2 0 1 2 - 2 0 1 31 3 4 t h s e a s o n

H i l l A u d i t o r i u m | 1 0 0 Y e A r s

u n i v e r s i t y o f m i c h i g a n , a n n a r b o r

What will create a stir?

What will change your perspective?

What will give you goosebumps?

What will make you think?

What will get you talking?

What will leave you speechless?

UMS unleashes the power of world-class performing arts in order to engage,

educate, transform, and connect individuals with uncommon experiences.

w e w e l c o m e yo u t o t h e 2 0 1 2 -2 0 1 3 S e a S o n .

An exceptional collection of talent, creativity, performance, and passion.

B e P r e s e n t .

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2 0 1 21 3 4 t h s e a s o n 2 0 1 31 3 4 t h s e a s o n

sePtemBer

21-22 Kidd Pivot: The Tempest Replica Power Center

27 Chicago symphony orchestra Hill Auditorium riccardo muti, conductor

28-29 suzhou Kun opera theater of Jiangsu Province Lydia Mendelssohn Theatre

oCtoBer

4 Basiani St. Francis of Assisi Catholic Church

6-7 aspen santa Fe Ballet Power Center

10 Jerusalem Quartet Rackham Auditorium

11-13 théâtre de la Ville: ionesco’s Rhinocéros Power Center

20 murray Perahia, piano Hill Auditorium

27 mariinsky orchestra of st. Petersburg Hill Auditorium Valery gergiev, conductor

noVemBer

11 Belcea Quartet Rackham Auditorium

16 gilberto gil Hill Auditorium

17 dave holland Big Band Michigan Theater

deCemBer

1-2 handel’s Messiah Hill Auditorium

8 dianne reeves Quartet with special guest raul midón Hill Auditorium

January

8-13 national theatre of scotland: Corner Brewery, Ypsilanti The Strange Undoing of Prudencia Hart

13 detroit symphony orchestra Hill Auditorium leonard slatkin, conductor

17-18 gabriel Kahane & Friends Arthur Miller Theatre

21 From Cass Corridor to the World: Hill Auditorium a tribute to detroit’s musical golden age

25-26 martha graham dance Company Power Center

27 mariachi Vargas de tecalitlán (Note New Date) Hill Auditorium

31 Jazz at lincoln Center orchestra with Wynton marsalis Hill Auditorium

FeBruary

1 angélique Kidjo Hill Auditorium

2 new Century Chamber orchestra Rackham Auditorium nadja salerno-sonnenberg, violin and leader

9 Berlin Philharmonic Wind Quintet with Rackham Auditorium martin Katz, piano

14 the King’s singers St. Francis of Assisi Catholic Church

15 Kodo Hill Auditorium

16 amjad ali Khan with amaan ali Khan and ayaan ali Khan, sarods Hill Auditorium

17 handel’s Radamisto Hill Auditorium the english Concert with david daniels, countertenor

20-24 Propeller: shakespeare’s Twelfth Night and Power Center The Taming of the Shrew

23-24 new york Philharmonic Hill Auditorium alan gilbert, conductor

marCh

13 artemis Quartet Rackham Auditorium

14 anne-sophie mutter, violin Hill Auditorium

16 yo-yo ma and the silk road ensemble (Ford Honors Program) Hill Auditorium

23 hamid al-saadi iraqi maqam ensemble and Hill Auditorium amir elsaffar’s Two Rivers

aPril

4 darius milhaud’s oresteian trilogy Hill Auditorium university symphony orchestra ums Choral union & u-m school of music, theatre & dance Choral ensembles Kenneth Kiesler, conductor

6 esperanza spalding radio music society Michigan Theater

10-14 1927: The Animals and Children Took to the Streets Performance Network

12 takács Quartet Rackham Auditorium

18 Bobby mcFerrin: spirit you all Hill Auditorium

20 alison Balsom, trumpet, and the scottish ensemble Hill Auditorium

24 ragamala dance: Sacred Earth Power Center

27-28 siti Company: Trojan Women (after Euripides) Power Center

h a n d e l’ s R A d A M i S T o / t h e e n g l i s h Co n C e r t

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Hill Auditorium was imagined

in 1909 with funds bequeathed

to the University by Michigan

Regent Arthur Hill. The vision

was to construct an auditorium

suitable for superior musical

performances that was large

enough for a gathering of the

entire student body.

