater, Series:You

february

march

UMS Choral Union: Brahms’ German Requiem Series:You

10

Los Angeles Guitar Quartet Series:You

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Akademie für Alte Musik Berlin

Choral Union, Series:You

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april

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Jazz, Series:You

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13 5th a n n ua l

choral union Series

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Audra McDonald

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Audra McDonald

Apollo’s Fire

Andy Einhorn, piano University Symphony Orchestra Kenneth Kiesler, conductor Sunday, September 15, 4 pm Hill Auditorium

Jeannette Sorrell, music director and harpsichord Sunday, November 3, 4 pm Hill Auditorium

Audra McDonald is blessed with a luminous soprano and an incomparable gift for dramatic storytelling. She kicks off the 20132014 UMS Choral Union Series with a program featuring a variety of songs and Gershwin arrangements, accompanied by pianist Andy Einhorn and the University Symphony Orchestra.

A n d r ĂĄ s S c h i f f, p i a n o Friday, October 25, 8 pm Hill Auditorium program

Bach Goldberg Variations, BWV 988 (1741)

program

Bach Brandenburg Concerto No. 2 in F Major, BWV 1047 (1717-18) Bach Brandenburg Concerto No. 3 in G Major, BWV 1048 (1711-13) Bach Brandenburg Concerto No. 4 in G Major, BWV 1049 (1720) Bach Brandenburg Concerto No. 5 in D Major, BWV 1050 (1720-21) Bach Brandenburg Concerto No. 6 in B-flat Major, BWV 1051 (1708-10)


13 5th a n n ua l

c h o r a l u nio n s eries

San Francisco Symphony Michael Tilson Thomas, conductor Sarah Cooke, mezzo-soprano Women of the UMS Choral Union Saturday, November 16, 8 pm Hill Auditorium

Z u b i n M e h ta

program

Mahler

Symphony No. 3 in d minor (1893-96)

Haydn Schumann Rachmaninoff Rachmaninoff Tchaikovsky Tchaikovsky Rachmaninoff

Sonata in E-flat Major, Hob. XVI: 52 (1794) Carnaval, Op. 9 (1834-35) Prelude in g minor, Op. 23, No. 5 (1903) Prelude in g minor, Op. 32, No. 12 (1910) Dumka (Russian Rustic Scene), Op. 59 (1886) Meditation, Op. 72, No. 5 (1893) Sonata No. 2 in b-flat minor, Op. 36 (1913/31)

K r e m e r ata B a lt i c a Gidon Kremer, violin and conductor Thursday, February 6, 7:30 pm Hill Auditorium Program

Pärt Britten Shostakovich Shostakovich Britten

Cantus in Memory of Benjamin Britten (1977) Young Apollo (1939) Violin Sonata, Op. 134 (1968)* Viola Sonata, Op. 147 (1975)* Variations on a Theme of Frank Bridge, Op. 10 (1937)

Joshua Bell, violin Sunday, February 16, 4 pm Hill Auditorium Often referred to as a “poet of the violin,” Joshua Bell enchants audiences with his breathtaking virtuosity, sheer beauty, and charismatic stage presence. Program and pianist to be announced.

S t. P e t e r s b u r g P h i l h a r m o n i c Yuri Temirkanov, conductor Denis Kozhukhin, piano Saturday, February 22, 8 pm Hill Auditorium program

Rimsky-Korsakov Kancheli Tchaikovsky

Legend of the Invisible City of Kitezh (excerpts) (1905) …al niente (2000) Piano Concerto No. 1 in b-flat minor, Op. 23 (1874-75)

Zubin Mehta, music director Saturday, March 15, 8 pm Hill Auditorium program

Bruckner

Symphony No. 8 in c minor (1890 version)

Ta r a E r r a u g h t, m e zz o - s o p r a n o Henning Ruhe, piano Thursday, March 20, 7:30 pm Hill Auditorium Her career started with an unexpected debut, replacing an ailing colleague and scoring great acclaim as Romeo in Bellini’s I Capuleti e i Montecchi at Bavarian State Opera. The rest is history. UMS brings this Irish-born mezzo-soprano to Hill Auditorium for her area debut, which will include works by Brahms, Dvořák, Fauré, R. Strauss, and Rossini.

A k a d e m i e f ü r A lt e M u s i k B e r l i n Sunday, April 13, 4 pm Hill Auditorium program

J.S. Bach Sinfonia in F Major, BWV 1046a (1713) W.F. Bach Concerto in f minor for Harpsichord, Strings, and Basso Continuo (b.1710) C.P.E. Bach Sinfonia No. 5 in b-flat minor for Strings and Basso Continuo (b.1714) C.P.E. Bach Concerto in E-Flat Major for Oboe, Strings, and Basso Continuo (b.1714) J.S. Bach Symphony in g minor Op.6 , No. 6 for Strings, Two Oboes, Two Horns, and Basso Continuo * denotes arrangement

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Mezzanine

$570 / $470

Balcony

$390 / $330 / $110

For further artist and concert details, visit www.ums.org or pages 16-29 of this brochure.

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program

Israel Philharmonic Orchestra

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Sunday, January 26, 4 pm Hill Auditorium

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D e n i s M at s u e v, p i a n o

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5 1 s t a n n ua l

chamber arts Series

Hagen Quartet

Ta k á c s Q u a r t e t Saturday, October 12, 8 pm Rackham Auditorium Program

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Beethoven Quartet in c minor, Op. 18, No. 4 (1799) Janácek Quartet No. 2 (“Intimate Letters”) (1928) Smetana Quartet No. 1 in e minor (“From My Life”) (1876)

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Hagen Quartet Wednesday, November 13, 7:30 pm Rackham Auditorium Program

Beethoven Quartet in D Major, Op, 18, No. 3 (1798-99) Beethoven Quartet in A Major, Op, 18, No. 5 (1799) Beethoven Quartet in E-Flat Major, Op. 127 (1823-24)

B r o o k ly n R i d e r Béla Fleck, banjo Sunday, November 24, 4 pm Rackham Auditorium The adventurous, intrepid string quartet Brooklyn Rider combines a wildly eclectic repertoire with a gripping performance style that attracts legions of fans, and their UMS program celebrates their collaboration with legendary banjo virtuoso Béla Fleck. Moving seamlessly between their diverse worlds, these five musicians unveil a rich range of possibilities for this untapped combination. The program is anchored by Night Flight on Water, Fleck’s new quintet for banjo and string quartet, as well as works from Brooklyn Rider’s signature repertoire, solo music by Béla, and other collaborative surprises.


5 1 s t a n n ua l

chamb er a rts ser i es

B r o o k ly n R i d e r

Kronos Quartet

S t. L a w r e n c e S t r i n g Q u a r t e t

Friday, January 17, 8 pm Power Center

Friday, February 14, 8 pm Rackham Auditorium

Program

Program

Saturday, January 18 performance to your series, see the “Series:You” section of the Order Form.

Quartet in D Major, Op. 71, No. 2 (1793) Quartet No. 5, H. 268 (1938) Quartet in A-flat Major, Op. 105 (1895)

Elias String Quartet Tuesday, March 18, 7:30 pm Rackham Auditorium Program

Debussy Kurtág Beethoven

String Quartet in g minor, Op. 10 (1893) Officium Breve (1988-89) Quartet in e minor, Op. 59, No. 2 (1806)

Ariel Quartet Alisa Weilerstein, cello Wednesday, February 5, 7:30 pm Rackham Auditorium

* denotes arrangement

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Includes all seven concerts

Program

Wolf Boccherini Schubert

Italian Serenade (1887) Quintet in E Major, Op. 11, No. 5 (1771) Quintet in C Major, D. 956, Op. posth. 163 (1828)

$300 / $260 / $200 / $150 For further artist and concert details, visit www.ums.org or pages 16-29 of this brochure.

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Note: the Kronos Quartet will perform two different programs; to add the

Haydn Martinu Dvorák

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Quartetto per archi (1960/1968) Last Kind Words Blues (1930)* ’Round Midnight (1944)* Masters of War (1962-63)* Two Studies on Ancient Greek Scales (1946)* Selections from The Dead Man (1990) Prelude from Tristan und Isolde (1857-59)* Flow (2011)* WTC 9/11 (2011) Black Angels (1970)

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Krzysztof Penderecki Geeshie Wiley Thelonious Monk Bob Dylan Harry Partch John Zorn Richard Wagner Laurie Anderson Steve Reich George Crumb

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2 3 rd a n n ua l

dance series

hubbard street dance

Hubbard Street Dance Chicago O n e T h o u san d P i e c e s Glenn Edgerton, artistic director Alejandro Cerrudo, resident choreographer Friday, September 27, 8 pm Saturday, September 28, 8 pm Power Center Features Alejandro Cerrudo’s evening-length work inspired by Marc Chagall’s America Windows, on permanent display at the Art Institute of Chicago, with music by Philip Glass.

Ballet Preljocaj A n d t h e n , O n e T h o u san d Y e ars o f P e ac e Angelin Preljocaj, artistic director Friday, November 1, 8 pm Saturday, November 2, 8 pm Power Center

Co m pag n i e K ä f i g C orr e r i a & A g w a Mourad Merzouki, artistic director and choreographer Friday, February 14, 8 pm Saturday, February 15, 8 pm Power Center

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Ballet Preljocaj returns after its astonishing Snow White with its 2010 piece, And Then, One Thousand Years of Peace. Set to a pulsating soundtrack, the piece combines intricate, edgy action with slow, graceful movement in an ever-evolving dance that reveals our innermost hopes, desires, and fears.

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Käfig’s sensational double bill of Correria and Agwa features two heart-stopping works that showcase the young Brazilians’ irresistible cocktail of athletic samba, hip-hop, and capoeira dance styles, highlighting astonishing acrobatic skills and dazzling virtuosity.

Ballet Preljocaj

R e st l e ss C r e at u r e Wendy Whelan

s ta r r i n g

A new evening of dance created by and danced with Kyle Abraham, Joshua Beamish, Brian Brooks, and Alejandro Cerrudo Tuesday, March 25, 7:30 pm Power Center Arguably the finest ballet dancer of our time, Wendy Whelan has danced with New York City Ballet for more than 25 years. She embarks on a new dance adventure with this vibrant suite of four contemporary duets, each with its own distinct style and artistry, performed with the choreographers who created them.

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Main Floor

$164 / $150 / $96

Balcony

$150 / $130

For further artist and concert details, visit www.ums.org or pages 16-29 of this brochure.


i n t e r n at i o n a l

Shun-kin C o m p l i c i t e a n d S e ta g aya P u b l i c T h e at r e

t h e at e r series

Directed by Simon McBurney Puppetry by Blind Summit Wednesday, September 18, 7:30 pm Thursday, September 19, 7:30 pm Friday, September 20, 8 pm Saturday, September 21, 8 pm Power Center Enter the mysterious world of blind shamisen player Shun-kin and her devoted servant Sasuke in this startling performance based on the texts of celebrated Japanese author Jun’ichirō Tanizaki. Exploring the connections between beauty and violence, this powerful production brings a haunting love story to life. Complicite returns to UMS after A Disappearing Number and The Elephant Vanishes with this production, which will be performed only at the Lincoln Center Festival, UCLA, and UMS. In Japanese with English supertitles.

