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2 0 1 3 -2 0 1 4 season

Ballet Preljocaj

E v e r y m o m e n t. Every feeling. Every experience. Yours. Every page within this book represents a new journey. One that will take you to places both familiar and new, but always on an experience unlike any you’ve ever been on before.

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No matter the feeling, it will be uniquely yours. All that is required? To be present.

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We invite you to take the journey with us. To feel inspired or captivated. Moved or enlightened.

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1 3 5 th s e a s o n

2 0 1 3 -2 0 1 4 c a le n da r

2 0 1 3 -2 0 1 4 calendar

january

Downtown Home & Garden

8 & 10

National Theatre Live: The Audience

Michigan Theater

15

Audra McDonald

Hill Auditorium

18–21

Complicite and Setagaya Public Theatre: Shun-kin

Power Center

27–28

Hubbard Street Dance Chicago: One Thousand Pieces

Power Center

october 10

Chanticleer

St. Francis of Assisi Church

11

Buika

Michigan Theater

12

Takács Quartet Rackham Auditorium

13

National Theatre Live: Othello

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Chris Thile, mandolin Rackham Auditorium

25

András Schiff, piano: Bach’s Goldberg Variations

Hill Auditorium

26–27

The Manganiyar Seduction

Power Center

27

National Theatre Live: Macbeth

Michigan Theater

29–Nov 3

Blind Summit: The Table

Performance Network

Michigan Theater

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november

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1–2

Ballet Preljocaj: And Then, One Thousand Years of Peace

Power Center

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Apollo’s Fire: Bach’s Brandenburg Concertos Nos. 2–6

Hill Auditorium

9

Steve Lehman Octet Lydia Mendelssohn Theatre

11

James Blake

Michigan Theater

12

Ukulele Orchestra of Great Britain

Michigan Theater

13

Hagen Quartet Rackham Auditorium

16

San Francisco Symphony: Mahler’s Symphony No. 9 Michael Tilson Thomas, conductor

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Brooklyn Rider with Béla Fleck Rackham Auditorium

Hill Auditorium

december 7–8

Handel’s Messiah

Hill Auditorium

Colin Stetson Arthur Miller Theatre

17–18

Kronos Quartet

Power Center

26

Denis Matsuev, piano

Hill Auditorium

30

Fred Hersch Trio Lydia Mendelssohn Theatre

february 5

Ariel Quartet with Alisa Weilerstein, cello Rackham Auditorium

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Kremerata Baltica Gidon Kremer, violin

Hill Auditorium

7

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

Michigan Theater

9

National Theatre Live: Coriolanus

Michigan Theater

14

St. Lawrence String Quartet Rackham Auditorium

14–15

Compagnie Käfig

Power Center

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Joshua Bell, violin

Hill Auditorium

19–22

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

Power Center

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

Hill Auditorium

14

Alfredo Rodríguez Trio and the Pedrito Martinez Group

Michigan Theater

15

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

Hill Auditorium

18

Elias Quartet Rackham Auditorium

20

Tara Erraught, mezzo-soprano

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Asif Ali Khan Qawwali Music of Pakistan Rackham Auditorium

25

Wendy Whelan: Restless Creature

Power Center

30

Jazz at Lincoln Center Orchestra with Wynton Marsalis Ford Honors Program

Hill Auditorium

march

Hill Auditorium

april 4 Brahms’s German Requiem UMS Choral Union & Ann Arbor Symphony Orchestra Jerry Blackstone, conductor

Hill Auditorium

10

Los Angeles Guitar Quartet

Michigan Theater

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Akademie für Alte Musik Berlin

Hill Auditorium

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Jason Moran’s Fats Waller Dance Party featuring Meshell Ndegeocello

15–16

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Bullet Catch Arthur Miller Theatre

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SEPTEMBER

7–12

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se as o n t h e mes

r e n eg a de a rt i s t s

season themes

2 0 1 3 -2 0 1 4 renegade artists The Music of J.S. Bach a n d F a m i ly

Artists engage daily in a creative enterprise full of risk-taking, experimentation, and boundary pushing. Renegade is about artists who, in their own time and context, draw outside the lines, changing our expectations.

András Schiff Bach’s Goldberg Variations

Apollo’s Fire Bach’s Brandenburg Concertos Nos. 2-6

Uncommon Virtuosos The word “virtuoso” often brings to mind highly accomplished classical musicians, frequently violinists and pianists. This season features musicians who perform on instruments not usually paired with the word “virtuoso”:

C o m p l i c i t e & S e ta g aya P u b l i c T h e at r e : S h u n - k i n With director Simon McBurney, you can expect the full box of theatrical tools — text, music, imagery, and action — put in service to big ideas that create surprise, confusion, and disruption. The result is anything but an expected night in the theater. These are experiences which last a lifetime.

Ballet Preljocaj Dance-theater (tanztheater), a 20th-century invention primarily attributed to the German expressionists, pushed audiences’ expectations about what a dance would look like, intentionally distancing itself from the traditions of classical ballet. Its aspiration: that, through dance, all artistic media would be united and achieve an all-embracing, radical change in humankind. Angelin Preljocaj’s work lives within and expands this experimental lineage.

Ak a d e m i e f ü r A lt e M u s i k B e r l i n Traces the Bach family line from Johann Sebastian to three of his sons, Carl Philipp Emanuel, Wilhelm Friedemann, and Johann Christian, moving from the gorgeous, Italianinspired Baroque era to the foreshadowing of Joseph Haydn and Wolfgang Amadeus Mozart.

Chris Thile

Steve Lehman Octet Composer and saxophonist Steve Lehman is trailblazing new computer-driven models for improvisation, resulting in striking new harmonies. With his Octet, Lehman has achieved the first fully realized exploration of spectral harmony in the history of recorded jazz.

mandolin, a descendent of the lute family a p o l l o ’ s fi r e

Uk u l e l e O r c h e s t r a o f G r e at B r i ta i n ukuleles large and small

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banjo, paired with string quartet

Colin Stetson, who performs unbroken 10-minuteplus compositions for unaccompanied bass and alto saxophones via a combination of circular breathing, overtones, and amplified vocalizations, expands the boundaries of what was previously thought possible for solo performance.

For nearly 40 years, the Kronos Quartet has pursued a singular artistic vision, combining a spirit of fearless exploration with a commitment to continually re-imagine the string quartet experience. They started out as classical chamber music’s original renegades and continue that cause to this very day. Two different programs explore their take on 40 years of renegade music-making, anchored by the piece where it all began — George Crumb’s Black Angels, a highly unorthodox, Vietnam War-inspired work featuring bowed water glasses, spoken word passages, and electronic effects.

K r e m e r ata B a lt i c a a n d S h o s ta k o v i c h It is hard for any of us to imagine what it means to be denounced publicly by the highest officials of one’s own government — especially during a time when everyone pretty much understood that this kind of admonishment could lead to a life of hard labor or worse. Dmitri Shostakovich not only carried on, but continued to create a body of art that pushed right back, albeit in coded and subversive ways. As a composer, he worked within an expected tradition; as a human, he raged against all manner of censorship and injustice. Shostakovich’s Anti-formalist Gallery was a dangerously satirical cantata never intended to be published or performed, as it would have imperiled his safety. During the composer’s lifetime, the work was performed only for family and close friends; it did not receive its first public performance until January 1989, 14 years after his death.

Colin Stetson bass and alto saxophones

B a s s e k o u K o u yat é

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B é l a F l e c k w i t h B r o o k ly n R i d e r

Colin Stetson

Kronos Quartet

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Three concerts in the UMS season focus on the music of the great composer Johann Sebastian Bach. While Bach’s music is now firmly established as a highpoint of Western civilization, that was not always the case; the composer’s life and career were confined to a very limited geographical area until Felix Mendelssohn rescued him from obscurity some 150 years ago, making Bach’s music accessible to a wider public. Three concerts on the UMS season highlight some of Bach’s most well-known works, as well as the vision he passed down to three of his children, composers in their own right:

ngoni, a West African stringed lute These performances are supported by the Renegade Ventures Fund and Maxine and Stuart Frankel. For more information about the Renegade Ventures Fund, see page 72.