It was designed by legendary

architect Albert Kahn and

his associate Ernest Wilby,

and completed in 1913. The

auditorium opened with a UMS

performance by the Chicago

Symphony to open the 20th

May Festival on May 14, 1913.

Hill Auditorium is renowned for

its superior acoustics, which

can be attributed to Kahn’s

collaboration with acoustical

engineer Hugh Tallant.

Hill also featured the Frieze

Memorial Organ, named in

honor of Simmons Frieze, the

University’s acting President and

first director of UMS.

This year, we are pleased to

honor 100 years of the legendary

Hill Auditorium. Hill Auditorium

is remarkable not only because

of its rich history and incredible

acoustics, but also because of

the role it plays in the cultural

vibrancy of the entire state. Join

us for special performances held

throughout the year, as well as

events, celebrations, educational

series, and more.

HillAuditorium:A 100-year celebration

u n i V e r s i t y o r g a n i s t e a r l V. m o o r e o u t s i d e o F h i l l a u d i t o r i u m W i t h o r g a n P i P e , 1 9 1 3 .

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Hill at 100Special Events

h i l l a u d i t o r i u m i m m e r s i o n & C e l e B r at i o n

u m s n i g h t s C h o o l : 1 0 0 y e a r s o F u m s at h i l l a u d i t o r i u m

saturday, February 2, 2013 – beginning at 10 am

Join UMS as we celebrate 100 years at Ann Arbor’s most beloved concert venue: Hill Auditorium. Our daylong celebration begins with a special “Saturday Morning Physics” event focusing on the marvelous and world-renowned acoustics of Hill Auditorium, followed by fun activities that explore the architecture of the building and the history of our community in the space, culminating with the world-premiere screening of UMS’s new documentary about 100 years of performances at Hill. We’ll end the day with a cake and punch birthday party fit for an icon! Come for any or all of the activities — the full schedule will be announced later this fall. Funded in part by the Michigan Humanities Council.

mondays, 7 pmhosted by Prof. mark Clague, u-m school of music, theatre & danceann arbor district library multipurpose room (343 s. Fifth avenue)

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

In collaboration with the Ann Arbor District Library and the U-M School of

Music, Theatre & Dance. Funded in part by the Michigan Humanities Council.

night school dates (specific content to be announced in September)

october 1october 29november 19January 14January 28February 4February 18march 18

F r i d ay, s e P t e m B e r 7, 6 : 0 0 P mh i l l a u d i t o r i u m, a n n a r B o r

Join us for an evening of music, food, fun, and a live auction benefiting the ums education & Community engagement Program and celebrating the 100th anniversary of ums performances in hill auditorium.

On The Road is our annual dinner and auction with proceeds benefiting the UMS Education & Community Engagement Program. Learning is core to UMS’s mission, and it is our joy to provide creative learning experiences for our entire community. Each season, we offer a spectrum of free or low-cost education and community engagement activities focusing on K-12 students, teachers, teens, university students, families, adults, and cultural communities. We exist to create a spark in people, young and old alike; to expose them to new artists, ideas, and cultures; and to leave them with an ongoing and lifelong passion for creativity and the performing arts. Funds raised from On The Road make it possible for UMS to impact nearly 20,000 youth, educators, and community members throughout the year.

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

Shining StarStout Systems

Platinum StarCenter for Plastic and Reconstructive Surgery

Gold StarAnonymous

Nancy Bishop, Associate Broker, Charles Reinhart Company, Realtors

Charles Reinhart Company, Realtors

Clark Hill PLC

Debbie and Norman Herbert

Hooper Hathaway, P.C., Charles W. Borgsdorf & William J. Stapleton, attorneys

Merrill Lynch

Ren and Susan Snyder

Silver StarAmerican Title

Armen Cleaners

Sandy and Charlie Aquino

Karen Bantel

Gary Bloomfield, D.D.S

Campus Realty

Conlin Travel

Dykema Gossett

Barbara Eichmuller, Charles Reinhart Company, Realtors

Susan Fisher and John Waidley

Liberty Title

Fran and Irwin Martin

Raymond James

Becki Spangler and Peyton Bland

Louise Taylor

W i t h u m s 2 0 1 2

s P o n s o r s

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1110

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

Crystal Pite/Kidd Pivot — The Tempest Replicathéâtre de la Ville — ionesco’s Rhinocérosmariinsky orchestra — stravinsky’s The Rite of Springgilberto gil