T h e Tab l e Blind Summit

By Rob Drummond Arches Productions Tuesday, January 7, 7:30 pm Wednesday, January 8, 7:30 pm Thursday, January 9, 7:30 pm Friday, January 10, 8 pm Saturday, January 11, 8 pm Sunday, January 12, 2 pm Arthur Miller Theatre A stunt so dangerous that Houdini refused even to attempt it, the magic trick known as the Bullet Catch has claimed the lives of at least 12 illusionists, assistants, and spectators since its conception in 1613. Writer and performer Rob Drummond leads the audience through a darkly humorous and engaging theatrical magic show featuring levitation, games of chance, and — for those who dare stay to the very end — the most notorious finale in show business.

Written by Can Themba, Mothobi Mutloatse, and Barney Simon Directed by Peter Brook Wednesday, February 19, 7:30 pm Thursday, February 20, 7:30 pm Friday, February 21, 8 pm Saturday, February 22, 8 pm Power Center A wife caught in the act, her lover fleeing the scene, his suit left behind. It’s the perfect recipe for a husband’s punishing decree: Go on with business as usual, he says to his spouse, but take the suit everywhere as a constant reminder of your betrayal. Peter Brook’s tender production makes Can Themba’s tightly crafted, unsettling fable sing.

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Includes all four events

Main Floor

$170 / $150 / $120

Balcony

$150 / $140

For further artist and concert details, visit www.ums.org or pages 16-29 of this brochure.

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B u l l e t C atc h

The Suit T h é ât r e d e s B o u f f e s d u N o r d

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A cantankerous puppet with a cardboard head is having an existential crisis on a table. Blind Summit, theatrical innovators who have created puppetry for Anthony Minghella, Complicite, and Danny Boyle’s Olympic Opening Ceremony, presents epic puppetry inspired by Beckett, the Bible, and Ikea.

blind summit

ums.org

Tuesday, October 29, 7:30 pm Wednesday, October 30, 7:30 pm Thursday, October 31, 7:30 pm Friday, November 1, 8 pm Saturday, November 2, 8 pm Sunday, November 3, 2 pm Performance Network

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2 0th a n n ua l

j a zz series

Fred Hersch ensemble

Jason Moran’s F at s W a l l e r D a n c e P a r t y

Alfredo Rodríguez Trio and Pedrito Martinez Group

Featuring Meshell Ndegeocello Friday, September 6 Venue and Time To Be Announced

Friday, March 14, 8 pm Michigan Theater

MacArthur “Genius” Grant winner Jason Moran (2011) hosts a lively dance party devoted to the great pianist Fats Waller (1904-1943). Enjoy incredible jazz, an open dance floor, and copious quantities of fun.

Steve Lehman Octet Saturday, November 9, 8 pm Lydia Mendelssohn Theatre

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Steve Lehman is a “quietly dazzling saxophonist” (The New York Times) who works across a broad spectrum of experimental musical idioms. This visionary composer is creating powerful new models for improvisation and leads his Octet in this UMS debut.

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Fred Hersch Trio Thursday, January 30, 7:30 pm & 9:30 pm Lydia Mendelssohn Theatre Proclaimed by Vanity Fair as “the most arrestingly innovative pianist in jazz over the last decade,” Fred Hersch returns to UMS for the first time since 2005.

Discovered at the Montreux Jazz Festival in 2006 by Quincy Jones, Alfredo Rodríguez makes his UMS debut in this double-bill performance that also features percussionist and vocalist Pedrito Martinez and his hot Afro-Cuban dance band.

J a zz at L i n c o l n C e n t e r Orchestra with Wynton Marsalis, trumpet Sunday, March 30, 4 pm Hill Auditorium Wynton Marsalis stands in a league all his own. A creative genius, compassionate humanitarian, legendary trumpeter, masterful composer, arts advocate, tireless educator, and cultural leader, he inspires and uplifts people through superb music-making with the Jazz at Lincoln Center Orchestra.

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Includes all five concerts

$185 / $150 For further artist and concert details, visit www.ums.org or pages 16-29 of this brochure.


global music series

F at o u m ata D i a w a r a

T h e M an g an i yar S e d u ct i on Roysten Abel, creator Can & Abel Theaters, New Delhi Saturday, October 26, 8 pm Sunday, October 27, 4 pm Power Center A dazzling union between Manganiyar music and the visual seduction of Amsterdam’s Red Light District, The Manganiyar Seduction features Muslim musicians from the desert in Rajasthan, India, in a theatrical event that transports listeners to an unknown world.

O n e N i g h t i n B ama k o B a s s e k o u K o u yat é a n d N g o n i B a F at o u m ata D i a w a r a Friday, February 7, 8 pm Michigan Theater Two of Mali’s greatest talents unite for this special concert. Bassekou Kouyaté is a virtuoso picker, musical visionary, and one of Africa’s greatest instrumentalists, whose work blurs the lines between West African and American roots music. Perpetuating Mali’s rich musical tradition, Fatoumata Diawara presents a joyous mix of the vibrant and understated, combining songs about love, politics, and empowerment.

Friday, March 14, 8 pm Michigan Theater A young pianist of astonishing virtuosity and imagination, Cubanborn Alfredo Rodríguez calls up images of legendary jazz pianists like Keith Jarrett, Thelonious Monk, Bill Evans, and his compatriot Chucho Valdés. The Pedrito Martinez Group, a hot Afro-Cuban dance band with roots planted firmly in the rumba tradition, revels in the batá rhythms and vocal chants of Yoruban and Santerían music.

Asif Ali Khan Q a w w a l i M u s i c o f P a k i s ta n Friday, March 21, 8 pm Rackham Auditorium If the late, great Nusrat Fateh Ali Khan was known as “the emperor of Qawwali,” Asif Ali Khan — who was once hailed by the maestro as one of his best students — has surely emerged as the music’s reigning prince. Asif is a superstar in his native Pakistan and a powerful figure on the international stage, remaining faithful to the sublime traditions of the devotional Sufi music.

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Includes all five events

Main Floor

$190 / $170 / $120

Balcony

$190 / $140 / $80

For further artist and concert details, visit www.ums.org or pages 16-29 of this brochure

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Voted one of the world’s “50 Great Voices” by NPR and hailed as the “Flamenco Queen,” Buika is the daughter of political refugees from the African nation of Equatorial Guinea who has emerged as a true innovator, a must-see artist among jazz and world music aficionados.

Alfredo Rodríguez Trio and the Pedrito Martinez Group

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Friday, October 11, 8 pm Michigan Theater

ums.org

Buika

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Series: you

C h o o s e at l e a s t f i v e e v e n t s f r o m p a g e s 1 6 -2 9 a n d s av e 1 0 %

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Your experience.

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Series:You (previously known as the Monogram Series) is the perfect way for you to create and curate your own UMS experience. With Series:You, you can select the performances that you want to take part in. If you purchase at least five different events before Wednesday, July 31, you’ll receive a 10% discount. As a Series:You subscriber, you get it all: the discount, access to the best seats in the house, and the opportunity to purchase additional tickets to these concerts or others in the season for friends or family members.


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P h oto s ( to p r ow ) : C h r i s T h i l e , Co m pag n i e K ä f i g , B u i k a , S a n F r a n c i s co S y m p h o n y ( b o t t o m r o w ) : B l i n d S u m m i t / T h e Tab l e , T h e M an g an i yar S e d u ct i on , Alfredo Rodríguez, Hubbard Street Dance Chicago, Wendy Whelan

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C hoos e at l e a s t f iv e ev en t s from pages 16-29 and save 10%

Jason Moran

Jason Moran’s F at s W a l l e r D a n c e P a r t y

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Featuring Meshell Ndegeocello Friday, September 6 Venue and Time To Be Announced

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Pianist Jason Moran, a 2011 MacArthur “Genius” grant winner and Downbeat’s 2011 “Jazz Artist of the Year,” is jazz’s wild card, a probing conceptualist who transforms everything he touches into a bracingly contemporary statement. This lively party devoted to the legendary pianist Fats Waller (1904-1943) includes an open dance floor and copious quantities of fun. Rather than interpreting Waller’s ebulliently swinging songbook directly, Moran and the renowned bassist and vocalist Meshell Ndegeocello break down melodies and riffs, with his band “buil[ding] on those fragments, in rhythms coming out of 1960s-and-beyond dance music: Motown, house, hip-hop.” (The New York Times)

Audra McDonald Andy Einhorn, piano University Symphony Orchestra Kenneth Kiesler, conductor Sunday, September 15, 4 pm Hill Auditorium Audra McDonald is blessed with a luminous soprano and an incomparable gift for dramatic storytelling. Born into a musical family, she received her classical training at Juilliard and won her first Tony Award a year after graduating. Her most recent Tony – her fifth – was for her leading role in The Gershwins’ Porgy and Bess, placing her in the illustrious company of Broadway legends Julie Harris and Angela Lansbury. An ardent proponent of marriage equality, McDonald sings a variety of songs and Gershwin arrangements, accompanied by pianist Andy Einhorn and the University Symphony Orchestra from the U-M School of Music, Theatre & Dance.


ser i es:yo u

Shun-kin C o m p l i c i t e a n d S e ta g aya P u b l i c T h e at r e

Shun-Kin

Directed by Simon McBurney Puppetry by Blind Summit Wednesday, September 18, 7:30 pm Thursday, September 19, 7:30 pm Friday, September 20, 8 pm Saturday, September 21, 8 pm Power Center Inspired by the work of one of the most important Japanese writers of the 20th century, Jun’ichirō Tanizaki, Shun-kin tells a tale of devotion, passion, and power, where beauty is unforgiving and love is blinding. The domineering and beautiful Shun-kin, blinded as a young girl, is a brilliant player of the shamisen, a stringed instrument. Her devoted student and servant will do anything to share her world, ultimately becoming her lover and performing an astonishing act of self-sacrifice. This powerful production, seen only at the Lincoln Center, UCLA, and UMS, explores the relationship between master teacher and student, showing just how fraught that relationship can be. In Japanese with English supertitles.

Hubbard Street Dance Chicago O n e T h o u san d P i e c e s Buika Friday, October 11, 8 pm Michigan Theater

To celebrate its 35th anniversary last year, Hubbard Street Dance Chicago commissioned resident choreographer Alejandro Cerrudo to create a new work. One Thousand Pieces features music of Philip Glass and was inspired by Marc Chagall’s America Windows, created specifically for the Art Institute of Chicago to commemorate the American bicentennial. This “magnificently beautiful achievement… is a fast-moving, rarely pausing onslaught of silky, gorgeous, often classically pure dance, dotted with bits of its choreographer’s persona, just as some bits of Chagall’s mosaic boast extra sparkle among their numerous fellows.” (Chicago Tribune)

Voted one of the world’s “50 Great Voices” by NPR and hailed as the “Flamenco Queen,” Buika is the daughter of political refugees from the African nation of Equatorial Guinea who grew up in a gypsy neighborhood on the Spanish island of Mallorca. She has emerged as a true innovator, a must-see artist among jazz and world music aficionados. Her evident African roots and her cosmopolitanism, developed in clubs in Spain and Americanized during a surreal stint in Las Vegas as a Tina Turner impersonator, led the renowned filmmaker Pedro Almodóvar to cast her in The Skin I Live In and jazz legend Chick Corea to feature her as a special guest during his epic run at the Blue Note in late 2011.

Chanticleer

Chris Thile

Chris Thile, of Punch Brothers, is a mandolin virtuoso, composer, and vocalist. Encompassing progressive bluegrass, classical, rock, and jazz, Thile transcends the borders of conventionally circumscribed genres, creating a distinctly American canon and a new musical aesthetic for performers and audiences alike. Recently awarded a MacArthur “Genius” Grant (2013), Thile collaborated with Yo-Yo Ma and Edgar Meyer on the Grammy-winning CD, The Goat Rodeo Sessions. On this solo program, he draws from his recent recording of Bach sonatas and partitas while also exploring his own compositions and contemporary music.