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B a ss e k o u K o u yat é

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14+ Ages

This raucous party, devoted to the great jazz pianist and entertainer Fats Waller, includes an open dance floor and copious quantities of fun. UMS celebrates the opening of its 2013-2014 season with a down-home neighborhood party at Ann Arbor’s historic Downtown Home & Garden barn. Regional and local draft beers from adjoining Bill’s Beer Garden and fresh, ethnic dishes from the eight food carts of Mark’s Carts (in the courtyard) will complement pianist, bandleader, and MacArthur Fellow Jason Moran and the renowned bassist and vocalist Meshell Ndegeocello in their 21st-century interpretation of Fats Waller’s songbook. This is how Fats Waller would groove if he were with us in 2013.

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. 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.

This event will happen rain or shine. Ticket price does not include food and beer. Limited general seating available.

A Gershwin symposium precedes the concert. Details to be announced at www.ums.org.

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

12+ Ages

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Season Opening Celebration! Featuring Meshell Ndegeocello Friday, September 6, 8 pm Downtown Home & Garden and Bill’s Beer Garden (210 S. Ashley St., Ann Arbor)

Audra McDonald

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Jason Moran’s Fats Waller Dance Party

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M e d i a Part n er s

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

S p o nso r e d by

S up p o rt e d by

M e d i a Partners

Susan B. Ullrich Endowment Fund

WGTE 91.3 FM, Ann Arbor’s 107one, WDET 101.9 FM, and WRCJ 90.9 FM

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Shun-kin

Hubbard Street Dance Chicago

Complicite and Setagaya Public Theatre

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 traditional Japanese 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 in the US only at the Lincoln Center Festival, UCLA, and UMS, explores the relationship between master teacher and student, showing just how fraught that relationship can be. Complicite returns to Ann Arbor following the success of A Disappearing Number (2008) and their previous Japanese co-production, The Elephant Vanishes (2004). Contains mature content. In Japanese with English supertitles. A Complicite co-production with the Setagaya Public Theatre, Tokyo and the Barbican, London

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, which were 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)

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

Post-performance Q&A (Friday)

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12+ Ages

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Post-performance Q&A (wednesday)

One Thousand Pieces

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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

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S u p p ort ed by

Maxine and Stuart Frankel and the Renegade Ventures Fund and Herbert S. and Carol L. Amster Fund

fu n d e d in pa rt by

M e d ia Pa rtn e rs

and the Wallace Endowment Fund

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

sp o nso r e d by

S up p o rt e d by

f und e d i n pa rt by

M e d i a Partners

Frank Legacki and Alicia Torres

Arts Midwest Touring Fund

Between the Lines, Metro Times, and Ann Arbor’s 107one

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Chanticleer

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

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Buika

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) Chanticleer’s program highlights the complex and emotionally charged dialogue between the sexes. She Said/He Said features the wide-ranging voices of Hildegard von Bingen, Cole Porter, Joni Mitchell, Eric Whitacre, Maurice Ravel, bawdy Renaissance madrigals, and more.

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 whose dark, husky, intriguing voice mixes the Moorish roots of flamenco with the dexterity of great jazz singers. Her evident African roots and her cosmopolitanism, developed in clubs in Spain and Americanized during a 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. A UMS debut.

12+

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M e d i a Part n er s

M e d i a Pa rt ne r

WRCJ 90.9 FM and Between the Lines

Ann Arbor’s 107one

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Friday, October 11, 8 pm Michigan Theater

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12+ Ages

Hildegard von Bingen Plainchant Tomás Luis de Victoria Regina caeli laetare Nanino Diffusa est gratia Adrian Willaert Vecchie letrose Clement Janequin Au joly jeu Andrea Gabrieli Tirsi morir voleai Maurice Ravel Trois chansons Eric Whitacre A Boy and a Girl Stacy Garrop [New Commission] Cole Porter (arr. J. Jennings) So in Love Joni Mitchell (arr. V. Peterson) Both Sides Now

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Program: She Said/He Said

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Chris Thile, mandolin

Six months after closing the 50th Annual Chamber Arts Series, this Ann Arbor favorite returns to open the 51st. Recognized as one of the world’s great ensembles, the Takács Quartet plays with a unique blend of drama, warmth, and humor, combining four distinct musical personalities to bring fresh insights to the string quartet repertoire. “Every time, one is blown away by the rightness and freshness of everything they do.” (The Guardian) Program

14+ Ages

Post-performance Q&A

Beethoven Janácek Smetana

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

Chris Thile, of Punch Brothers, is a mandolin virtuoso, composer, and vocalist. Encompassing progressive bluegrass, classical, rock, and jazz, Thile transcends conventional labels, creating a distinctly American canon and a new musical aesthetic. Awarded a 2013 MacArthur “Genius” grant, Thile collaborated with Yo-Yo Ma and Edgar Meyer on the Grammy-winning album The Goat Rodeo Sessions. On this solo program, he draws from his recent recording of Bach violin sonatas and partitas performed on the mandolin while also exploring his own compositions and contemporary music.

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Friday, October 18, 8 pm Rackham Auditorium

12+ Ages

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Saturday, October 12, 8 pm Rackham Auditorium

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Takács Quartet

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s p o n s or ed by

Media Partner

M e d i a Pa rt ne r s

WGTE 91.3 FM

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

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oct

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The Manganiyar Seduction

Program

Bach

Goldberg Variations, BWV 988 (1741)

12+ Ages

Director Roysten Abel experimented boldly with the Manganiyars, desert musicians from Rajasthan, to create something startlingly new: The Manganiyar Seduction. Roysten’s theatrical staging of this concert creates a dazzling union between the Manganiyars’ traditional folk music and the cosmopolitan 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 curtained cubicles awash in color and light. The program begins with a single cubicle lighting up to reveal the first performer, gradually revealing additional musicians and 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 slow-building rave; a joyous, communal experience of the seductive power of music.” (Irish Independent)

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

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14+ Ages

A Prelude Dinner precedes the performance. Reservations: 734.764.8489

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Acclaimed on the great concert and recital stages of the world, András Schiff has shown particular interest in recent years in surveying the keyboard works of great composers, with the works of Bach becoming a monumental signature. His Bach recitals are a rare opportunity for audiences to journey with one of the truly great musical artists of our age into the mind of one of history’s most influential and beloved composers — a journey that Schiff led UMS audiences through with the complete Beethoven sonatas five years ago. “There is nothing more reliable in the world of classical music today than András Schiff playing Bach.” (The New York Times)

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András Schiff, piano

Friday, October 25, 8 pm Hill Auditorium

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s u p p ort ed by

M e d ia Pa rtn e rs

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

WGTE 91.3 FM and WRCJ 90.9 FM

S p o nso r e d by

M e d i a Pa rt ne r s

Michigan Radio 91.7 FM and Between the Lines

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oct

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The Table Blind Summit

Ballet Preljocaj And Then, One Thousand Years of Peac e

UMS presents a daylong Art of Puppetry Immersion on Saturday, November 2. Details to be announced at www.ums.org. 14+ Ages

Post-performance Q&A (Tuesday)

Ages 14+ (even puppets swear)

After stunning local audiences with its lush interpretation of Snow White in 2012, Ballet Preljocaj brings And Then, One Thousand Years of Peace, an epic work inspired by visions of the Apocalypse in the Book of Revelation, created in collaboration with the Bolshoi Ballet. In this mammoth dancetheater work, choreographer Angelin Preljocaj explores the apocalypse as a revelatory event that lays bare the hidden truths of our being. Set to a pulsating soundtrack, the piece combines intense, edgy action with slow, graceful movement in an ever-evolving dance that reveals our innermost desires, hopes, and fears. “Preljocaj is a clever choreographer, superb at eliciting a raw, uninhibited physicality…a huge, ambitious monolith of a work.” (The Guardian)

Post-performance Q&A (Friday)

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Angelin Preljocaj, artistic director Friday, November 1, 8 pm Saturday, November 2, 8 pm Power Center

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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. 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)

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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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h os t ed by

Media Partners

sup p o rt e d by

David and Phyllis Herzig

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

Maxine and Stuart Frankel and the Renegade Ventures Fund

f und e d i n pa rt by

M e d i a Pa rt ne r s

Metro Times and WDET 101.9 FM

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The performing arts do more than expose you to greatness. They raise your own aspirations.