martha graham dance Company

alison Balsom and the scottish ensemble UMS must raise matching gifts totaling $100,000 annually to meet the Renegade Ventures Fund challenge. We invite you to engage in this exciting adventure by partnering with us to make these performances possible. Please send your contribution to:

renegade Ventures FundUMSBurton Memorial Tower881 North University AvenueAnn Arbor, MI 48109-1011

The Renegade Ventures Fund was established to support

unique, creative, and transformative performing arts

experiences within the UMS season. It supports artistic

ventures that test us, redefine our limits, stimulate a robust

conversation, and create value around a wide range of

human responses. It supports artistic innovation that

broadens the performance and educational experiences of

U-M students and UMS audiences, taking them far beyond

what we — and they — have come to expect. We call

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

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

and feed our insatiable curiosity.

Supporting innovative and cutting-edge artistic work is a passion of Maxine and Stuart Frankel, who recognize that a national leader in the presentation of the performing arts must push the boundaries of knowledge forward by supporting new works, remounting important past works, and providing a venue and funding for artists to create. To encourage innovative and cutting-edge work, and to support UMS in the initial phase of providing Renegade ventures, the Frankels established the Renegade Ventures Fund with a multi-year challenge grant of $500,000 — $100,000 each year for five years.

Stuart and I believe the

arts are fundamental in

educating the leaders of

tomorrow. We established

the Renegade Ventures

Fund to ensure that UMS,

through programming, has

the flexibility to consider

the new, the different, the

innovative, and the cutting-

edge. Some performances

are beautiful and awe-

inspiring; 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

For more information, contact:

Margaret McKinley, 734-647-1177 or margiem@umich.edu

“

”

K i d d P i V o t

g i l B e r t o g i l

a l i s o n B a l s o m

Renegade Ventures Fund:

What is it?

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Can the absurd change your point of view?

10/11-13ionesco’s Rhinocérosthéâtre de la Villeemmanuel demarcy-mota, directorPower Center

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1514

Integrating movement, original music, text, and rich visual design, Kidd Pivot’s

performance work is assembled with recklessness and rigor, balancing sharp

exactitude with irreverence and risk. Kidd Pivot’s distinct choreographic

language, which fuses classical elements with the complexity and freedom

of structured improvisation, is marked by a strong theatrical sensibility and a

keen sense of wit and invention. The Tempest Replica is based on motifs from

Shakespeare’s play. Artistic director Crystal Pite stages a game of revenge and

forgiveness, reality and imagination.

Canadian Crystal Pite danced with William Forsythe’s Ballett Frankfurt and serves

as associate choreographer of Nederlands Dans Theater. Her company has been

based in Vancouver since its founding in 2002.

9/27riccardo muti, music director

thursday, september 27, 7:30 pm

Hill Auditorium

The 100th season of UMS concerts in Hill Auditorium begins the same way that

Hill Auditorium itself did: with a concert by the Chicago Symphony Orchestra,

which opened the 20th Ann Arbor May Festival in 1913. The concert opens

with Wagner’s Overture to The Flying Dutchman, a work that was performed

at another concert in that same May Festival. Frequently heard in the 1920s,

this piece has not been programmed on a UMS concert in nearly 35 years. The

program also includes Mason Bates’ Alternative Energy, which received rave

reviews at its world premiere in February 2012. UMS audiences were introduced

to Bates at last season’s San Francisco Symphony performances. This concert,

conducted by CSO music director Riccardo Muti, marks the 204th Chicago

Symphony program since its UMS debut in 1892.