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Hailed by The New Yorker as “the world’s reigning male chorus,” Chanticleer has developed a remarkable reputation for its vivid interpretations of vocal literature that spans 10 centuries, from Gregorian chant and Renaissance to jazz, gospel, and venturesome new music. Named for the “clear-singing” rooster in Geoffrey Chaucer’s Canterbury Tales, Chanticleer is known for its seamless blend of 12 male voices ranging from countertenor to bass; the group “fascinates and enthralls for much the same reason a fine chocolate or a Rolls Royce does: through luxurious perfection.” (Los Angeles Times)

Friday, October 18, 8 pm Rackham Auditorium

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Thursday, October 10, 7:30 pm St. Francis of Assisi Catholic Church

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Glenn Edgerton, artistic director Alejandro Cerrudo, resident choreographer Friday, September 27, 8 pm Saturday, September 28, 8 pm Power Center

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T h e M a n g a n i ya r S e d u c t i o n

T h e Tab l e Blind Summit Tuesday, October 29, 7:30 pm Wednesday, October 30, 7:30 pm Thursday, October 31, 7:30 pm Friday, November 1, 8 pm Saturday, November 2, 8 pm Sunday, November 3, 2 pm Performance Network A cantankerous puppet with a cardboard head is having an existential crisis on a table. Blind Summit, theatrical innovators who have created puppetry for Anthony Minghella, Complicite, and Danny Boyle’s Olympic Opening Ceremony, presents epic puppetry inspired by Beckett, the Bible, and Ikea. Hilarious, beautiful, and occasionally profound, this show is a visual feast of Bunraku puppetry. “With considerable wit, Blind Summit proves once again that when you’re working in miniature, you don’t have to think small.” (The Guardian)

Ballet Preljocaj A n d T h e n , O n e T h o u san d Y e ars o f P e ac e

A n d r á s S c h i f f, p i a n o Friday, October 25, 8 pm Hill Auditorium Five years ago, András Schiff performed a two-year, eight-concert cycle of the complete Beethoven piano sonatas in Ann Arbor. Now he returns with another pinnacle of the piano repertoire: Bach’s Goldberg Variations. “There is nothing more reliable in the world of classical music than András Schiff playing Bach.” (The New York Times) Program

Bach Goldberg Variations, BWV 988 (1741)

T h e M an g an i yar S e d u ct i on

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Roysten Abel, creator Can & Abel Theaters, New Delhi Saturday, October 26, 8 pm Sunday, October 27, 4 pm Power Center

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Director Roysten Abel experimented boldly with the Manganiyars, desert musicians from Rajasthan, to create something startlingly new: The Manganiyar Seduction. Roysten’s concept created a dazzling union between the Manganiyars’ music and the visual seduction of Amsterdam’s Red Light District. Arranged in four horizontal rows, one on top of the other, 43 musicians are seated in 36 re-curtained cubicles. The show begins with a single cubicle lighting up to reveal the first performer, followed by another, and so on, creating a dramatic and musical roller coaster that transports listeners to an unknown world. “The effect is like that of a gospel Mass or a slowbuilding rave; a joyous, communal experience of the seductive power of music.” (Irish Independent)

Angelin Preljocaj, artistic director Friday, November 1, 8 pm Saturday, November 2, 8 pm Power Center Few audience members in attendance at Ballet Preljocaj’s 2012 performances of Snow White will forget the company’s astonishing creativity and extraordinary dancing. And Then, One Thousand Years of Peace, which will be seen only at UMS and at BAM, was first created by Angelin Preljocaj for the Bolshoi Ballet in 2010 and takes inspiration from the vision of apocalypse conjured by St. John in the biblical Book of Revelation. It is, he says, about the lifting (“apo”) of the veil (“calypsis”) of things in our world that are hidden from view, rather than a depiction of biblical or global catastrophe. Set to a pulsating soundtrack, the piece combines intricate, edgy action with slow, graceful movement in an ever-evolving dance that reveals our innermost hopes, desires, and fears. “A huge, ambitious monolith of a work.” (The Guardian)

Ballet Preljocaj


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Steve Lehman, alto saxophone/live electronics Mark Shim, tenor saxophone Chris Dingman, vibraphone Drew Gress, bass Jonathan Finlayson, trumpet Tim Albright, trombone Jose Davila, tuba Tyshawn Sorey, drums Saturday, November 9, 8 pm Lydia Mendelssohn Theatre

Named for the classical god of music and the sun, Apollo’s Fire was founded in 1992 by the harpsichordist and conductor Jeannette Sorrell. The ensemble’s UMS debut in 2011 received rave reviews from those in attendance, and we’re delighted to bring them back with five of Bach’s six Brandenburg Concertos in this “brilliant and swaggering” performance. (The London Times) Program

Bach Brandenburg Concerto No. 2 in F Major, BWV 1047 (1717-18) Bach Brandenburg Concerto No. 3 in G Major, BWV 1048 (1711-13) Bach Brandenburg Concerto No. 4 in G Major, BWV 1049 (1720) Bach Brandenburg Concerto No. 5 in D Major, BWV 1050 (1720-21) Bach Brandenburg Concerto No. 6 in B-flat Major, BWV 1051 (1708-10)

Steve Lehman is a “quietly dazzling saxophonist” (The New York Times) who works across a broad spectrum of experimental musical idioms. His pieces have been performed by the International Contemporary Ensemble and Sō Percussion, among others, and his 2009 recording Travail, Transformation & Flow was chosen as the “#1 Jazz/Pop Album of the Year” by The New York Times. This visionary composer is creating powerful new models for improvisation and leads his Octet in this UMS debut.

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Steve Lehman Octet

Jeannette Sorrell, music director and harpsichord Sunday, November 3, 4 pm Hill Auditorium

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Apollo’s Fire

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Apollo’s Fire

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Ukulele Orchestra of G r e at B r i ta i n

Ukulele Orchestra of G r e at B r i ta i n

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Tuesday, November 12, 7:30 pm Michigan Theater

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Renowned for its “perfectly polished professionalism, threaded through with dry wit and wry humor” (The Independent), the Ukulele Orchestra of Great Britain has seen over 9,000 days of ukulele action. This group of all-singing, all-strumming ukulele players holds that all genres of music are available for reinterpretation, as long as they are played on the ukulele. With instruments small and large, in high and low registers, playing intricate melodies, simple tunes, and complex chords, the ensemble wields the limitations of the instrument with virtuosic expertise, revealing unsuspected musical insight. With cheerful nods to both the pompous and the trivial, the “Ukes’” performances are at once moving and amusing, hailing the popular and the highbrow.

Hagen Quartet Wednesday, November 13, 7:30 pm Rackham Auditorium Over the past two years, while celebrating its 30th anniversary, the Hagen Quartet has devoted many of its performances to its Beethoven cycle, including a stop in Ann Arbor in February 2012. Program

Beethoven Beethoven Beethoven

Quartet in D Major, Op, 18, No. 3 (1798-99) Quartet in A Major, Op, 18, No. 5 (1799) Quartet in E-Flat Major, Op. 127 (1823-24)


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B u l l e t C atc h B u l l e t C atc h

By Rob Drummond Arches Productions Tuesday, January 7, 7:30 pm Wednesday, January 8, 7:30 pm Thursday, January 9, 7:30 pm Friday, January 10, 8 pm Saturday, January 11, 8 pm Sunday, January 12, 2 pm Arthur Miller Theatre A stunt so dangerous that Houdini refused even to attempt it, the magic trick known as the Bullet Catch has claimed the lives of at least 12 illusionists, assistants, and spectators since its conception in 1613. Writer and performer Rob Drummond explores the history of the Bullet Catch, including the true story of William Henderson, who died in 1912 attempting the infamous trick. Drummond reads the minds of his audience as he leads them through a darkly humorous and engaging theatrical magic show featuring levitation, games of chance, and — for those who dare stay to the very end — the most notorious finale in show business.

B r o o k ly n R i d e r Béla Fleck, banjo Sunday, November 24, 4 pm Rackham Auditorium Béla Anton Leoš Fleck is named after three classical composers: the Hungarian Béla Bartók and the Czech composers Antonin Dvořák and Leoš Janáček. Known for his wicked banjo playing, he has been pushing the boundaries of the instrument for over 30 years. He performs his new quintet for banjo and string quartet with Brooklyn Rider, a group at home in both clubs and concert halls with appearances in venues as varied as Joe’s Pub, the Library of Congress, the SXSW Festival, and UMS’s Chamber Arts Series. The members of Brooklyn Rider are part of Yo-Yo Ma’s Silk Road Ensemble, and their “down-to-earth demeanor…demystifies contemporary classical music and invites everyone into the tent.” (Time Out New York)

Colin Stetson Wednesday, January 15, 7:30 pm Thursday, January 16, 7:30 pm Arthur Miller Theatre Born and raised in Ann Arbor, saxophonist Colin Stetson has spent the 15 years since he graduated from the University of Michigan working with dozens of artists, including Tom Waits, Feist, Laurie Anderson, Lou Reed, David Byrne, LCD Soundsystem, and Angélique Kidjo, among others. He is a current member of the indie band Bon Iver yet has developed an utterly unique voice as a soloist (principally on saxophones and clarinets). His intense technical prowess is matched by his emotionally gripping skills as a songwriter. “Stetson demolishes clichés to unleash fresh, unexpected energies. It’s like being inside an enormous brass tunnel full of windy byways and slamming valves, at once exhilarating and frightening.” (Pitchfork)

H a n d e l’ s M e ss i a h

/ Colin Stetson

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The holiday season in Ann Arbor is never officially underway until Handel’s Messiah is performed at Hill Auditorium. 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 friends and family who attend each year. In a true community tradition, the performance features the Ann Arbor Symphony Orchestra, the 175 voices of the Grammy Award-winning UMS Choral Union (2006 Best Choral Performance), and conductor Jerry Blackstone. Soloists to be announced.

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Ann Arbor Symphony Orchestra UMS Choral Union Jerry Blackstone, conductor Saturday, December 7, 8 pm Sunday, December 8, 2 pm Hill Auditorium

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D e n i s M at s u e v, p i a n o Sunday, January 26, 4 pm Hill Auditorium Siberian pianist Denis Matsuev, winner of the 1998 International Tchaikovsky Competition and a relatively recent UMS discovery, has wowed UMS audiences twice in recent years: as featured soloist with the Mariinsky Orchestra in October 2010 and in a powerful solo recital in January 2012. “His technique is phenomenal…perhaps he is the new Horowitz.” (London Times) Program

D e n i s M at s u e v

Kronos Quartet Friday, January 17, 8 pm Saturday, January 18, 8 pm Power Center The Kronos Quartet celebrates its 40th anniversary in the 20132014 season, with forward-looking artistic explorations that include 12 new commissions. They’ll perform two different programs in Ann Arbor, with the first including former U-M professor George Crumb’s epic work Black Angels, a response to the agony of the Vietnam War featuring bowed water glasses, spoken word passages, and electronic effects. The second program revolves around war and politics, including a suite from the film Dirty Wars, which premiered at Sundance in 2013.