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A single note has the ability to transport and open you to new possibilities.

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inspired.

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1 3 5 th s e a s o n

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Steve Lehman Octet

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

From fiery strings to colorful recorders to a dizzying harpsichord solo, Apollo’s Fire’s concert of Bach’s Brandenburg Concertos makes for an afternoon of rampant virtuosity. 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, and we’re delighted to bring them back with five of Bach’s six Brandenburg Concertos. “One word — wow! Nothing short of spectacular.” (Audiophile Audition)

Steve Lehman is a “quietly dazzling saxophonist” (The New York Times) who works across a broad spectrum of experimental musical idioms. His compositions 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 trailblazing powerful new computer-driven models for improvisation and leads his Octet in this UMS debut.

Bach Bach Bach Bach Bach

12+ Ages

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

14+ Post-performance Q&A

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Program

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 734.764.2538

Apollo’s Fire

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s p o n s or ed by

supported by

Anne and Paul Glendon and Phil and Kathy Power

fu n d e d in pa rt by

M e d ia Pa rt ne r

sup p o rt e d by

M e d i a Pa rt ne r

WGTE 91.3 FM

Maxine and Stuart Frankel and the Renegade Ventures Fund

Metro Times

ums.org

nov

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Ukulele Orchestra of Great Britain

Renowned for its “perfectly polished professionalism, threaded through with dry wit and wry humor” (The Independent), the Ukulele Orchestra of Great Britain has become something of a national institution over its 20 years, giving thousands of sold-out concerts across the world. This group of all-singing, all-strumming ukulele players offers a funny, virtuosic, twanging evening that takes audiences on an eclectic musical adventure by way of Tchaikovsky, Nirvana, Otis Redding, and more. “For sheer fun and outright daffiness tied to first-rate musicality and comic timing, few concerts this year matched this ensemble’s [Carnegie Hall] performance.” (The New York Times)

Tuesday, November 12, 7:30 pm Michigan Theater

8+ Ages

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14+ Ages

London-based electronic musician, singer-songwriter, and producer James Blake is a classically trained pianist who has quickly ascended to become a leading figure in the dubstep electronic dance music community. His unique creative output blends soul influences, gospel harmonies, and folk traditions with a deep, club-like, heavy bass. Blake’s self-titled debut LP, James Blake, was awarded “Best New Music” and ranked as the 12th best album of 2011 on Pitchfork Media’s year-end list. He performs music from his critically acclaimed 2013 album, Overgrown, for this UMS debut.

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ADDED EVENT! James Blake

Monday, November 11, 7:30 pm Michigan Theater

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San Francisco Symphony

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 positively gorgeous performance in Ann Arbor in February 2012. “A beauty that brings you to your knees…” (Hamburger Abendblatt) Program

Program

Beethoven Beethoven Beethoven

12+ Ages

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)

Mahler

Michael Tilson Thomas, conductor Saturday, November 16, 8 pm Hill Auditorium

Symphony No. 9 in d minor (1908-09) 12+

A Prelude Dinner precedes the performance. Reservations: 734.764.8489

Post-performance Q&A

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Wednesday, November 13, 7:30 pm Rackham Auditorium

Michael Tilson Thomas and the San Francisco Symphony return with one of their many specialties: Mahler. MTT has been associated with the San Francisco Symphony since his first guest conducting appearance in 1974, and their Mahler Project, a 17-disc set recorded over an eight-year period of all of the composer’s symphonies and works for voice with orchestra, has won seven Grammy Awards.

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Hagen Quartet

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s p o n s or ed by

Media Partner

Edward and Natalie Surovell

WGTE 91.3 FM

sp o nso r e d by

S up p o rt e d by

Herbert and Doris Sloan Endowment Fund

f und e d i n pa rt by

M e d i a Pa rt ne rs

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

ums.org

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12+ Ages

Post-performance Q&A

The adventurous, intrepid string quartet Brooklyn Rider combines a wildly eclectic repertoire with a gripping performance style that continues to attract legions of fans, and their UMS debut 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. 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)

The holiday season in Ann Arbor is never officially under way until Handel’s Messiah is performed at Hill Auditorium. An eagerly anticipated holiday season tradition, these performances are ultimately the heart and soul of UMS, connecting audiences not only with the talented people on stage but also with the friends and family who attend each year. 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.

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Ann Arbor Symphony Orchestra UMS Choral Union Jerry Blackstone, conductor Brenda Rae, soprano David Trudgen, countertenor Benjamin Butterfield, tenor Timothy Mix, baritone Edward Parmentier, harpsichord Saturday, December 7, 8 pm Sunday, December 8, 2 pm Hill Auditorium

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Sunday, November 24, 4 pm Rackham Auditorium

Handel’s Messiah

734.764.2538

Brooklyn Rider Béla Fleck, banjo

dec

7-8

s u p p ort ed by

Media Partn e rs

S up p o rt e d by

M e d i a Pa rt ne r

Susan and Richard Gutow and Emily W. Bandera

WGTE 91.3 FM, WDET 101.9 FM, WEMU 89.1 FM, and Ann Arbor’s 107one

Carl and Isabelle Brauer Fund

Ann Arbor’s 107one

ums.org

nov

24

29


Colin Stetson

8+ Ages

A stunt so dangerous that Houdini refused to even 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.

Post-performance Q&A (Tuesday)

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Wednesday, January 15, 7:30 pm Thursday, January 16, 7:30 pm Arthur Miller Theatre

734.764.2538

By Rob Drummond 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

“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) 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. He is a current member of the indie band Bon Iver yet has developed an utterly unique voice as a soloist. His intense technical prowess is matched by his exhilarating and emotionally gripping skills as a songwriter. “So far this year I’ve seen 263 bands, and I’ve got a ton of favorites. But none of the shows I’ve seen in 2013 tops Colin Stetson’s monster bass saxophone performance at this year’s Winter Jazzfest in New York City in January.” (NPR’s Bob Boilen on “All Songs Considered,” 6/3/13)

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Bullet Catch

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15-16

s p o n s or ed by

Media Partners

sup p o rt e d by

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

Maxine and Stuart Frankel and the Renegade Ventures Fund

ums.org

jan

7-12

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jan

17-18

Kronos Quartet

Post-performance Q&A (friday)

P r o g r a m ( S at u r d ay, 1 / 1 8 )

Quartetto per archi (1960/68) 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)

Suite from Dirty Wars (2012) Unknown: Oh Mother, the Handsome Man Tortures Me* David Harrington: Drone for Children Ramallah Underground: Tashweesh* David Harrington: Drone Forever Traditional: Wa Habibi (Beloved)* 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

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

s p o n s or ed by

supported by

M e d ia Pa rtn e rs

Maxine and Stuart Frankel and the Renegade Ventures Fund and Helmut and Candis Stern Endowment Fund

WGTE 91.3 FM and WRCJ 90.9 FM

ums.org

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P r o g r a m ( F r i day 1 / 1 7 )

734.764.2538

14+ Ages

As part of its 40th season, the Kronos Quartet performs two different programs in Ann Arbor. The first includes former U-M professor George Crumb’s epic work Black Angels, a response to the agony of the Vietnam War that uses 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 with a score by Kronos founder David Harrington. The Saturday program also features U-M composition professor Michael Daugherty’s piece that incorporates historical recordings of J. Edgar Hoover and the world premiere of a new work by U-M alumnus David Little.