Wagner Overture to The Flying Dutchman (1843)

Mason Bates Alternative Energy (2012)

Franck Symphony in d minor (1888)

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

renegade Ventures Fund and linda and richard greene

9/21-22Crystal Pite, artistic director

Friday, september 21, 8 pm

saturday, september 22, 8 pm

Power Center

Chicago Symphony Orchestra

Kidd PivotThe Tempest Replica

metro times, Between the lines, and Wdet 101.9 Fm

Wgte 91.3 Fm, WrCJ 90.9 Fm, and ann arbor’s 107one

national endowment for the arts

Opening Night Post-performance Q&A

sPonsored By

suPPorted By

Funded in Part By

media Partners

media Partners

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1716

In 2001, UNESCO declared kunqu, the 600-year-old grand opera of China, a

“Masterpiece of the Oral and Intangible Heritage of Humanity.” The declaration

not only affirms the artistic and cultural distinctions of the genre, which is

known for its perfect blending of dramatic literature, soulful singing, and elegant

dancing, but also creates a context for its revival in contemporary and globalized

China. The genre now attracts audiences inside and outside China with

performances that judiciously blend classical stories and performance practices

with contemporary staging interpretations and technologies. Kunqu is recognized

internationally for being authentic yet fresh and updated. In its own way, it is

similar to the Royal Shakespeare Company’s fresh, yet authentic, interpretations

of classical English plays.

To experience kunqu is to encounter artistic and classical China interpreted

for the globalized present and to see historical and contemporary Chinese

characters come alive on stage, revealing their Chinese emotions and values.

UMS is pleased to introduce to Michigan audiences the highly praised all-

male choral/folk music ensemble Basiani from the Republic of Georgia. The

extraordinary program performed by Basiani is representative of Georgia’s musical

heritage and comprises samples from almost every geographical region of the

Republic. It is an exceptional, highly memorable performance that embraces the

range and variety of Georgian folk culture and its distinctive, highly developed

forms of polyphony — a central aspect of the cultural legacy that led to UNESCO’s

designation in 2001 of Georgian folklore as a masterpiece of the spiritual treasury

of the world’s “non-material” culture (which includes folk traditions as a bearer

of cultural heritage). Basiani’s members are young singers from various parts of

Georgia; most come from families of traditional singers. They were introduced

in the US at the Mostly Mozart Festival in New York City in 2010, receiving rave

reviews from The New York Times and Wall Street Journal.

10/4thursday, october 4, 7:30 pm

St. Francis of Assisi Catholic Church

Basiani Suzhou Kun Opera Theater of Jiangsu Province

9/28-29Cai shaohua, director

Friday, september 28, 8 pm

saturday, september 29, 8 pm

Lydia Mendelssohn Theatre

WrCJ 90.9 Fm

fridayQintiao (Zither Seductions)

Huozhuo (Captured Alive)

Xiaoyan (Garden Party)

saturday: four scenes from the peony pavilion (mudanting)

Youyuan jingmeng (Strolling in the Garden and the Interrupted Dream)

Xunmeng (Pursuing the Dream)

Shihua jiaohua (The Portrait Retrieved and Examined)

Yougou (Nightly Rendezvous)

Confucius institute at the university of michigan

media Partner

sPonsored By

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1918

“Simply breathtaking,” proclaims the Chicago Sun-Times about Aspen Santa Fe

Ballet, whose UMS debut features a program of contemporary ballet that exemplifies

the company’s commitment to commissioning dance by both world-renowned

and emerging choreographers. With a European aesthetic grounded in American

sensibilities, this 11-member troupe of classically trained dancers has developed a

worldwide following. “Stark, sleek, and chock-full of moves that skirt the edges of

contemporary movement.” (The Boston Globe)

Aspen Santa Fe Ballet began in Aspen in 1996, and a partnership four years later

led to the creation of a company that splits its time between Aspen and Santa Fe.

Artistic director Tom Mossbrucker, a former principal dancer with the Joffrey Ballet,

has been with the company since the beginning. He is dedicated to presenting

an eclectic repertoire and committed to acquiring new works that persistently

challenge, enliven, and educate both audiences and the company dancers.