Haydn Schumann Rachmaninoff Rachmaninoff Tchaikovsky Tchaikovsky Rachmaninoff

Fred Hersch Trio Thursday, January 30, 7:30 pm & 9:30 pm Lydia Mendelssohn Theatre Proclaimed by Vanity Fair as “the most arrestingly innovative pianist in jazz over the last decade,” Fred Hersch balances his internationally recognized instrumental and improvisational skills with significant achievements as a composer, bandleader, and theatrical conceptualist. Hersch has fully lived up to the approbation of The New York Times, which praised him as “singular among the trailblazers of their art, a largely unsung innovator of this borderless, individualistic jazz — a jazz for the 21st century.”

f r i day P r o g r a m

Krzysztof Penderecki Quartetto per archi (1960/1968) Geeshie Wiley Last Kind Words Blues (1930)* Thelonious Monk ’Round Midnight (1944)* Bob Dylan Masters of War (1962-63)* Harry Partch Two Studies on Ancient Greek Scales (1946)* John Zorn Selections from The Dead Man (1990) Richard Wagner Prelude from Tristan und Isolde (1857-59)* Laurie Anderson Flow (2011)* Steve Reich WTC 9/11 (2011) George Crumb Black Angels (1970)

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s at u r d ay P r o g r a m

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Suite from Dirty Wars (2012) Unknown: Oh Mother, the Handsome Man Tortures Me* Unknown: Oh Mother, the Handsome David Harrington:Man Drone for Children Tortures Me* Ramallah Underground: Tashweesh* Drone for Children David Harrington: David Harrington:Ramallah Drone Forever Underground: Tashweesh* Traditional: Wa Habibi (Beloved) David Harrington: Drone Forever Fela Kuti Sorrow, Tears and Blood (1977)* Michael Daugherty Sing Sing: J. Edgar Hoover (1992) Aleksandra Vrebalov …hold me, neighbor, in this storm… (2007) David T. Little Agency (b.1980) * denotes arrangement

Sonata in E-flat Major, Hob. XVI: 52 (1794) Carnaval, Op. 9 (1834-35) Prelude in g minor, Op. 23, No. 5 (1903) Prelude in g minor, Op. 32, No. 12 (1910) Dumka (Russian Rustic Scene), Op. 59 (1886) Meditation, Op. 72, No. 5 (1893) Sonata No. 2 in b-flat minor, Op. 36 (1913/31)

kronos quartet


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Ariel Quartet

Program

Wolf Boccherini Schubert

Italian Serenade (1887) Quintet in E Major, Op. 11, No. 5 (1771) Quintet in C Major, D. 956, Op. posth. 163 (1828)

Born in Latvia, violinist Gidon Kremer has had an unconventional career, beginning studies with violin master David Oistrakh at the age of 18 and going on to win first prize in both the Paganini and Tchaikovsky International Competitions. With an unusually extensive repertoire, he regularly champions the work of living composers and has performed many important new compositions. He returns to UMS with his chamber ensemble Kremerata Baltica to perform a program that commemorates, in part, the centennial of Benjamin Britten’s birth. Program

Pärt Britten Shostakovich Shostakovich Britten

Cantus in Memory of Benjamin Britten (1977) Young Apollo (1939) Violin Sonata, Op. 134 (1968)* Viola Sonata, Op. 147 (1975)* Variations on a Theme of Frank Bridge, Op. 10 (1937)

* denotes arrangement

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Characterized by its youth, brilliant playing, and soulful interpretations, the Ariel Quartet has earned a glowing international reputation in just a few years on the professional circuit. Formed in Israel, they moved to the US to study at the New England Conservatory’s prestigious Professional String Quartet Training Program and graduated in 2010. Cellist Alisa Weilerstein who last appeared with UMS in 2009, joins the ensemble for its UMS debut.

Gidon Kremer, violin and conductor Thursday, February 6, 7:30 pm Hill Auditorium

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Wednesday, February 5, 7:30 pm Rackham Auditorium

K r e m e r ata B a lt i c a

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Ariel Quartet Alisa Weilerstein, cello

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Co m pag n i e K ä f i g

O n e N i g h t i n B ama k o B a s s e k o u K o u yat é a n d N g o n i B a F at o u m ata D i a w a r a Friday, February 7, 8 pm Michigan Theater In the midst of a military coup that has brought terrible unrest to Mali, two of the country’s talents unite for a special concert. Bassekou Kouyaté is a virtuoso picker, musical visionary, and one of Africa’s greatest instrumentalists, whose work blurs the lines between West African and American roots music. His instrument, the ngoni, is an ancestor of the banjo and the key instrument of griot storytelling culture. Perpetuating Mali’s rich musical tradition, Fatoumata Diawara presents a joyous mix of the vibrant and understated, combining songs about love, politics, and empowerment. Inspired by Wassoulou tradition, jazz, and blues, she has created her own unique contemporary folk sound with a distinctly African spin, with arresting melodies soaring over intricate guitar and drum arrangements.

Co m pag n i e K ä f i g C orr e r i a & A g w a

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Mourad Merzouki, artistic director and choreographer Friday, February 14, 8 pm Saturday, February 15, 8 pm Power Center

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Artistic director Mourad Merzouki is at the forefront of the international hip-hop dance scene. Käfig’s sensational double bill of Correria and Agwa derives from an encounter between Mourad and 11 young male dancers from Rio de Janeiro at the Lyon Dance Biennial in 2006. Their individual stories about life in the favelas (Brazilian shanty towns) and their determination to make something of themselves inspired Mourad to create two heartstopping works that showcase the young Brazilians’ irresistible cocktail of athletic samba, hip-hop, and capoeira dance styles, highlighting astonishing acrobatic skills and dazzling virtuosity.

Joshua Bell, violin Sunday, February 16, 4 pm Hill Auditorium Often referred to as a “poet of the violin,” Joshua Bell enchants audiences with his breathtaking virtuosity, sheer beauty, and charismatic stage presence. His restless curiosity, passion, universal appeal, and multi-faceted musical interests have been developed from age four, when his parents noticed him plucking tunes with rubber bands that he had stretched around the handles of his dresser drawers. His first US tour as music director of the Academy of St. Martin in the Fields, which included the 2012 Ford Honors Program in Ann Arbor, resulted in rock concert enthusiasm from audiences. He returns now to perform a Valentine’s weekend recital. Program and pianist to be announced.

The Suit T h é ât r e d e s B o u f f e s DU N o r d Written by Can Themba, Mothobi Mutloatse, and Barney Simon Directed by Peter Brook Wednesday, February 19, 7:30 pm Thursday, February 20, 7:30 pm Friday, February 21, 8 pm Saturday, February 22, 8 pm Power Center A wife caught in the act, her lover fleeing the scene, his suit left behind. It’s the perfect recipe for a husband’s punishing decree: Go on with business as usual, he says to his spouse, but take the suit everywhere as a constant reminder of your betrayal. Featuring an innovative staging that integrates musicians directly into the action, Peter Brook’s tender production makes Can Themba’s tightly crafted, unsettling fable sing. African melodies and Schubert lieder thicken the air of this apartheid-era summer in which a shared wound is not allowed to heal.


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Alfredo Rodríguez Trio and the Pedrito Martinez Group

Pedrito Martinez

Friday, March 14, 8 pm Michigan Theater A young pianist of astonishing virtuosity and imagination, Cubanborn Alfredo Rodríguez performs with the open spirit of a culture rooted in dancing. Especially evident during his live performances, Rodríguez imparts a youthful, riveting artistry that fuses Latin music and jazz in surprising and beautiful ways. Quincy Jones discovered his unique talent at the Montreux Jazz Festival in 2006, and his performances have evoked comparisons of legendary jazz pianists like Keith Jarrett, Thelonious Monk, and Bill Evans. This doublebill performance also features percussionist and vocalist Pedrito Martinez, who incorporates the folklore of his Cuban roots with religious Yoruba chants and batá melodies into the traditional clave beat of popular Latin jazz. His popularity extends to the musical scene of New York streets, where his devotion to live performance establishes itself at the restaurant Guantanamera, where he plays three times a week.

Elias String Quartet Tuesday, March 18, 7:30 pm Rackham Auditorium “A heaven-storming performance…Big things lie ahead of them.” (The Strad) Taking its name from the German form of Mendelssohn’s oratorio Elijah, the Elias String Quartet was founded in Manchester, England, in 1998 and has quickly established itself as one of the most intense and vibrant quartets of its generation. The group’s North American debut in 2012 included a sold-out concert at Carnegie Hall, with the Philadelphia Inquirer proclaiming, “Few quartets at any stage of their evolution have this much personality.” A UMS debut. Program

String Quartet in g minor, Op. 10 (1893) Officium Breve (1988-89) Quartet in e minor, Op. 59, No. 2 (1806))

Ta r a E r r a u g h t

Ta r a E r r a u g h t, m e zz o - s o p r a n o

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Her career was launched with an unexpected debut, replacing an ailing colleague and scoring great acclaim as Romeo in Bellini’s I Capuleti e i Montecchi at Bavarian State Opera. The rest is history. Just a few months ago, 26-year-old Tara Erraught’s Vienna State Opera debut left critics positively elated and audiences stunned. UMS brings this Irish-born mezzo-soprano to Hill Auditorium for her area debut, which will include works by Brahms, Dvořák, Fauré, R. Strauss, and Rossini.

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Henning Ruhe, piano Thursday, March 20, 7:30 pm Hill Auditorium

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Debussy Kurtág Beethoven

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Asif Ali Khan Q a w w a l i M u s i c o f P a k i s ta n

Tenebrae

Friday, March 21, 8 pm Rackham Auditorium If the late, great Nusrat Fateh Ali Khan (1948-97) was known as “the emperor of Qawwali,” Asif Ali Khan — who was once hailed by the maestro as one of his best students — has surely emerged as the music’s reigning prince. Asif is a superstar in his native Pakistan and a powerful figure on the international stage, remaining faithful to the sublime traditions of devotional Sufi music. His music can be meditative and trance-inducing, before, at a turn, becoming thrilling and ecstatic. To hear his voice soaring above the call-and-response choruses, rhythmic hand claps, percussion, and harmonium of his accompanying musicians is an inspiring experience whether you’re an adherent of the Sufi faith or not.

R e st l e ss C r e at u r e Wendy Whelan

s ta r r i n g

A new evening of dance created by and danced with Kyle Abraham, Joshua Beamish, Brian Brooks, and Alejandro Cerrudo Tuesday, March 25, 7:30 pm Power Center “America’s most celebrated contemporary ballerina” (The New York Times) makes her UMS debut, joining forces with four of today’s top male choreographers, Kyle Abraham, Joshua Beamish, Brian Brooks, and Alejandro Cerrudo. Arguably the finest ballet dancer of our time, Whelan has danced with New York City Ballet for more than 25 years. She embarks on a new dance adventure with this vibrant suite of four contemporary duets, each with its own distinct style and artistry, performed with the choreographers who created them.

Asif Ali Khan

Tenebrae

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Nigel Short, artistic director Thursday, March 27, 7:30 pm St. Francis of Assisi Catholic Church

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Tenebrae is one of Great Britain’s leading chamber choirs, founded in 2001 by a former member of The Tallis Scholars and The King’s Singers. Often performing by candlelight, the choir creates an atmosphere of spiritual and musical reflection, where medieval chant and Renaissance works are interspersed with contemporary compositions to create an ethereal mood of contemplation. Their “Music for Passiontide” program will include Poulenc’s Lenten Motets, selections from Gesualdo’s Tenebrae Responsories for Holy Saturday, the Allegri Miserere and the Lotti Crucifixus, and other Lenten music.