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Friday, January 17, 8 pm Saturday, January 18, 8 pm Power Center

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Denis Matsuev, piano

Fred Hersch Trio

Siberian pianist Denis Matsuev, winner of the 1998 International Tchaikovsky Competition and a relatively recent UMS discovery, has wowed UMS audiences three times in recent years: twice as soloist with the Mariinsky Orchestra and in a powerful solo recital in January 2012. “His technique is phenomenal…perhaps he is the new Horowitz.” (London Times)

12+ Ages

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 (1931)

Proclaimed by Vanity Fair as “the most arrestingly innovative pianist in jazz over the last decade,” Fred Hersch creates luxurious, free-flowing, unashamedly gorgeous and idiosyncratic music. Hersch has fully lived up to the approbation of The New York Times, which praises him as “singular among the trailblazers of their art, a largely unsung innovator of this borderless, individualistic jazz — a jazz for the 21st century.” Two different sets.

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Fred Hersch, piano John Hébart, bass Eric McPherson, drums Thursday, January 30, 7:30 pm & 9:30 pm Lydia Mendelssohn Theatre

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Program

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Sunday, January 26, 4 pm Hill Auditorium

jan

30

s u p p ort ed by

M e d ia Pa rtn e rs

M e d i a Pa rt ne r s

Glenn Watkins and Catherine S. Arcure Endowment Fund

WGTE 91.3 FM and WRCJ 90.9 FM

WEMU 89.1 FM and Metro Times

ums.org

jan

26

35


Kremerata Baltica

Ariel Quartet Alisa Weilerstein, cello

Program

Wolf Boccherini Schubert

12+ Ages

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

Program

Pärt Weinberg Britten Weinberg Shostakovich

Cantus in Memory of Benjamin Britten (1977) Concertino for Violin and Strings, Op. 42 (1948) Variations on a Theme of Frank Bridge, Op. 10 (1937) Symphony No. 10 in a minor, Op. 98 (1968) Anti-formalist Gallery (ca. 1957)

14+ Post-performance Q&A

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

734.764.2538

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 gave a solo recital for UMS in 2009, joins the ensemble for its UMS debut.

In 1997, Austria’s legendary Lockenhaus Chamber Music Festival was witness to a small revolution when the violinist Gidon Kremer presented a brand new chamber orchestra, Kremer’s 50th birthday present to himself. Kremerata Baltica, comprising 24 young players from Latvia, Lithuania, and Estonia, conquered the discerning audience, injecting new blood into the festival with their exuberance, energy, and joy in playing. Kremerata Baltica has a way of re-tuning your listening patterns and refreshing your ears. This program features works by Arvo Pärt, Mieczysław Weinberg, Benjamin Britten, and Dmitri Shostakovich, whose Anti-formalist Gallery is “one of the most ironic and politically powerful opuses by Shostakovich…[It] carries all the best qualities of the composer’s attitude toward Stalin’s dictatorship and is, at the same time, very amusing and entertaining.” (Gidon Kremer)

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Wednesday, February 5, 7:30 pm Rackham Auditorium

feb

6

s u p p ort ed by

Media Partners

sup p o rt e d by

M e d i a Pa rt ne r

Jerry and Gloria Abrams

WGTE 91.3 FM and Detroit Jewish News

Maxine and Stuart Frankel and the Renegade Ventures Fund and Penny and Ken Fischer

WGTE 91.3 FM

ums.org

feb

5

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1 3 5 th s e a s o n

2 0 1 3 -2 0 1 4

Going beyond the expected. Making things both creative and interactive. A great performance doesn’t require you merely to sit and watch. You are an integral part

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of the experience.

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INTRIGUE D .

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One Night in Bamako Bassekou Kouyaté and Ngoni Ba Fatoumata Diawara

Ages

The St. Lawrence String Quartet graced both Hill Auditorium (with the San Francisco Symphony) and Rackham Auditorium in 2012, reaffirming its undisputed reputation for imaginative and spontaneous music-making. They have “a sound that has just about everything one wants from a quartet, most notably precision, warmth, and an electricity that conveys the excitement of playing whatever is on their stands at the moment.” (The New York Times) Program

Haydn Quartet in D Major, Op. 71, No. 2 (1793) Martinu ˚ Quartet No. 5, H. 268 (1938) Dvor ˇák Quartet No. 11 in C Major, Op. 61 (1881)

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Friday, February 14, 8 pm Rackham Auditorium

734.764.2538

12+

Two of Mali’s greatest talents unite for this special concert. Bamako is the capital of Mali and its largest city, home to a cultural renaissance that is threatened by civil unrest. 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.

St. Lawrence String Quartet

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734.764.2538

Friday, February 7, 8 pm Michigan Theater

feb

14

h os t ed by

Medi a Partners

host e d by

M e d i a Pa rt ne r s

Gary Boren

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

Mainstreet Ventures

WRCJ 90.9 FM and WGTE 91.3 FM

ums.org

feb

7

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8+ Ages

Post-performance Q&A (friday)

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. “This is raw energy…Shirt on or off, this is what dance is all about.” (The Daily Telegraph)

Often referred to as the “poet of the violin,” Joshua Bell enchants audiences with his breathtaking virtuosity and charismatic stage presence. His restless curiosity, passion, 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, resulted in rock-concert enthusiasm from audiences. He returns now to perform a Valentine’s weekend recital. Program to be announced.

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Sam Haywood, piano Sunday, February 16, 4 pm Hill Auditorium

12+ Ages

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CCN de Créteil et du Val-de-Marne Mourad Merzouki, artistic director and choreographer Friday, February 14, 8 pm Saturday, February 15, 8 pm Power Center

Joshua Bell, violin

734.764.2538

Compagnie Käfig Correria Agwa

feb

16

M e d i a Part n er s

Metro Times and Between the Lines

sp o nso r e d by

sup p o rt e d by

M e d i a Pa rt ne r s

Dennis and Ellie Serras

WRCJ 90.9 FM and WGTE 91.3 FM

ums.org

feb

14-15

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22

Can Themba’s The Su it

feb

feb

19-22

St. Petersburg Philharmonic

14+ Ages

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 you go 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. Gershwin, Swahili folk songs, and Schubert Lieder thicken the air of this apartheid-era summer in which a shared wound is not allowed to heal.

Post-performance Q&A (wednesday)

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) 12+ Ages

A Prelude Dinner precedes the performance. Reservations: 734.764.8489

/ M e d i a Part n er s

P r ese nt e d w i t h sup p o rt f ro m

host e d by

M e d i a Partners

WDET 101.9 FM, Michigan Radio 91.7 FM, and Between the Lines

Medical Community Endowment Fund

James and Nancy Stanley and Jay Zelenock and Family

WGTE 91.3 FM and Detroit Jewish News

ums.org

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734.764.2538

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

Yuri Temirkanov, conductor Denis Kozhukhin, piano Saturday, February 22, 8 pm Hill Auditorium

The St. Petersburg Philharmonic returns to Ann Arbor, bringing along the young pianist Denis Kozhukhin, who makes his UMS debut. Kozhukhin’s “nimble, flying virtuosity is a mix of weightless, supple, acrobatic display and power with a steel core…spectacularly mind-boggling.” (The Herald, Scotland) The program also features the Georgian composer Giya Kancheli’s …al niente, which was dedicated to Yuri Temirkanov.