Square None (2011) Choreography: Norbert De La Cruz, Music: Alva Noto, Michelle Ross, Handel, & Aphex Twin

Stamping Ground (1983) Choreography: Jirí Kylián, Music: Carlos Chávez

Over Glow (2011) Choreography: Jorma Elo, Music: Mendelssohn & Beethoven

The Jerusalem String Quartet returns for its fourth UMS concert to kick off the

50th Annual Chamber Arts Series. Comprised of four young musicians who began

playing together in 1993 when they were in their mid-teens, they have matured

into outstanding interpreters of the string quartet literature. They display a

liveliness and spontaneity that has led to international acclaim, and each of

their UMS concerts has led to immediate requests for a return appearance. The

ensemble was recently awarded the BBC Music Magazine Award in Chamber

Music for an unprecedented third time. “Their wonderfully full and vibrant sound

is channeled through rhythms and phrasings that are crisp, tight-reined, and

naturally flowing. Every deft switch of mood is caught to near-perfection…” (BBC Music Magazine)

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

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

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

10/10Wednesday, october 10, 7:30 pm

Rackham Auditorium

JerusalemString Quartet

Aspen Santa Fe Ballet

10/6-7tom mossbrucker, artistic director

saturday, october 6, 1 pm

(Family Performance) saturday, october 6, 8 pm

sunday, october 7, 2 pm

Power Center

Wgte 91.3 Fm and detroit Jewish news

tom and debby mcmullen

metro times and Between the lines

Opening Night Post-performance Q&A

media Partners

sPonsored By

media Partners

suPPorted By

Presented With suPPort From

linda and maurice Binkow Philanthropic trust

herbert e. and doris sloan endowment Fund

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2120

A farce. A tragedy. An experiment of the mind. Rhinocéros was initially a short

story written in 1957 by Eugène Ionesco (1909-1994), who was influenced by his

time in Romania as a young man when nearly everyone around him converted to

fascism. Alongside Samuel Beckett, Jean Genet, and Harold Pinter, Ionesco was a

major figure of the “Theater of the Absurd.”

Rhinocéros begins in a small town square where Jean meets his apathetic friend

Berenger for a drink. A rhinoceros runs through the square, shocking all except

Berenger. The square is soon overrun as people in the town begin to transform

into rhinos. Berenger, on the other hand, transforms from being indifferent and

aimless to a having something to believe in and fight against: the tyranny of the

rhinos. A parable about French collaboration with the Nazis, Rhinocéros serves as

a metaphor for people resisting the crowd and standing up for their own ideas.

The Théâtre de la Ville production of Rhinocéros has been hailed for its

illuminating and insightful approach to Ionesco’s celebrated play, skillfully

setting astonishing moments of physical theater and movement in a staging that

showcases both the haunting beauty of Ionesco’s words and his singular vision

for the stage. Remaining true to the spirit and letter of the play, the production

rekindles the staggering sense of urgency and risk conveyed by the script, as it

depicts the struggle of one man to maintain his individual identity and integrity

in a world where others have successively yielded to the inevitable domination

of brute force. When the play was first presented in Paris, critics were ecstatic.

“A masterpiece,” raved Le Monde. “A veritable tour de force on the part of the

director... [and] a magical embrace between the show and the spectator.”

Performed in French with English supertitles.

10/20saturday, october 20, 8 pm

Hill Auditorium

Murray Perahia

Ionesco’s Rhinocéros

10/11-13théâtre de la Ville

emmanuel demarcy-mota, director

thursday, october 11, 7:30 pm

Friday, october 12, 8 pm

saturday, october 13, 8 pm

Power Center

Anyone who has heard one of Murray Perahia’s previous 11 UMS appearances

would have to agree with the assessment of The Los Angeles Times: “Perahia is

a marvel.” The Seattle Times notes, “Perahia may be the closest thing to a pure

conduit of music — one in which the imagination and skill of the player are entirely

at the service of the composer, not the player’s ego…The soul of a poet, the mind

of a thinker, the hands of a virtuoso: No wonder audiences love this guy.”

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

Schubert Moments musicaux, D. 780 (1823)

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

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

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

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

Between the lines, michigan radio 91.7 Fm, Wdet 101.9 Fm, and ann arbor’s 107one

renegade Ventures Fund

Wallace endowment Fund

Opening Night Post-performance Q&A

natalie matovinović, donald morelock, robert and marina Whitman, and ann and Clayton Wilhite

Wgte 91.3 Fm, WrCJ 90.9 Fm, and detroit Jewish news

sPonsored By

suPPorted By

media Partners

suPPorted By

Funded in Part By

media Partners

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Valery Gergiev conducts the Mariinsky Orchestra (formerly known as the

Kirov) for this 12th UMS appearance, which celebrates the centenary of Hill

Auditorium. The program features Stravinsky’s The Rite of Spring, which had

its world premiere in 1913 in Paris just 16 days after Hill Auditorium opened. The

ballet, with choreography by Vaslav Nijinsky, caused a scandal, yet it has had

a tremendous impact on music for the past 100 years and is now considered a

masterpiece of the 20th century. This concert features the orchestral score.