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L o s A n g e l e s G u i ta r Q u a r t e t

J a zz at L i n c o l n C e n t e r Orchestra with Wynton Marsalis, trumpet Sunday, March 30, 4 pm Hill Auditorium Performing music that links today’s improvisers with the rich history of traditional and contemporary big-band composition, Wynton Marsalis’s Jazz at Lincoln Center Orchestra 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.

L o s A n g e l e s G u i ta r Q u a r t e t Thursday, April 10, 7:30 pm Michigan Theater The Los Angeles Guitar Quartet is one of the most multifaceted groups in any genre. Comprised of four uniquely accomplished musicians who bring a new energy to the concert stage with programs ranging from bluegrass to Bach, they consistently play to sold-out houses worldwide. Their inventive, critically acclaimed transcriptions of concert masterworks provide a fresh look at the music of the past, while their interpretations of works from the contemporary and world music realms continually break new ground. They return to Ann Arbor for the first time since 2007.

A k a d e m i e f ü r A lt e M u s i k B e r l i n

The Akademie für Alte Musik Berlin began as a courageous display of musical sovereignty against the East German socialist regime and now, some 30 years later, enjoys recognition as one of Europe’s greatest musical success stories. “Akademie für Alte Musik Berlin is early music’s Bang on a Can All Stars…staggeringly good players.” (Los Angeles Times) Their UMS debut program features music by J.S. Bach and two of his sons. Program

J.S. Bach Sinfonia in F Major, BWV 1046a (1713) W.F. Bach Concerto in f minor for Harpsichord, Strings, and Basso Continuo (b.1710) C.P.E. Bach Sinfonia No. 5 in b-flat minor for Strings and Basso Continuo (b.1714) C.P.E. Bach Concerto in E-Flat Major for Oboe, Strings, and Basso Continuo (b.1714) J.S. Bach Symphony in g minor Op.6 , No. 6 for Strings, Two Oboes, Two Horns, and Basso Continuo

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A year after his mother died, Johannes Brahms began to compose a requiem in the German language; within three years, the work had grown from a choral piece into a cantata, and then a sevenmovement Requiem for chorus, orchestra, and soprano and bass soloists. It is now considered one of his pinnacle works. Unlike other Requiems, the Brahms work was not composed as a mass for the dead, but rather as a consolation for those left behind. The UMS Choral Union and Ann Arbor Symphony Orchestra perform this momentous work for the first time in over a decade under the leadership of UMS Choral Union music director Jerry Blackstone.

Sunday, April 13, 4 pm Hill Auditorium

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UMS Choral Union Ann Arbor Symphony Orchestra Jerry Blackstone, conductor Friday, April 4, 8 pm Hill Auditorium

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Brahms’ German Requiem

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u m s c h o r a l un i o n

UMS C h o r a l Activities UMS Choral Union to Carnegie Hall!

H a n d e l’ s M e ss i a h

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On Friday, May 10, 2013, 32 members of the UMS Choral Union will travel to Carnegie Hall to participate in the Spring for Music Festival with the Detroit Symphony Orchestra, performing in Charles Ives’ Symphony No. 4. Visit www.umslobby.org for updates from the chorus on this exciting event.

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Audition I n f o r m at i o n Music director Jerry Blackstone will hold auditions for the UMS Choral Union on Monday, August 26, and Monday, September 9. To schedule an audition, contact Kathy Operhall at choralunion@umich.edu or 734.763.8997. Additional information is available at www.ums.org/choralunion.

2 0 1 3 -2 0 1 4 UMS C h o r a l P e r f o r m a n c e s In addition to its annual performances of Handel’s Messiah, the UMS Choral Union will present a concert in Hill Auditorium with the Ann Arbor Symphony Orchestra featuring Brahms’ German Requiem in April 2014. The 2013-2014 season also includes performances of Carl Orff’s Carmina Burana with the Detroit Symphony Orchestra in January 2014. Women from the UMS Choral Union will also perform Mahler’s Symphony No. 3 with both the San Francisco Symphony in November 2013 and the Detroit Symphony in May 2014. In addition to the UMS Choral Union performances, UMS is pleased to host performances by two choral ensembles in St. Francis of Assisi Catholic Church: Chanticleer on Thursday, October 10, and Tenebrae on Thursday, March 27. All of these choral performances are available through the Series:You package.


su m m er si ngs

SUMMER SINGS 20 1 3 2013 Schedule summer sings

T u e s d ay, M ay 1 4 Verdi Requiem Part of the Centennial Celebration of Hill Auditorium Jerry Blackstone, conductor (Director of Choirs and Chair of the U-M Conducting Department; Music Director and Conductor of the UMS Choral Union) Hill Auditorium Sponsored by

M o n d ay, J u ly 8 R u t t e r M a g n i f i c at Beth Everett, conductor (Director of Choral Activities at Eastern Michigan University) Stamps Auditorium, Walgreen Drama Center (1226 Murfin Avenue)

M o n d ay, J u ly 2 2 H ay d n C r e at i o n Kimcherie Lloyd, conductor (Director of Orchestral Studies at the University of Louisville) Stamps Auditorium, Walgreen Drama Center (1226 Murfin Avenue)

are you ready to sing?

NOTE: If you have your own scores for any of the works being performed, please bring them!

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Admission to each session is only $5. We’ll provide musical scores that you can borrow and refreshments. Registration for each session begins at 6:30 pm and the Summer Sings begin at 7 pm.

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This year’s first event will be held on the actual 100th anniversary of the first concert in Hill Auditorium — Tuesday, May 14 — and will feature Verdi’s Requiem, a

work that has been performed frequently throughout UMS’s history, including the Hill Auditorium opening weekend in 1913. The remaining two events will be held in July at Stamps Auditorium on the University of Michigan’s north campus.

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The UMS Choral Union invites you to take part in its 20th season of SUMMER SINGS. All singers are invited to these popular choral reading sessions, which feature no-audition, no-performance evenings of memorable music-making. As many as 300 singers from southeast Michigan, northern Ohio, and Canada join each session to sing great choral repertoire with some of the nation’s most respected conductors and outstanding soloists.

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be p r es e n t

be present What a year we have in store! Some of the most renowned performing artists in the world mixed with hand-picked performances that will elicit a wide range of emotions. This is why we exist: to stir, engage, and help people come face-to-face with moments that will be remembered long after the performance ends. We’re excited to present the 2013-2014 season. Whether it’s attending an event, offering your financial support, participating in one of our educational events, engaging with us online, or any number of other ways you interact with us, we thank you. You make UMS successful, which helps us to continue to improve the UMS experience for years and even generations to come. We can’t wait for the season to begin. And we invite you, as always, to be present.

ums.org

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Kenneth C. Fischer President

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The bar keeps rising. And we keep working to meet the challenge. I am personally thrilled to present this year’s lineup that encapsulates a remarkable range of performances. We hope you’re ready for the ride. From the adventurous to the intrepid to the experimental to the traditional to the shocking, we have something for everyone. We invite you to break out of your comfort zone and encourage you to experiment. We bet you’ll love what you see, feel, and experience. Welcome to UMS, 2013-2014. Our 135th year. Be amazed. Be moved. But first, be present.

M i c h a e l Ko n dz i o l k a Director of Programming


D e n i s Koz h u k h i n

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20 13-20 14

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be p r es e n t

the world. right here.

ums.org

/

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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.

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UMS exists to connect. We connect individuals to creativity. We connect passion with performance. We connect artists to inspired audiences. 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.

B r a z i l i a n s ta r G i l b e r t o G i l performs in Hill Auditorium, b y m a r k Gj u k i c h


s u p p o rt u m s

y o u r s u p p o r t. your ums. M a r c u s B e l g r a v e w i t h s t u d e n t s at Detroit School of Arts

UMS exists for moments. Moments when audience members transcend their daily existence. Moments when a child sparks a lifelong passion. Moments when history becomes new again. Moments when the mind travels around the world. Amazing. Enlightening. Enriching. Inspiring. Fun. Important. These were just some of the words we received back in a survey asking you to describe UMS, and what it means to be present. It is these emotions that we want to carry long into the future. We’d love for you to be on that journey with us.

Why support us?

/ The Chiara String Quartet works with area high school students

ums.org

With ticket sales covering less than half of total costs, your gift makes all the difference. To make your gift, contact the UMS Development Office at 734.647.1175 or umsdevelopment@umich.edu.

734.764.2538

Because UMS represents the best of humanity and community. To be part of this organization is to engage with something that truly makes a difference to people, changing lives in both small ways and transformational ones. Performances, education events, community engagement...all of these activities celebrate the world-class performing arts, right here at the University of Michigan.

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subscribe + engage Why subscribe Subscribing to a UMS series can simplify and enhance your life:

Plus… Subscribers Receive Great Benefits!

Personal Fulfillment UMS takes you to a place where the imagination is thriving, where you can schedule your personal escape to maintain balance in your life. A UMS series allows you to invest in yourself while supporting the quality of life in our community.

I n s ta l l m e n t B i l l i n g Your order of $300 or more placed by Friday, June 28, qualifies for installment billing (credit card only, charged in two equal increments when the order is received and the first week in July). NOTE: Tickets cannot be mailed until the final installment is paid.

Va lu e Free ticket exchanges up to 48 hours before a performance, discounts of up to 22%, and the first crack at the best seats in the house…What’s not to love about that?

F r e e Pa r k i n g Subscribers who order at least eight events receive free parking in the Power Center structure (Fletcher Street), a close walk to most performance venues. Make sure to check the box on the order form if you wish to take advantage of this opportunity.

B u i l d i n g R e l at i o n s h i p s Create memories with people who are important to you, whether attending together or meeting up at the performance.

Free Ticket Exchanges Up to 48 hours prior to the performance. See page 39 for more details.

Discovery Take a chance and discover new artists, new art forms, and new ideas.

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Subcriptions

36

Fixed series

series:you

Fixed Package subscribers subscribe to the packages that we’ve created on pages 8-15 of this brochure, which are generally programmed by genre. If you want to add on performances listed in the Series:You options, you’ll get a 10% discount on each ticket, regardless of the number of events purchased.

Series:You subscribers create their own package of at least five events from those listed on pages 16-29. Become the programmer and curate your own season, customized to your interests.

A Note About Single Tickets As a subscriber, you may order tickets now to ANY event in our season. Non-subscribers must wait until Monday, August 5, 2013. UMS Donors ($500+ annually) may purchase tickets to individual events beginning Monday, July 29, 2013.


subscr i b e + engage

u m s l o b b y. o r g

ums.org

Join us in the Lobby!

Join us online!

Engage more fully with all that is UMS on the Lobby, where you can access the behind-the-scenes activities that keep us humming year-round. Visit www.umslobby.org for multimedia and exclusive artist content, and give us your thoughts about various UMS activities.

Our website www.ums.org continues to be an information hub for all UMS services and performance information. Visit to view the 2013-2014 season calendar, learn more about the artists we’re presenting, and purchase tickets. And check out our new mobile-friendly website on your smartphone or tablet!

youtube.com/umsvideos

instagram.com/umsnews

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twitter.com/UMSNews

ums.org

facebook.com/UMSNews

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social

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tickets + info how to order Online

ums.org Phone

734.764.2538 Outside the 734 area code, call toll-free 800.221.1229 With Visa, MasterCard, Discover, or American Express

Subscription Tickets/ S e at i n g P r i o r i t y

Fa x 734.647.1171 In Person Please visit the UMS Ticket Office on the north end of the Michigan League building (911 North University Avenue). The Ticket Office also sells tickets for all U-M School of Music, Theatre & Dance productions and the Ann Arbor Summer Festival.