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734.764.2538

Théâtre des Bouffes du Nord

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Alfredo Rodríguez Trio and Pedrito Martinez Group

Ages

The Israel Philharmonic Orchestra, along with their “Music Director for Life,” Zubin Mehta, returns to Ann Arbor for the first time in a decade. Bronislaw Huberman founded the IPO in 1936, and their inaugural concert was conducted by Arturo Toscanini. For more than 75 years, the orchestra has hosted the world’s greatest conductors and soloists while developing Israeli artists and young talent from both Israel and abroad. Born in Bombay, Zubin Mehta’s affiliation with the orchestra dates back more than 40 years. He has also served as music director of the Los Angeles Philharmonic and the New York Philharmonic, and counts among his many accolades a star on Hollywood Boulevard. Program

Bruckner

Symphony No. 8 in c minor (1890 version) 14+

A Prelude Dinner precedes the performance. Reservations: 734.764.8489

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

734.764.2538

12+

A young pianist of astonishing virtuosity and imagination, Cuban-born 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 double-bill 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 Latin jazz. His popularity extends to the New York street scene, where his devotion to live performance is on display at the restaurant Guantanamera, where he and his hot Afro-Cuban band play three times a week.

Israel Philharmonic orchestra

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734.764.2538

Friday, March 14, 8 pm Michigan Theater

mar

15

s p o n s or ed by

Media Pa rtn e rs

S up p o rt e d by

WEMU 89.1 FM and WDET 101.9 FM

Gil Omenn and Martha Darling

f und e d i n pa rt by

M e d i a Pa rt ne r s

WGTE 91.3 FM and Detroit Jewish News

ums.org

mar

14

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“A heaven-storming performance…Big things lie ahead of them.” (The Strad) 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 soldout 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

12+ Ages

Debussy Kurtág Beethoven

String Quartet (1893) Officium Breve (1988-89) Quartet in e minor, Op. 52, No. 2 (1806)

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. Earlier this year, 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, Richard Strauss, and Rossini.

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

14+ Ages

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Tuesday, March 18, 7:30 pm Rackham Auditorium

Tara Erraught, mezzo-soprano

734.764.2538

Elias String Quartet

mar

20

M e d i a Part n er

host e d by

M e d i a Pa rt ne r

WGTE 91.3 FM

Joel Howell and Linda Samuelson

WGTE 91.3 FM

ums.org

mar

18

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Restless Creature starring Wendy Whelan

Arguably the finest ballet dancer of our time, Wendy Whelan is a principal dancer with New York City Ballet and has captivated audiences for more than 25 years. Collaborating with Kyle Abraham, Brian Brooks, Joshua Beamish, and Alejandro Cerrudo, she has created a suite of duets that she will perform with each choreographer. The distinct styles of her partners provide a fascinating study of how she can adapt to another’s vision while maintaining and even amplifying her own vivid individuality. “America’s most celebrated contemporary ballerina” (The New York Times)

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 12+ Post-performance Q&A

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12+ Ages

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 calland-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.

734.764.2538

Asif Ali Khan Qawwali Music of Pakistan

Friday, March 21, 8 pm Rackham Auditorium

mar

25

S up p o rt e d by

host e d by

f und e d i n pa rt by

M e d i a Pa rt ne rs

Linda and Richard Greene

Cheryl Cassidy and Dody Viola

New England Foundation for the Arts’ National Dance Project

Metro Times, Between the Lines, and Ann Arbor’s 107one

ums.org

mar

21

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Brahms’s German Requiem

Ford Honors Program

Jazz at Lincoln Center Orchestra with Wynton Marsalis, trumpet

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. As part of this Ford Honors Program concert, UMS honors Wynton Marsalis and the Jazz at Lincoln Center Orchestra with the UMS Distinguished Artist Award. The UMS Advisory Committee’s gala dinner after the concert raises funds to support UMS education programs.

Education & Community Engagement program by

8+ Ages

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

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UMS Choral Union Ann Arbor Symphony Orchestra Jerry Blackstone, conductor Nadine Sierra, soprano John Relyea, bass Friday, April 4, 8 pm Hill Auditorium

Ages

possible by

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734.764.2538

The Ford Honors Program recognizes the longtime and generous support of UMS’s

A year after his mother died, Johannes Brahms began to compose a choral work in the German language; within three years, the work had grown from a choral piece into a cantata, and then a seven-movement Requiem for chorus, orchestra, and soprano and bass soloists. It is now considered one of his pinnacle works. Unlike other requiems, the Brahms work is 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.

734.764.2538

Sunday, March 30, 4 pm Hill Auditorium

apr

4

Co nc ert m as t er Spon sors

Bank of Ann Arbor; Miller, Canfield, Paddock & Stone, P.L.C.; University of Michigan Health System

fu n d e d in pa rt by

M e d ia Pa rtn e rs

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

ums.org

mar

30

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Los Angeles Guitar Quartet

Ak ademie für Alte Musik Berlin

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 successes. Their UMS debut program traces the Bach family line from the famous St. Thomas cantor himself — Johann Sebastian — to his youngest son, Johann Christian. The program can be viewed as a chronological audio guide, taking audiences from the gorgeous and Italian-inspired Baroque era all the way to the foreshadowing of the First Viennese School, whose composers included Joseph Haydn and Wolfgang Amadeus Mozart. Program

J.S. Bach W.F. Bach C.P.E. Bach C.P.E. Bach J.C. Bach

Sinfonia in F Major, BWV 1046a Concerto in f minor for Harpsichord, Strings, and Basso Continuo Sinfonia No. 5 in b minor for Strings and Basso Continuo, Wq. 182 Concerto in E-Flat Major for Oboe, Strings, and Basso Continuo, Wq. 185 Symphony in g minor Op. 6 , No. 6 for Strings, Two Oboes, Two Horns, and Basso Continuo

12+ Ages

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Sunday, April 13, 4 pm Hill Auditorium

734.764.2538

8+ Ages

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, the Quartet consistently plays 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.

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734.764.2538

Thursday, April 10, 7:30 pm Michigan Theater

apr

13

M e d i a Pa rt ne r

WGTE 91.3 FM

ums.org

apr

10

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sav e t h e dat e

f u n dr a i s e r s

n the r ad with ums

special events

10.4.13

Join us for an evening of music, food, fun, and s i l e n t a n d l i v e a u c t i o n s b e n e f i t i n g t h e UMS Ed u c at i o n & C o m m u n i t y E n g a g e m e n t P r o g r a m .

Prelude Dinners

Sesi Motors

On the Road is our annual dinner and auction that supports a broad array of UMS education programs: activities focused on K-12 students, teachers, teens, university students, families, adults, and cultural communities. Funds raised from On the Road make it possible for UMS to reach nearly 20,000 youth, educators, and community members throughout the year.

A n d r á s S c h i f f, p i a n o Friday, October 25

San Francisco Symphony Saturday, November 16

S t. P e t e r s b u r g P h i l h a r m o n i c Saturday, February 22

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

Israel Philharmonic Orchestra Saturday, March 15 Park early, enjoy a delicious meal with fellow patrons, and get an insider’s look at the evening’s performance. All dinners feature renowned guest speakers who provide insights about the artist, composer, or program. All dinners are held at 5:30 pm in the Rackham Building (915 E. Washington St., 4th floor).

Wynton Marsalis and the Jazz at Lincoln Center Orchestra will receive the 2014 UMS Distinguished Artists Award in a brief ceremony as part of their concert on Sunday, March 30. The UMS Advisory Committee organizes a Gala event immediately after the concert, including the presentation of the DTE Energy Foundation Educator and School of the Year Awards, to raise funds for UMS’s Education & Community Engagement Program. Information about purchasing tickets for the Gala will be available in February at www.ums.org. For more information on any of these events, or to make reservations, contact Rachelle Lesko at 734.764.8489 or ralesko@umich.edu.

734.764.2538

Ford Honors Program

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U - M P r e sid e n t M a r y S u e C o l e m a n a nd U M S supp o r t e r s at t h e 2 0 1 3 F o r d H o n o r s P r o g r a m h o n o r ing Y o - Y o M a a nd t h e S i l k R o a d P r o j e c t.