The concert also features piano soloist Denis Matsuev, who made his UMS debut

with the Mariinsky in October 2010 and returned for an equally stunning recital in

January 2012. “Ever since his triumph in the 1998 Tchaikovsky Competition, Denis

Matsuev’s name has inspired awe and amazement in musical circles. And for

once, the hype…is, if anything, low-pitched. For here is a virtuoso in the grandest

of Russian traditions.” (Gramophone Magazine)

R. Strauss Ein Heldenleben, Op. 40 (1898)

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

Stravinsky The Rite of Spring (1913)

A Prelude dinner precedes the performance. Reservations: 734.764.8489.

11/11sunday, november 11, 4 pm

Rackham Auditorium

Established at Royal College of Music in 1994, the Belcea Quartet boasts

an impressive discography; their most recent release was nominated for a

Gramophone Award, which they also won in 2001 for Best Debut Recording.

The Belcea has just embarked on an ambitious survey of the complete string

quartets by Beethoven, with cycles planned in the UK, US, Austria, Sweden,

and Germany. The cellist of the Belcea says, “There is no end to exploration of

Beethoven’s riches for us as performers and yet what is most compelling for us

is that his music speaks so directly to us as human beings. What seems to be

the predominant impulse driving this music is man’s yearning for freedom, the

unquenchable desire to expand his limits and to learn the truth about himself in

this process. Beethoven inspires us as performers to take up this challenge. He

also accompanies us in our own quest through our lives.”

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

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

Belcea Quartet

Mariinsky Orchestra of St. Petersburg

10/27Featuring the orchestral score to stravinsky’s The Rite of SpringValery gergiev, music director

denis matsuev, piano

saturday, october 27, 8 pm

Hill Auditorium

Wgte 91.3 FmWgte 91.3 Fm, WrCJ 90.9 Fm, detroit Jewish news, and Wdet 101.9 Fm

Presented With suPPort From

hosted By

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media Partners

renegade Ventures Fund

Catherine s. arcure endowment Fund

mainstreet Ventures

media Partner

sPonsored By

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From musical revolutionary to international pop star to beloved statesman,

Gilberto Gil has lived a life worthy of a Hollywood thriller. As a founding member

of Brazil’s Tropicália movement, Gil and fellow Bahians Caetano Veloso and Gal

Costa radically reinvented Brazilian popular music in the mid-60s by combining

Beatlesque psychedelia, art rock, and Brazil’s northeastern roots rhythms. Since

returning to Brazil from his London exile in the early 1970s, Gil has held center

stage as a charismatic performer and songwriter. With several dozen standards

to his credit, he has been interpreted by just about every major Brazilian artist

of the past four decades. In recent years Gil once again found inspiration in the

joyful, upbeat accordion-driven forró style of music and dance, starting with

his soundtrack to the award-winning 2000 film Me You Them. After serving as

Brazil’s Minister of Culture from 2003-2008, he went on to explore classics by

forró heroes Luiz Gonzaga and Jackson do Pandeiro on his latest album, Fé Na Festa. Expect a party — and expect to dig deeply into Brazil’s musical heritage

with one of the country’s major cultural icons.