Mail UMS Ticket Office Burton Memorial Tower 881 North University Avenue Ann Arbor, MI 48109-1011 Summer Hours (May-August) 10 am to 5 pm Mon-Fri Closed Sat and Sun Extended hours resume after Labor Day.

Please note: During the renewal period, we are unable to provide specific seat locations when you purchase your subscription. Priority seating is given to renewing subscribers and donors.

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Subscription tickets will be mailed in late July. There is a $10 service charge for all subscription orders.

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Donors Donors of at least $5,000 annually receive the highest priority seating based on level of giving, including new subscriptions and seating upgrade requests for the Choral Union and Chamber Arts Series. For all other fixed series and Series:You orders, annual donations of $1,000 or more receive special seating consideration.

Groups of 10 or More Groups of 10 or more people to a single event will receive priority over individual event purchasers and save 15-25% off the regular ticket prices to most performances. For more information, contact the UMS Group Sales Office at umsgroupsales@umich.edu or 734.763.3100.

Donations may be included with your ticket order. Ticket orders must be received by Friday, June 7, to be eligible for seating priority.

UMS accepts group reservations beginning Monday, July 8, a full month before tickets to individual events go on sale to the general public. Plan early to guarantee access to great seats!

Fixed Series Fixed series subscribers (for packages listed on pages 8-15 of this brochure) receive priority before Series:You subscribers and individual event purchasers. Subscriptions will be filled by series, in the order received. SERIES : YOU Series:You subscribers (those who choose at least five events from pages 16-29 of this brochure) will receive priority before individual event purchasers. Subscriptions will be filled in the order received and must be received by Wednesday, July 31, 2013.

Refunds Due to the nature of the performing arts, programs and artists are subject to change. If an artist cancels an appearance, UMS will make every effort to substitute that performance with a comparable artist. Refunds will only be offered if a substitute cannot be found, or in the event of a date change. Handling fees are not refundable. 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.


D o n ’ t M i s s T h e s e I m p o r ta n t D at e s ! Wed, Apr 17 Priority Period Begins for Renewing Subscribers and UMS Donors

Fri, Jun 28

Deadline for Installment Billing and Free Parking Options

Wed, May 1 Subscription Packages Available to General Public

Mon, Jul 8

Group Sales Reservations Open

Fri, Jun 7

Deadline for U-M Payroll Deduction Seating Priority Deadline for Donors and Renewing Subscribers Deadline for Choral Union and Chamber Arts subscribers to retain seat location

Mon, Jul 29 Donor Single Ticket Day (for donors of $500+) Wed, Jul 31 Last day to order Series:You Mon, Aug 5 Single Ticket Day – all tickets to individual events on sale Fri, Sep 13

Last Day to Order UMS Fixed Package Series (Jazz Series available until Fri, Sep 6)

S u b s c r i p t i o n T i c k e t s / S e at i n g P r i o r i t y

The value of the ticket(s) may be applied to another performance or will be held as UMS Credit until the end of the 13/14 season. Credit must be redeemed by April 13, 2014. Unused credit will be turned into a donation after that date, with a receipt mailed to the address on file. For information about exchanging tickets within 48 hours of the performance, please call the Ticket Office. 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 begins are not eligible for UMS Credit or as a contribution/donation. T i c k e t M a i l i n g v s . T i c k e t P i c k- U p Your subscription tickets will be mailed in late July, before tickets to individual performances go on sale to the general public. Any ticket order received fewer than 10 days prior to the performance will be held at will-call, which opens in the performance venue 90 minutes prior to the published start time. Lost or Misplaced Tickets Call the Ticket Office at 734.764.2538 to have duplicate tickets waiting for you at will-call. Duplicate tickets cannot be mailed. Pa r k i n g / Pa r k i n g T i p s Detailed directions and parking information will be mailed with your tickets and are also available at www.ums.org.

Seating spaces for wheelchair users and their companions are located throughout each venue, and ushers are available to assist patrons, if needed. Please explain to the usher how best to assist you. Assistive listening devices are available in Hill Auditorium, Rackham Auditorium, Lydia Mendelssohn Theatre, the Power Center, and the Arthur Miller Theatre. 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 to other patrons and the artists on stage as possible. 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 couple of weeks before the performance and makes every effort to contact ticketbuyers via email if there will be no late seating. Be sure the Ticket Office has your email address on file. C h i l d r e n a n d Fa m i l i es 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. UMS Kids Club tickets, for children in grades 3-12, will go on sale in early September.

734.764.2538

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 email a photo to umstix@umich.edu.

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.

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Ticket Exchanges 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.

Access for People with Disabilities 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.

ums.org

P l e a s e M a k e S u r e W e H av e Yo u r Email Address on File! UMS sends updated concert-related parking and late seating information via email a few days before the event. Please be sure that the Ticket Office has your correct email address on file.

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s e at maps

Pricing levels

hill auditorium

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

*

5

c

d

e

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

HILL AUDITORIUM

HILL AUDITORIUM

S TA G E

S TA G E

4

2

3

4

b

Pricing levels apply to all venues.

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

4

a

1

2

3

5

S TA G E

2

3

4

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

1

2

3

A MAIN FLOOR

10

9

MAIN FLOOR

6

7

8

10

9

6

7

8

MAIN FLOOR

MEZZANINE

16 21

15

13

14

20

MEZZANINE

12

19

18

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BALCONY

40

11

16

17

21

15

13

14

20

19

11

12

18

17

BALCONY

BALCONY

Hill Auditorium (H1)

Hill Auditorium (H2)

M i c h i g a n T h e at e r ( MT )

Apollo’s Fire Sunday, November 3

Audra McDonald Sunday, September 15

Buika Friday, October 11

San Francisco Symphony Saturday, November 16

András Schiff, piano Friday, October 25

Ukulele Orchestra of Great Britain Tuesday, November 12

St. Peterburg Philharmonic Saturday, February 22

Handel’s Messiah Saturday–Sunday, December 7–8

One Night in Bamako Bassekou Kouyaté and Fatoumata Diawara Friday, February 7

Israel Philharmonic Orchestra Saturday, March 15

Denis Matsuev, piano Sunday, January 26

Akademie für Alte Musik Berlin Sunday, April 13

Kremerata Baltica Thursday, February 6 Joshua Bell, violin Sunday, February 16 Tara Erraught, mezzo-soprano Thursday, March 20 Jazz at Lincoln Center Orchestra with Wynton Marsalis Sunday, March 30 UMS Choral Union / Brahms’ German Requiem Friday, April 4

Alfredo Rodríguez Trio and the Pedrito Martinez Group Friday, March 14 Los Angeles Guitar Quartet Thursday, April 10


seat m a p s

power center

rackham auditorium

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

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

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 AVE .

POWER CENTER

RACKHAM AUDITORIUM

S TA G E

1

3

1

5

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

S TA G E

2 4

3

2

8 6

10

4 7

9 8

5 6

MAIN FLOOR

7

ORCHESTRA

BALCONY

Power Center (P)

Rackham Auditorium (R)

Complicite: Shun-kin Wednesday–Saturday, September 18–21

Takács Quartet Saturday, October 12

Hubbard Street Dance Chicago Friday–Saturday, September 27–28

Chris Thile Friday, October 18

The Manganiyar Seduction Saturday–Sunday, October 26–27

Hagen Quartet Wednesday, November 13

Ballet Preljocaj Friday–Saturday, November 1–2

Brooklyn Rider with Béla Fleck Sunday, November 24

Kronos Quartet Friday–Saturday, January 17–18

Ariel Quartet with Alisa Weilerstein Wednesday, February 5

Compagnie Käfig Friday–Saturday, February 14–15

St. Lawrence String Quartet Friday, February 14

Théâtre des Bouffes du Nord: The Suit Wednesday–Saturday, February 19–22

Elias Quartet Tuesday, March 18

Wendy Whelan: Restless Creature Tuesday, March 25

Asif Ali Khan Qawwali Music of Pakistan Friday, March 21

BALCONY

Ly d i a M e n d e l s s o h n T h e at r e ( LMT ) Steve Lehman Octet Saturday, November 9 Fred Hersch Trio Thursday, January 30

general admission

Bullet Catch Tuesday–Sunday, January 7–12

Blind Summit: The Table Tuesday–Sunday, October 29–November 3

S t. F r a n c i s o f A s s i s i C at h o l i c C h u r c h ( SF ) 2 2 5 0 E a s t S ta d i u m B o u l e v a r d

Colin Stetson Wednesday–Thursday, January 15–16

Chanticleer Thursday, October 10 Tenebrae Thursday, March 27

734.764.2538

120 East Huron Street

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P e r f o r m a n c e N e t w o r k ( PN )

1 2 2 6 M u r f i n Av e n u e ( N o rt h C a m p u s )

ums.org

A r t h u r M i l l e r T h e at r e ( AMT )

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f o u n d at i o n + university support for the 2 0 1 3 -2 0 1 4 s e a s o n C r e at i v e V e n t u r e s L e a d e r s h i p F u n d This multi-year challenge grant created by Maxine and Stuart Frankel supports artistic, innovative, and cutting-edge programming. D a n c e / USA : E n g a g i n g D a n c e A u d i e n c e s Special support for 2013-2014 initiatives to engage audiences in UMS dance programs is provided by Engaging Dance Audiences, a program of Dance/USA funded by the Doris Duke Charitable 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 Endowment Fund Special project support for several components of the 2013-2014 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.

University of Michigan The University of Michigan provides special project support for many activities in the 2013-2014 season through the U-M/UMS Partnership Program. Additional support is provided by the U-M Office of the Vice President for Research, the U-M Office of the Senior Vice Provost for Academic Affairs, the International Institute, and other individual academic units. U n i v e r s i t y o f M i c h i g a n H e a lt h S y s t e m The University of Michigan Health System provides multi-year support for UMS programs. Wallace Endowment Fund The Complicite and Setagaya Public Theatre production of Shun-kin is funded in part by the Wallace Endowment Fund, established with a challenge grant from the Wallace Foundation to build participation in arts programs.

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 The Andrew W. Mellon Foundation is providing support to UMS via multi-year grants for two projects: (1) orchestra and large ensemble presentations and associated residencies, and (2) an initiative to integrate the arts more fully into the undergraduate academic experience at the University of Michigan.

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media pa rt n e r s

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UMS i s a m e m b e r o f t h e U n i v e r s i t y o f M i c h i g a n a r t s c o n s o r t i u m , t h e A r t s A l l i a n c e , a n d c u lt u r a l s o u r c e . 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.


ums.org

Photo credits Cover Photo: Fatmoumata Diawara by Mali Serena Auroras. Photos in this brochure were taken by Sarah Ainslie, Oded Antman, Tuskasa Aoki, Nigel Bewley, Jay Blakesburg, Sisi Burns, JC Carbonne, Michel Cavalca, Danny Clinch, Tom Ehrlich, Kristof Fischer, Mark Gjukich, Harald Hoffmann, Nisian Hughes, Eric Kabik, Keith Klenowski, Youri Lenquette, Paul Marc Mitchell, Agathe Poupeney, Eric Richmond, Todd Rosenberg, Cynthia Sciberras, Sarah Small, and Anna Weber, among others.

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colin stetson

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ums.org u m s l o b b y. o r g


2 0 1 3 -2 0 1 4 o r d e r fo r m how to o r d e r

135 th sea so n

H a v e q u e s t i on s ? Call the UMS Ticket Office at 734.764.2538 Outside the 734 area code, call toll-free 800.221.1229.

There is a $10 service charge for all subscription orders.