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F o r d H o n o r s P r o g r a m G a l a D inn e r h o n o r ing J o shu a B e l l ( 2 0 1 2 )

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nat io n a l t h e at r e l iv e s ea s on 5

e du c at i on a l e ve n t s

n at i o n a l t h e at r e l i v e season schedule

Learn

High-Definition Broadcasts presented in partnership with the Michigan Theater

Curious About Dance?

the audience

T h e A u d i e nc e Written by Peter Morgan Directed by Stephen Daldry Sunday, September 8, 7 pm Tuesday, September 10, 7 pm Helen Mirren reprises her Academy Award-winning role as Queen Elizabeth II in the highly-anticipated West End production of The Audience. For 60 years, Elizabeth II has met each of her 12 Prime Ministers in a weekly audience at Buckingham Palace. Both parties have an unspoken agreement never to repeat what is said, not even to their spouses.

A Trio of Shakespeare Tragedies Ot h e l lo

For some, dance can seem like a mystery. For others, dance unlocks sights, sounds, ideas, and emotions unlike any other art form. How do you experience dance? This season, UMS invites both newcomers to dance and dance aficionados to explore this question through a robust series of workshops, post-performance Q&As, “You Can Dance” events at the Ann Arbor Y, and other new opportunities to connect with dance companies and fellow dance enthusiasts.

Directed by Nicholas Hytner Sunday, October 13, 7 pm

To learn more about this program and how you can participate, visit www.ums.org/dance.

Othello, newly married to Desdemona — who is half his age — is appointed leader of a major military operation. Iago, passed over for promotion by Othello in favor of the young Cassio, persuades Othello that Cassio and Desdemona are having an affair. This major new production of William Shakespeare’s celebrated play about the destructive power of jealousy features Adrian Lester as Othello and Rory Kinnear as Iago.

M acb e t h Directed by Rob Ashford and Kenneth Branagh Sunday, October 27, 7 pm This electrifying new production of Shakespeare’s tragic tale of ambition and treachery features Kenneth Branagh in his first Shakespeare performance in over a decade, with Alex Kingston as Lady Macbeth. From the Manchester International Festival.

UMS N i g h t S c h o o l : B o d i e s i n M o t i o n M o n d ay s , 7 - 8 : 3 0 p m U-M Alumni Center 200 Fletcher St., Ann Arbor January 27 February 3 February 10 February 17 February 24

March 10 March 17 March 24 March 31

Can a body ask a question? Tell a joke? Create a contradiction? A dancer would answer “yes” to all of these questions. But what about you? What do you notice about how people move around you every day? How do you know when someone is in a hurry? How do you know what kind of day someone is having just based on their posture? What makes a basketball player seem graceful while dribbling down the court? Bodies are expressive, and we know things about one another based on observing bodies in motion. This series of UMS Night School events highlight how focusing on movement gives us ways to think about watching dance — and other performances. With Clare Croft, Assistant Professor of Dance at the University of Michigan. In collaboration with the U-M School of Music, Theatre & Dance

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Look for this icon on artist pages

Where does inspiration come from? What makes an artist tick? After all opening night dance and theater performances and select concerts, join us for a post-performance Q&A and get a glimpse into the lives and minds of the artists who bring creativity to the stage. Must have a ticket to that evening’s performance to attend.

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When an old adversary threatens Rome, the city calls once more on her hero and defender: Coriolanus. But he, too, has enemies at home. Famine threatens the city, the citizens’ hunger swells to an appetite for change, and on returning from the field, Coriolanus must confront the march of realpolitik and the voice of an angry people. This Donmar Warehouse production of Shakespeare’s searing tragedy of political manipulation and revenge features Tom Hiddleston (War Horse film) in the title role.

p o s t- s h o w q & a s w i t h a r t i s t s

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The Audience reunites writer Peter Morgan and Academy Award-winning actress Helen Mirren following their collaboration on the critically acclaimed movie, The Queen.

Directed by Josie Rourke Sunday, February 9, 7 pm

Special dance initiatives in the 2013-2014 season are funded in part by Engaging Dance Audiences, a program administered by Dance/USA and made possible with generous funding from the Doris Duke Charitable Foundation.

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C or i o l an u s From Churchill to Cameron, each Prime Minister has used these private conversations as a sounding board and a confessional — sometimes intimate, sometimes explosive. These private audiences chart the arc of the second Elizabethan Age, and the growth of Elizabeth from young mother to grandmother. Politicians come and go through the revolving door of electoral politics, while she remains constant, waiting to welcome her next Prime Minister.

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2 0 1 3 -2 0 1 4

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MOVE D . Every great performance affects you both in the moment and well beyond. It can get to the core of your soul and never leave. You arrive one person, and leave transformed.

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e du c at i on e x pe r i e n c es

Ed u c at i o n experiences for everyone

w h at w i l l inspire young minds?

Learning is core to UMS’s mission, and it is our joy

interesting people and unexpected ideas, and bring

to provide creative learning experiences for our

you closer to the heart of the artistic experience. We

entire community. Each season, we offer a fun

exist to create a spark in people, young and old alike,

and fascinating lineup of workshops, artist Q&As,

exposing them to things they haven’t seen before, and

conversations, and interactive experiences to draw

leaving them with a lifelong passion for creativity and

you in and out of your comfort zone, connect you to

the performing arts.

S t ud e n t s at L o g a n E l e m e n ta r y S c h o o l in Ann A r b o r e n j o y at in - s c h o o l visi t f r o m m e mb e r s o f t h e S h a ngh a i Chin e s e O r c h e s t r a

U - M musi c p r o f e ss o r M a r k C l a gu e , U M S P r e sid e n t K e n F is c h e r , a nd H i l l a c o us t i c i a n S c o t t P f e iff e r at a p a n e l dis c ussi o n du r ing t h e H i l l 1 0 0 C e l e b r at i o n D ay

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To learn how to involve your child’s school in our K-12 educational program, visit www.ums.org/learn. To make a gift to support education and community engagement programs, contact umsdevelopment@umich.edu or call 734.647.1175.

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Last season, we welcomed thousands of K-12 youth to school-day performances, introducing them to artists from around the globe. We also supported area teachers in bringing the arts into the classroom by providing curriculum connections, teacher resource guides, and workshops in cultural literacy, arts integration, and specific art forms. Through our Teacher Insight Group, we stay aware of new trends in the classroom, changing resources, and opportunities for learning.

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

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Youth education is at the heart of UMS’s mission. Through experiences with the perfomring arts, we are helping to create the next generation of global citizens who understand and appreciate diversity, creativity, collaboration, and selfexpression. We strive to open new worlds for students, allowing them to see what is truly possible.

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UMS Ki ds C lu b & Fa m i ly- F r i e n dly P e r for m a n c es

UMS K i d s C l u b & F a m i ly - F r i e n d ly Performances

Ages 8 and up (3rd grade) Ukulele Orchestra of Great Britain Tue, Nov 12

Compagnie Käfig Fri-Sat, Feb 14-15

Bullet Catch Tue-Sun, Jan 7-12

Jazz at Lincoln Center Orchestra with Wynton Marsalis Sun, Mar 30

Los Angeles Guitar Quartet Thu, Apr 10

A g e s 1 2 a n d u p ( m i dd l e s c h o o l ) Audra McDonald Sun, Sep 15

San Francisco Symphony Sat, Nov 16

Joshua Bell, violin Sun, Feb 16

Hubbard Street Dance Chicago Fri-Sat, Sep 27-28

Brooklyn Rider with Béla Fleck Sun, Nov 24

St. Petersburg Philharmonic Sat, Feb 22

Chanticleer Thu, Oct 10

Handel’s Messiah Sat-Sun, Dec 7-8

Buika Fri, Oct 11

Denis Matsuev, piano Sun, Jan 26

Alfredo Rodríguez Trio and the Pedrito Martinez Group Fri, Mar 14

Takács Quartet Sat, Oct 12

Fred Hersch Trio Thu, Jan 31

Please remember that children under three are not allowed to attend UMS mainstage performances.