O nl i n e

F ax 734.647.1171

ums.org Phon e

734.764.2538 Outside the 734 area code, call toll-free 800.221.1229 With Visa, MasterCard, Discover, or American Express

Order Form Tips

In P e r s on Please visit the UMS Ticket Office on the north end of the Michigan League building (911 North University Avenue). The Ticket Office also sells tickets for all U-M School of Music, Theatre & Dance productions and the Ann Arbor Summer Festival.

Ma i l UMS Ticket Office Burton Memorial Tower 881 North University Avenue Ann Arbor, MI 48109-1011 Summer Hours (May-August) 10 am to 5 pm Mon-Fri Closed Sat and Sun Extended hours resume after Labor Day.

Please read, even if you’ve subscribed in the past.

We’ve worked hard to make ordering tickets to the many events in the 2013-2014 season as easy as possible, but with literally thousands of possible combinations, we realize that it can be difficult. With that in mind, please consider these tips that will help you make your decisions for the 2013-2014 season, whether you are new to UMS or have been subscribing for years: 1

Look through the entire brochure and make a list of the events you are interested in seeing.

2

If you generally like events that are thematically linked (e.g., jazz, chamber music), you will probably be most interested in the fixed packages listed in Section 1 of the order form. Anyone who purchases a fixed package may purchase any number of Series:You events now and still receive priority seating over single ticket buyers. The 10% Series:You discount is available to all fixed package subscribers..

3

If you prefer a variety of events, you will probably be most interested in Series:You in Section 2. When you purchase at least 5 events, you may take 10% off the total price and still receive priority seating over single ticket buyers. You may purchase a different number of tickets to each event, so feel free to invite friends to join you for any or all of the performances in your series — but you must purchase at least 5 different events to qualify for Series:You. Note: If you are ordering a different number of tickets for events in this series, we recommend that you submit this paper order form rather than ordering online.

4

When you purchase a fixed package or Series:You, you may also purchase tickets to other individual events (see Section 3 of the order form). These tickets may be purchased for yourself or for your friends and family. These performances are not included as Series:You events, so you can guarantee your seats for these concerts and plan your entire season of UMS events at once. Please note that there are no discounts for these events, unless they are purchased as part of the Choral Union or Chamber Arts series.

5

PLEASE BE SURE TO FILL OUT ALL SIX PAGES OF THE ORDER FORM BEFORE YOU SEND IT IN. You may also call the Ticket Office for assistance if you have questions about which package makes the most sense for you. Don’t forget to include your pre-paid parking passes to avoid hassles on the night of the performance, and to make your tax-deductible contribution to UMS.

6

Please consult the important deadlines on page 39 of this brochure before sending in your order.

checklist Please double check that you have completed the following before mailing in your order. Have you:

Included daytime and evening phone numbers and email addresses (to be used in case of concert cancellation or ticketing problems)?

Signed and enclosed your check, or signed the credit card or U-M Payroll deduction line in “Payment Information?”

If you have ordered the Dance, Theater, Jazz, or Global Series, have you circled your desired performance(s) on the order form for events with multiple performances?

Filled out and included the entire order form (all six sides)? Please do not cut the order form before sending.


m a i l i ng i nfo r m at i on U M S A c c o u n t Num b e r (if known, can be found on the mail panel of this brochure above your name) las t n ame

first name

ADD RESS CITY

STATE

DAY PHONE

ZIP

evening PHONE

EM AIL (for up-to-date information on parking, start times, intermissions, program change, etc.)

Tickets will be mailed to the address provided above in late July. If you would like your tickets sent to a different address or held for pick-up at the League Ticket Office, please see the “important seating info� section below.

p ay m e nt i nfo r m at i on check

(payable to UMS)

credit card visa

masterCard

american express

discover

I want to take advantage of installment billing (credit card orders totaling $300 or more only, order must be received by June 28, 2013). Please bill my credit card in two equal installments: once when my order is received and in mid-July. Installment billing is not available online.

accoun t n umbe r (Do not include hyphens, dashes or spaces)

ex pi rati on dat e

a u t h o r i z at i o n s i g n at u r e

U-M payroll deduction (order must be received by Friday, June 7) I understand I will be billed in four installments for my subscription tickets, once monthly in June, July, August, and September. Donations will be deducted in monthly installments beginning in July 2013. Note: Payroll deduction requests must be mailed, faxed, or dropped off at the Michigan League Ticket Office. Payroll deduction requests will not be accepted by phone or online.

u - m e mp l o y e e i d n um b e r

a u t h o r i z at i o n s i g n at u r e

i m p o r tant s e at i ng i nfo A. If the seat section you selected is not available for an event that you have purchased, would you prefer (please check all that apply): Change my seats the next highest price section

Call me at the daytime number listed above

Change my seats to the next lowest price section

Email me at the address listed above

If available, move me to a different performance of the same event and keep the same price section (note any exceptions below) Note: If you do not check a box, you will automatically be moved to the next lowest price section, and the cost difference will be converted to UMS Credit, which may be used at any time during the 2013-2014 season. A UMS Credit receipt will be printed with your tickets and mailed in late July. If the venue that you have selected has several levels (e.g., main floor and balcony), UMS will keep your seats on the level that you requested and move you to the next lowest price section, unless you indicate otherwise here:

B. Disability-Related Seating Needs or Special Seating Requests:

C. I would like my tickets mailed to: The address above

Please hold my tickets at the League Ticket Office for me to pick up prior to my first performance

My summer address (please list address and dates below):

o f f i c e u s e o n ly

t i c k e t t o ta l :

d o n at i o n :


1

FIXE D P ACKAGES

H a v e q u e s t i on s ? Call the UMS Ticket Office at 734.764.2538

Please consult the venue seating maps on pages 40-41 of this brochure as you make your selection.

Outside the 734 area code, call toll-free 800.221.1229.

Fixed series prices are guaranteed until September 13, 2013.

* seats are not available in this price section for venue listed

f i x e d s e r i e s pa c k ag e s Series (# of performances)

# of Packages

Choral Union Series (11)

Series (# of performances)

Chamber Arts Series (7)

Dance Series (4) Please circle your preferred performance:

O r d e r s m u s t b e r e c e i v e d by F r i d ay, S e p t e m b e r 1 3 , 2 0 1 3

Gold Main

A Main

B Main

A Mezz

B Mezz

B Balc

C Balc

E Balc

730

660

570

570

470

390

330

110

x

# of Packages

Gold Main

Gold Balc

* 164

x

x

Total

=

A

B

C

D

*

300

260

200

150

150

150

130

96

*

=

150

140

120

*

=

Total

=

Hubbard Street Dance Chicago Fri, Sep 27 @ 8

Sat, Sep 28 @ 8

Ballet Preljocaj Fri, Nov 1 @ 8

Sat, Nov 2 @ 8

Compagnie Käfig Fri, Feb 14 @ 8

International Theater Series (4) Please circle your preferred performance:

x

Sat, Feb 15 @ 8

170

150

Complicite/Shun-kin Wed, Sep 18 @ 7:30

Thu, Sep 19 @ 7:30

Fri, Sep 20 @ 8

Tue, Oct 29 @ 7:30

Wed, Oct 30 @ 7:30

Thu, Oct 31 @ 7:30

Fri, Nov 1 @ 8

Sat, Nov 2 @ 8

Sun, Nov 3 @ 2

Tue, Jan 7 @ 7:30

Wed, Jan 8 @ 7:30

Thu, Jan 9 @ 7:30

Fri, Jan 10 @ 8

Sat, Jan 11 @ 8

Sun, Jan 12 @ 2

Sat, Sep 21 @ 8

Blind Summit/The Table

Bullet Catch

Thêátre des Bouffes du Nord/The Suit Wed, Feb 19 @ 7:30

Global Series (5) Please circle your preferred performance:

x

190

Please circle your preferred performance:

190

Fri, Feb 21 @ 8

Sat, Feb 22 @ 8

170

140

120

80

185

150

*

*

=

The Manganiyar Seduction Sat, Oct 26 @ 8

Jazz Series (5)

Thu, Feb 20 @ 7:30

x

Sun, Oct 27 @ 4

*

*

Fred Hersch Trio Thu, Jan 30 @ 7:30

Thu, Jan 30 @ 9:30

1

Fixed Series Package Sub-Total $

=


2

C h o o s e 5 o r m o r e e v e n t s f r o m t h i s l i s t i n g , a n d ta k e 1 0 % o f f Subscribers to any of the Fixed Series Packages listed in Section 1 of the Order Form may order any number of individual Series:You events and receive the 10% discount. Please consult the venue seating maps on pages 40-41 of this brochure as you make your selection. Series:You orders must be received by Wednesday, July 31, 2013 to receive the 10% discount. Individual event prices guaranteed until Wednesday, July 31, 2013.

SERIES : Y O U

* seats are not available in this price section for venue listed

O r d e r s m u s t b e r e c e i v e d by w e d n e s d ay, J uly 3 1 , 2 0 1 3 , to r e c e i v e th e 1 0 % d i s count

Artist

Date, Time (Venue)

Jason Moran Fats Waller Dance Party

Fri, Sep 6, 8pm (TBA)

Audra McDonald

Sun, Sep 15, 4pm (H2)

Complicite/Shun-kin

Wed, Sep 18, 7:30pm (P)

Complicite/Shun-kin

Thu, Sep 19, 7:30pm (P)

Complicite/Shun-kin

Fri, Sep 20, 8pm (P)

Complicite/Shun-kin

Sat, Sep 21, 8pm (P)

Hubbard Street Dance

Fri, Sep 27, 8pm (P)

Hubbard Street Dance

Sat, Sep 28, 8pm (P)

Chanticleer

Thu, Oct 10, 7:30pm (SF)

Buika

Fri, Oct 11, 8pm (MT)

Chris Thile

Fri, Oct 18, 8pm (R)

András Schiff / Goldberg Variations

Fri, Oct 25, 8pm (H2)

The Manganiyar Seduction

Sat, Oct 26, 8pm (P)

The Manganiyar Seduction

Sun, Oct 27, 4pm (P)

Blind Summit/The Table

Tue, Oct 29, 7:30pm (PN)

Blind Summit/The Table

Wed, Oct 30, 7:30pm (PN)

Blind Summit/The Table

Thu, Oct 31, 7:30pm (PN)

Blind Summit/The Table

Fri, Nov 1, 8pm (PN)

Blind Summit/The Table

Sat, Nov 2, 8pm (PN)

Blind Summit/The Table

Sun, Nov 3, 2pm (PN)

Ballet Preljocaj

Fri, Nov 1, 8pm (P)

Ballet Preljocaj

Sat, Nov 2, 8pm (P)

Apollo’s Fire / Brandenburg Concerti

Sun, Nov 3, 4pm (H1)

Steve Lehman Octet

Sat, Nov 9, 8pm (LMT)

Ukulele Orchestra of Great Britain

Tue, Nov 12, 7:30pm (MT)

Hagen Quartet

Wed, Nov 13, 7:30pm (R)

Brooklyn Rider with Béla Fleck

Sun, Nov 24, 4pm (R)

Handel’s Messiah

Sat, Dec 7, 8pm (H2)

Handel’s Messiah

Sun, Dec 8, 2pm (H2)

Bullet Catch

Tue, Jan 7, 7:30pm (AMT)

Bullet Catch

Wed, Jan 8, 7:30pm (AMT)

Bullet Catch

Thu, Jan 9, 7:30pm (AMT)

Bullet Catch

Fri, Jan 10, 8pm (AMT)

Bullet Catch

Sat, Jan 11, 8pm (AMT)

Bullet Catch

Sun, Jan 12, 2pm (AMT)