Chris Thile Fri, Oct 18

Ariel Quartet with Alisa Weilerstein, cello Wed, Feb 5

UMS K i ds C lub

András Schiff, piano Fri, Oct 25

One Night in Bamako Bassekou Kouyaté and Fatoumata Diawara Fri, Feb 7

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UMS Kids Club tickets for the entire season will go on sale beginning Monday, September 9. Seating is subject to availability and box office discretion, but UMS guarantees that at least 30 tickets will be available for each event (selected performances for multiple-performance runs). Act early to lock in your tickets. Kids Club tickets will not be mailed and must be picked up at will-call, with the young person present.

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s p o n s or ed by

Apollo’s Fire Sun, Nov 3 Hagen Quartet Wed, Nov 13

Asif Ali Khan Qawwali Music Fri, Mar 21 Wendy Whelan: Restless Creature Tue, Mar 25 Akademie für Alte Musik Berlin Sun, Apr 13

St. Lawrence String Quartet Fri, Feb 14

Ages 14 and up (high school) Jason Moran’s Fats Waller Dance Party Fri, Sep 6 The Manganiyar Seduction Sat-Sun, Oct 26-27 Blind Summit: The Table Tue-Sun, Oct 29-Nov 3 Ballet Preljocaj Fri-Sat, Nov 1-2 Steve Lehman Octet Sat, Nov 9

James Blake Mon, Nov 11

Israel Philharmonic Orchestra Sat, Mar 15

Colin Stetson Wed-Thu, Jan 15-16

Tara Erraught, mezzo-soprano Thu, Mar 20

Kronos Quartet Fri-Sat, Jan 17-18

Brahms’s German Requiem Fri, Apr 4

Kremerata Baltica with Gidon Kremer Thu, Feb 6 Théâtre des Bouffes du Nord: The Suit Wed-Sat, Feb 19-22

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

Elias Quartet Tue, Mar 18

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

Y o ung s t ud e n t s at t e nding t h e H i l l 1 0 0 C e l e b r at i o n D ay l o o k in t o t h e h a l l f r o m t h e p e r sp e c t iv e o f t h e a r t is t o n s ta g e

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Fa mi ly- F r i en dly O p p o rt u n i ti es

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t i c k e t s + i n fo

tickets + info

Helpful Tips for a Hassle-Free Experience

how to order Online

Phone

ums.org

734.764.2538

Fa x

734.647.1171

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

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

734.764.2538 / ums.org

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. 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.

hours Summer Hours (May-August) 10 am to 5 pm Mon-Fri Closed Sat and Sun Regular Hours (beginning Tue, Sep 3) 9 am to 5 pm Mon-Fri 10 am to 1 pm Sat

fees Service fees of $4.00-$6.00 per ticket apply to all internet and phone orders. There are no fees for tickets purchased at the League Ticket Office or at the venue immediately before the performance.

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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.

groups of 10 or more Let us help you celebrate life’s milestone moments, entertain clients or employees, enrich your students’ understanding, or just get together with friends. Gather a group of 10 or more people to a single performance and save 15-25% off the regular price to most performances. For more information, contact Casey Schmidt at 734.763.3100 or umsgroupsales@umich.edu. Authorized Ticketing Agents UMS assumes no liability for tickets purchased through unauthorized channels, including Craigslist, eBay, StubHub, and other secondary market or ticket broker services. We strongly advise against purchasing tickets from any source other than the UMS Ticket Office or tickets.ums.org. Tickets purchased from unauthorized sources may be stolen, counterfeit, or otherwise compromised, and if so are not valid for event admission. If you are unsure if a ticket seller has been authorized to sell UMS tickets, please contact the Ticket Office prior to purchasing from that source.

Exchanges within 48 hours of the performance are subject to a $10 per ticket exchange fee (applies to both subscribers and single ticket buyers). Tickets must be exchanged at least one hour before the published concert time. Tickets received less than one hour before the performance will be returned as a donation. 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. Credit must be redeemed by April 13, 2014. 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 by mail for tax purposes. Please consult your tax advisor. Unused tickets that are returned after the performance are not eligible for UMS Credit or as a contribution/donation. Lost or Misplaced Tickets Call the Ticket Office at 734.764.2538 to have duplicate tickets waiting for you at will-call. Duplicate tickets cannot be mailed. 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. 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. See pages 64-65 for information about family-friendly performances and the UMS Kids Club.

Seating spaces for wheelchair users and their companions are located throughout each venue, and ushers are available to assist patrons, if needed. Several venues also have wheelchairs to assist patrons to their seats. Please explain to the usher how best to assist you. Assistive listening devices are available in Hill Auditorium, Rackham Auditorium, Lydia Mendelssohn Theatre, and the Power Center. Earphones may be obtained upon arrival. Please ask an usher for assistance. Please note that there is no elevator access for balcony seating in the Power Center, the Michigan Theater, or Lydia Mendelssohn Theatre. S ta r t T i m e & L at e c o m e r s UMS makes every effort to begin concerts at the published start time. Latecomers will be asked to wait in the lobby and will be seated by ushers at a predetermined time in the program. The late seating break is determined by the artists and will generally occur during a suitable break in the program, designed to cause as little disruption as possible to other patrons and the artists on stage. Please allow extra time to park and find your seats. A note about performance times: All Monday-Thursday performances begin at 7:30 pm. Please be advised that dance and theater performances often have a “no late seating” policy. UMS often doesn’t learn a specific company’s late seating policy until a few weeks before the performance and makes every effort to contact ticket buyers via email if there will be no late seating. Be sure the Ticket Office has your email address on file. V e n u e S e at M a p s Seat maps of all UMS venues are available at www.ums.org/visit/venues. student tickets Half-price tickets are available for students in an accredited degree program, subject to availability. For details, visit www.ums.org/ students.

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Donors of $500+ may order tickets beginning Monday, July 29, at 10 am.

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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All Tickets On Sale Beginning M o n d ay, A u g u s t 5 , at 1 0 a m !

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

Access for People with Disabilities 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, Rackham Auditorium, and Mendelssohn Theatre, 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 e m a i l a dd r e s s o n f i l e UMS regularly sends updated concert-related parking and late seating information via email a few days before each event. Please be sure that we have your email address on file so that you receive these helpful communications.

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hill auditorium

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

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

8 2 5 n . u n i v e r s i t y av e n u e Opened: 1913 Capacity: 3,530

603 e. liberty street Opened: 1928 Capacity: 1,710

9 1 1 N . U n i v e r s i t y AVE n u e Opened: 1929 Capacity: 642

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

.02

.04

.06

rackham auditorium

power center

A r t h u r M i l l e r T h e at r e

.09 (not pictured)

915 e. washington street Opened: 1938 Capacity: 1,060

121 fletcher street Opened: 1971 Capacity: 1,368

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 ) Opened: 2007 Capacity: 280 (max.)

downtown home & garden

120 East Huron Street Opened: 2000 (current location) Capacity: 139

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Performance Network

210 S Ashley Street Opened: 1906 (Hertler Bros. barn) Capacity: 600

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2 2 5 0 E a s t S ta d i u m B o u l e v a r d Opened: 1969 Capacity: 950

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2 0 1 3 -2 0 1 4 venues

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s u pport u m s

YOUR SUPPORT. YOUR UMS . When you make a gift to UMS, you help make possible

works by the most promising contemporary artists,

the extraordinary programs found throughout this

UMS audience members enjoy the world’s best in

brochure. From traditional concerts with world-

music, theater, and dance — right here in Ann Arbor.

A l is o n B a l s o m a nd U M S B o a r d T r e a su r e r D a vid P a r sigi a n

renowned orchestras to bold, new, experimental

U M S P r e sid e n t K e n F is c h e r c e l e b r at e s his 2 5 t h a nniv e r s a r y b e f o r e t h e Chi c a g o S y mph o n y O r c h e s t r a wi t h U - M und e r g r a du at e s t ud e n t s M e l iss a K a n t o r , Tim P e t e r s o n , a nd E l a n a H o r wi t z .