Colin Stetson

Wed, Jan 15, 7:30 pm, AMT

Colin Stetson

Thu, Jan 16, 7:30 pm, AMT

Kronos Quartet

Fri, Jan 17, 8pm, (P)

Kronos Quartet

Sat, Jan 18, 8pm, (P)

Denis Matsuev

Sun, Jan 26, 4pm (H2)

Fred Hersch Trio

Thu, Jan 30, 7:30pm (LMT)

Fred Hersch Trio

Thu, Jan 30, 9:30pm (LMT)

Ariel Quartet with Alisa Weilerstein

Wed, Feb 5, 7:30pm (R)

Kremerata Baltica

Thu, Feb 6, 7:30pm (H2)

One Night in Bamako/Kouyaté & Diawara

Fri, Feb 7, 8pm (MT)

Compagnie Käfig

Fri, Feb 14, 8pm (P)

Compagnie Käfig

Fri, Feb 15, 8pm (P)

Joshua Bell

Sun, Feb 16, 4pm (H2)

Thêátre des Bouffes Nord/The Suit

Wed, Feb 19, 7:30pm (P)

Thêátre des Bouffes Nord/The Suit

Thu, Feb 20, 7:30pm (P)

Thêátre des Bouffes Nord/The Suit

Fri, Feb 21, 8pm (P)

Thêátre des Bouffes Nord/The Suit

Sat, Feb 22, 8pm (P)

Alfredo Rodríguez/Pedrito Martinez

Fri, Mar 14, 8pm (MT)

Elias Quartet

Tue, Mar 18, 7:30pm (R)

Tara Erraught

Thu, Mar 20, 7:30pm (H2)

Asif Ali Khan Qawwali

Fri, Mar 21, 8pm (R)

Wendy Whelan/Restless Creature

Tue, Mar 25, 7:30pm (P)

Tenebrae

Thu, Mar 27, 7:30pm (SF)

Jazz at Lincoln Center/Marsalis

Sun, Mar 30, 4pm (H2)

UMS Choral Union/Brahms Requiem

Fri, Apr 4, 8pm (H2)

Los Angeles Guitar Quartet

Thu, Apr 10, 7:30pm (MT)

Akademie für Alte Musik Berlin

Sun, Apr 13, 4pm (H1)

# of Tickets

Gold Main

x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x

A Main

B Main

Gold Balc A Mezz

B Mezz

B Balc

C

D

E

35 general admission 60

54

48

48

40

34

30

20

10

60

54

*

54

*

48

36

24

18

60

54

*

54

*

48

36

24

18

60

54

*

54

*

48

36

24

18

60

54

*

54

*

48

36

24

18

54

50

*

50

*

46

32

26

20

54 50 50 * * 50 reserved, 40 general admission

46

32

26

20

38

32

* 68

42

* 36

58

48

44

48

44

38

*

28

22

18

*

* 42

* 36

28

20

50

* 50

32

22

* 10

*

44

*

40

32

24

18

44

*

40

32

24

18

18

* 35 general admission 35 general admission 35 general admission 35 general admission 35 general admission 35 general admission 44

40

*

40

*

34

26

22

44

40

40

26

22

18

58

50

* 42

34

68

* 50

36

32

22

10

* 48

35

25

35

*

25

48

*

36

* 24

*

46

* 40

* 30

*

42

*

*

*

32

22

*

* 36

50

44

* 24

* 22

24

24

* 28

36

28

18

14

* 10

36

28

24

28

24

22

18

14

10

*

40 general admission 40 general admission 40 general admission 40 general admission 40 general admission 40 general admission 25 general admission 25 general admission 50

46

*

46

*

38

32

24

20

50

46

46

32

24

20

54

48

* 40

38

60

* 48

34

30

20

10

*

40

30

40

*

30

*

*

*

*

40

30

40

*

30

42

36

54

48

* 48

* 40

* 34

* 20

*

* 60

* 28 30

20

46

40

*

46

*

34

26

20

44

40

*

40

*

34

26

22

44

40

26

22

18

60

* 52

34

68

* 60

40

75

40

34

26

10

60

54

*

54

*

48

36

24

18

60

54

*

54

*

48

36

24

18

60

54

*

54

*

48

36

24

18

60

54

*

54

*

48

36

24

18

46

40

46

*

34

26

20

*

* 50

42

* 36

* 26

20

38

* 30

28

44

* 38

22

18

* 10

* 44

46

40

* * 40 * * 40 reserved, 30 general admission

* 34

32

20

40

26

22

56

48

42

46

40

34

26

22

10

36

28

24

28

20

44

50

58

* 42

* 22

68

* 50

* 30

10

50

* 38 36

32

22

50

* 10 * 18

* 18

* 10

Series:You Sub-Total $ Less 10% (must purchase at least 5 events from Section 2 or any series in Section 1) $ 2

Series:You Sub-Total with Discount (please do not round) $

Total

= = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = =


3

S U BSCRIBER BENEFITS Subscribers to any series may order tickets to all events now. Seating priority will be given to UMS donors. We’re sorry, we are unable to offer discounts to these concerts unless they are purchased as part of an entire Choral Union or Chamber Arts Series. Choral Union and Chamber Arts concerts listed on the Series:You section are not included here. * seats are not available in this price section for venue listed

A d d i t i onal E v e nt s ( d i s c ount s not off e r e d ) Artist

Date, Time (Venue)

Takács Quartet

Sat, Oct 12, 8pm (R)

San Francisco Symphony

Sat, Nov 16, 8pm (H1)

St. Lawrence String Quartet

Fri, Feb 14, 8pm (R)

St. Petersburg Philharmonic

Sat, Feb 22, 8pm (H1)

Israel Philharmonic

Sat, Mar 15, 8pm (H1)

# of Tickets

A Main

B Main

Gold Balc

Gold Main

A Mezz

B Mezz

B Balc

C

D

E

*

50

44

*

*

*

36

24

*

85

80

70

70

60

48

36

28

10

*

46

40

*

*

*

32

22

*

85

80

70

70

60

48

36

28

10

100

90

80

80

70

56

48

30

10

x x x x x

3

4

Total

= = = = =

Additional Events Sub-Total $

pa r k i n g Pre-Paid Event Parking Passes may be purchased in advance for $5 each for the Thayer and Fletcher Street parking structures, just a short walk from most concert venues in Ann Arbor. Special vouchers may be redeemed for parking beginning two hours before the event and expire at the end of the 2013-2014 season. Each parking pass is good for one use only. Parking is not guaranteed with vouchers, so please arrive early to allow enough time to park.

p a r k i ng Pre-Paid Parking Passes

x $5/each =

4 Parking Sub-Total $

S U BSCRIBER BE NEFIT : I subscribed to eight or more events prior to June 28, 2013 and would like free parking in the Power Center (Fletcher Street) structure on UMS concert nights. Please send special vouchers with my tickets.

5

don’t forget Ticket prices cover less than half of our operating expenses. Please help UMS maintain its standard of excellence with your tax-deductible donation.

total s

support ums

1

Fixed Series Package Sub-Total

$

giving levels:

2

Series:You Sub-Total (do not round)

$

3

Additional Events Sub-Total

$

4

Parking Sub-Total

$

presenters circle

friends

Director $100,000 or more Soloist $50,000-$99,999 Maestro $20,000-$49,000 Virtuoso $10,000-$19,999 Producer $5,000-$9,999

Leader $3,500-$4,999 Principal $2,500-$3,499 Patron $1,000-$2,499 Benefactor $500-$999 Associate $250-$499 Advocate $100-$249 Friend $1-$99

If you are a donor, please print your name(s) as you would like it to appear in the program book listing, or check the box below to remain anonymous. Donors of $250 or more will be listed in the program book.

Postage/Handling

$ 10.00

Sub-Total (Total 1-4 + Postage) 5

Tax-Deductible Contribution to UMS

$

Grand Total

Remain anonymous

Did you double-check your order? Please review the checklist on the mailing/ payment page to be sure that you haven’t forgotten anything.


i m p o r tant i nfo

Subscription requests are filled in the order in which they are received. Order early to guarantee the best seats before tickets go on sale to the general public. UMS Donors are given seating priority for upgrades and new series when orders are received by Friday, June 7.

Don ’ t M i s s T h e s e I m p o r tant Dat e s ! Wed, Apr 17 Priority Period Begins for Renewing Subscribers and UMS Donors

Fri, Jun 28

Deadline for Installment Billing and Free Parking Options

Wed, May 1 Subscription Packages Available to General Public

Mon, Jul 8

Group Sales Reservations Open

Fri, Jun 7

Wed, Jul 31 Last day to order Series:You

Deadline for U-M Payroll Deduction Seating Priority Deadline for Donors and Renewing Subscribers Deadline for Choral Union and Chamber Arts subscribers to retain seat location

Mon, Jul 29 Donor Single Ticket Day (for donors of $500+) Mon, Aug 5 Single Ticket Day – all tickets to individual events on sale Fri, Sep 13

Last Day to Order UMS Fixed Package Series (Jazz Series available until Fri Sep 6)

Sub s c r i p t i on T i c k e t s / S e at i ng P r i o r i ty Su b s c r i p t i o n t i c k e t s w i l l b e m a i l e d i n l at e j u ly. Please be sure that you have noted on the Seating Info section of this order form if you would like tickets to be sent to a different address or held at the League Ticket Office for pick-up. There is a $10 service charge for all subscription orders. donors Donors of at least $5,000 annually receive the highest priority seating based on level of giving, including new subscriptions and seating upgrade requests for the Choral Union and Chamber Arts Series. For all other fixed series and Series:You orders, annual donations of $1,000 or more receive special seating consideration.

fixed series Fixed series subscribers (for packages listed on pages 8-15 of this brochure) receive seating priority before Series:You subscribers and individual event purchasers. Subscriptions will be filled in the order received. SERIES : Y O U Series:You subscribers (those who choose at least five events from pages 16-29 of this brochure) will receive priority before individual event purchasers. Subscriptions will be filled in the order received and must be received by Wednesday, July 31, 2013.

Donations may be included with your ticket order. Ticket orders must be received by Friday, June 7 to be eligible for seating priority.

p l e a s e not e P l e a s e M a k e Su r e W e H a v e Y o u r E - M a i l Add r e s s on File UMS sends updated concert-related parking and late seating information via email a few days before the event. Please be sure that the Ticket Office has your correct email address on file.

T i c k e t D o n at i o n / 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.

Ticket Exchanges Subscribers may exchange tickets free-of-charge up to 48 hours before the performance. Exchanged tickets must be received by the Ticket Office (by mail or in person) at least 48 hours prior to the performance. The value of the ticket(s) may be applied to another performance or will be held as UMS Credit until the end of the 2013-2014 season. You may fax a photocopy of your torn tickets to 734.647.1171, or email a photo to umstix@umich.edu. UMS Credit must be redeemed by April 13, 2014. For information about exchanging tickets within 48 hours of the performance, please call the Ticket Office. The UMS Ticket Office will accept subscription ticket exchanges after tickets are mailed in late July.

refunds Due to the nature of the performing arts, programs and artists are subject to change. If an artist cancels an appearance, UMS will make every effort to substitute that performance with a comparable artist. Refunds will only be offered if a substitute cannot be found, or in the event of a date change. Handling fees are not refundable. 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. Access for People with Disabilities For more information about accessibility services, please see page 39 in this brochure.


UMS 13-14 Series Brochure  

Full details on the 13-14 performing arts season presented on the University of Michigan campus by the University Musical Society (UMS)

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