You also help make possible a broad range of educational opportunities, which deepen the impact of the performances and enrich the experience. University of Michigan students engage directly with the artists though master classes and other teaching experiences. Youth are introduced early in life to the performing arts through our extensive K-12 arts education program. And community members of all ages enjoy lifelong learning through artist engagement activities such as lectures, post-performance question and answer sessions, and panel discussions.

I n - s c h o o l a r t is t visi t at L o g a n E l e m e n ta r y S c h o o l

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We welcome the opportunity to speak with you about how you can support UMS. Please contact the UMS Development Office at 734.647.1175 or umsdevelopment@umich.edu. Or, send your gift to: UMS Development, Burton Memorial Tower, 881 North University Avenue, Ann Arbor, MI 48109-1011.

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How to Make a Gift

ums.org

ums.org

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734.764.2538

Ticket sales alone cannot pay for this ambitious mission. In fact, they cover less than half the cost of operating UMS. If you believe, as we do, that the performing arts are essential to an enriched life, that they represent something fundamental to our community and our students, please join the many individuals, businesses, foundations who support UMS by making a gift.

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s u pport u m s

renegade ventures fund

e d u c at i o n a l support U M S Edu cati o n a nd Co mmuni ty Eng ag e m e n t P ro g r a m S upp o rt e r s Reflects donations to UMS education programs recognized at $5,000 or more, made between July 1, 2012 and June 30, 2013.

U - M s t ud e n t s at G a b r i e l K a h a n e ’ s U M S d e bu t

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The Renegade Ventures Fund was established by Maxine and Stuart Frankel, who recognize that a national leader in the performing arts must push the boundaries of knowledge forward by supporting new works, remounting important works from the past, and providing a venue and funding for artists to create. To encourage innovative and cutting-edge work, the Frankels established the Renegade Ventures Fund with a five-year challenge grant of $500,000 to support UMS in its initial phase of providing Renegade Ventures for our audiences.

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“Stuart and I believe the arts are fundamental in educating the leaders of tomorrow. We established the Renegade Ventures Fund to ensure that UMS has the flexibility to consider the new, the different, the innovative, and the cutting-edge in its programming. Some performances are beautiful and aweinspiring; others are challenging, provocative, or controversial. Yet all engage the mind and the imagination. The University of Michigan is the ideal incubator for nurturing and fostering creative thinking and collaboration.” – Maxine Frankel

Over the past two seasons, the Fund has supported a variety of events: the remounting of Einstein on the Beach, a four-day American Mavericks Festival by the San Francisco Symphony, Stravinsky’s The Rite of Spring performed by the Mariinsky Orchestra, Martha Graham Dance Company, and many other cutting-edge dance and theater productions. This season’s Renegade events can be found on page 7.

c o l in s t e t s o n

C o mp l i c i t e S h u n - k i n

UMS must raise matching gifts totaling $100,000 annually to meet the Renegade Ventures Fund challenge. We invite you to engage in this exciting adventure by partnering with us to make these performances possible. Please send your contribution to: Renegade Ventures Fund UMS Burton Memorial Tower 881 North University Avenue Ann Arbor, MI 48109-1011

For more information, contact Margaret McKinely, 734.647.1177 or margiem@umich.edu.

F a mi l i e s at a K o l a m D r a wing W o r k sh o p, p r e s e n t e d in c o n j un c t i o n wi t h R a g a m a l a D a n c e a nd t h e U - M M us e um o f A r t

Hooper Hathaway, P.C., Charles W. Borgsdorf & William Stapleton, attorneys JazzNet Endowment Mardi Gras Fund Masco Corporation Foundation Merrill Lynch Michigan Council for Arts and Cultural Affairs Michigan Humanities Council Miller, Canfield, Paddock and Stone, P.L.C. THE MOSAIC FOUNDATION [of R. & P. Heydon] National Endowment for the Arts New England Foundation for the Arts Quincy and Rob Northrup PNC Foundation Prudence and Amnon Rosenthal K-12 Education Endowment Fund John W. and Gail Ferguson Stout Stout Systems Toyota UMS Advisory Committee U-M Credit Union U-M Health System U-M Office of the Senior Vice Provost for Academic Affairs U-M Office of the Vice President for Research Wallace Endowment Fund

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G id o n K r e m e r

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Ballet Preljocaj

Ann Arbor Area Community Foundation Ann Arbor Public Schools Educational Foundation Anonymous Arts at Michigan Bank of Ann Arbor Community Foundation for Southeast Michigan Confucius Institute at the University of Michigan Dance/USA Doris Duke Charitable Foundation Doris Duke Charitable Foundation Endowment Fund DTE Energy Foundation The Esperance Foundation David and Jo-Anna Featherman Maxine and Stuart Frankel Foundation David and Phyllis Herzig Endowment Fund

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The Andrew W. Mellon Foundation University of Michigan

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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 A n n A r b o r a r e a C o m m u n i t y F o u n d at i o n The Ann Arbor Area Community Foundation is providing support to UMS to help fund the creation of a user interface for the UMS digital archives, which will make this historical resource accessible to the entire region and beyond. A r t s M i dw e s t T o u r i n g F u n d Hubbard Street Dance Chicago is funded in part by Arts Midwest Touring Fund, a program of Arts Midwest that is funded by the National Endowment for the Arts, with additional contributions from Michigan Council for Arts and Cultural affairs and General Mills Foundation. 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 administered by Dance/USA and made possible with generous funding from 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. N at i o n a l E n d o w m e n t f o r t h e A r t s Special project support for numerous performances in the 20132014 season is provided by the National Endowment for the Arts.

N e w E n g l a n d F o u n d at i o n f o r t h e A r t s Wendy Whelan’s Restless Creature is funded in part by a grant from the New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation. renegade Ventures Fund This multi-year challenge grant created by Maxine and Stuart Frankel supports artistic, innovative, and cutting-edge programming. 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. 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 Health System, 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. 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.

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

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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 to 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!

facebook.com/UMSNews

youtube.com/umsvideos

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Jason Moran by Clay Patrick McBride; Audra McDonald by Autumn de Wilde; Complicite’s Shun-kin by Tsukasa Aoki; Hubbard Street by Todd Rosenberg; Takács Quartet by Keith Saunders; András Schiff by Roberto Masotti-ECM; Blind Summit’s The Table by Lorna Palmer; Ballet Preljocaj by JC Carbonne; Apollo’s Fire by Sally Brown; Hagen Quartet by Harald Hoffmann; San Francisco Symphony by Mark Gjukich; Brooklyn Rider by Amber Star; Handel’s Messiah by Mark Gjukich; Colin Stetson by Scott Irvine; Kronos Quartet by Jay Blakesberg; Gidon Kremer by Kasskara; Fatoumata Diawara by Phil Sharp; St. Lawrence String Quartet by Marco Borggreve; Compagnie Käfig by Michel Cavalca; Joshua Bell by Marc Holm and Eric Kabik; Théâtre des Bouffe du Nord’s The Suit by Johan Persson; Denis Kozhukhin by Marco Borggreve; Alfredo Rodríguez by Anna Webber; Israel Philharmonic Orchestra by G Luca Moggi; Elias String Quartet by Benjamin Ealovega; Asif Ali Khan by Cynthia Sciberras; Wendy Whelan by Christopher Duggan; Wynton Marsalis by Frank Stewart; UMS Choral Union by Mark Gjukich; Akademie für Alte Musik Berlin by Kristof Fischer. Ford Honors photos and community events photos by Mark Gjukich. Venue photos by Sophie Kruz and Tom Arban.

Photo credits

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 e 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.

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Cover Photo: The Suit, Théâtre des Bouffes du Nord by Johan Persson

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