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

Dave Holland Big Band

Gilberto Gil

11/16For AllFriday, november 16, 8 pm

Hill Auditorium

A seminal figure in post-1960s jazz, Dave Holland has never allowed his work to

be limited by tradition. A master of tone and rhythm, the bassist, composer, and

bandleader is now in his fifth decade as a performer, and his music possesses

a rich and kaleidoscopic history. His path has led him from the frontiers of free

improvisation to his modern ensembles that fully embody the Sam Rivers-

instilled philosophy of “playing all of it.” The Wolverhampton, England, native

got his big break from Miles Davis, with whom he played during the epochal

Bitches Brew period. He formed his first working quintet in 1983 and continued

to develop fruitful relationships with artists such as Anthony Braxton, Stan Getz,

Cassandra Wilson, Jack DeJohnette, Chick Corea, Joe Henderson, Thelonious

Monk, Betty Carter, Pat Metheny, Kenny Wheeler, Bill Frisell, Roy Haynes, and

Herbie Hancock over the course of his career. This performance with his 13-piece

big band is Dave Holland’s third appearance since his 2003 UMS debut. “One of

the very best working bands in jazz.” (The New York Times)

11/17dave holland, double bass

antonio hart and mark gross, alto saxophone

Frank Basile, baritone saxophone

robin eubanks, Jon arons, and Josh roseman, trombone

taylor haskins, alex “sasha” sipiagin, and duane eubanks, trumpet

steve nelson, vibraphone and marimba

nate smith, drums

saturday, november 17, 8 pm

Michigan Theater

Wemu 89.1 Fm and ann arbor’s 107onemedia Partners

suPPorted By

hosted By

renegade Ventures Fund

gary Boren media Partners

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The holiday season in Ann Arbor is never officially under way until Handel’s

Messiah is performed at Hill Auditorium. The Grammy Award-winning UMS

Choral Union (2006 “Best Choral Performance” for William Bolcom’s Songs of Innocence and of Experience) launches the holiday season with its signature

work. An Ann Arbor tradition, these performances are ultimately the heart and

soul of UMS, connecting audiences not only with the talented people on stage,

but also with the friends and family who attend each year. Join us for this very

special Messiah as we celebrate the centenary of Hill Auditorium. In a true

community tradition, the performance will feature the Ann Arbor Symphony

Orchestra, the 175 voices of the all-volunteer UMS Choral Union, and conductor

Jerry Blackstone. Soloists to be announced.

Dianne Reeves Quartet

with special guest Raul Midón

12/1-2ums Choral union

ann arbor symphony orchestra

Jerry Blackstone, conductor

saturday, december 1, 8 pm

sunday, december 2, 2 pm

Hill Auditorium

As a result of her virtuosity, improvisational prowess and unique jazz and R&B

stylings, Dianne Reeves received the Grammy for Best Jazz Vocal Performance for

three consecutive recordings – a Grammy first in any vocal category. One of the

pre-eminent jazz vocalists in the world today, she has recorded, performed, and

collaborated extensively with Wynton Marsalis, the Chicago Symphony, and the

Berlin Philharmonic. She returns with her quartet for her fourth UMS appearance

— and her first in five years. This special concert opens with a set by Raul Midón,

a blind singer-songwriter and guitarist whose distinct voice, strumming, beats,

and vocal trumpet resulted in a standing ovation when he appeared on “The

Late Show with David Letterman” and an open invitation back to “The Tonight

Show with Jay Leno.” He performed at The Ark in May 2010 and now makes his

UMS debut. Guitar magazine describes him as “one of those rare musical forces

that reminds us how strong and deep the connection between man and music

can sometimes be.”

12/8saturday, december 8, 8 pm

Hill Auditorium

Carl and isabelle Brauer Fund

Handel’s Messiah

Wemu 89.1 Fm, metro times, ann arbor’s 107one, and Wdet 101.9 Fm

michigan radio 91.7 Fm and ann arbor’s 107one

media Partners

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Presented With suPPort From

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How does a legend bring you to unexpected places?

3/16yo-yo ma and the silk road ensembleHill Auditorium

t h e s i l K r o a d e n s e m B l e

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Pull up a chair and wet your whistle for an evening of anarchic theater, live music,

and strange goings-on as UMS takes theater into the pub, moving to the Corner

Brewery in Ypsilanti for six performances.

One wintry morning, Prudencia Hart, an uptight academic, sets off to attend a

conference in the Scottish Borders, the region of Scotland that borders England.

As the snow begins to fall, she finds herself trapped in a secluded bar with

strangers, only to be swept away on an enchanting, dream-like journey of self-

discovery filled with magical moments, devilish encounters, and wittily wild

karaoke.

Detroit Symphony Orchestra

1/8-13national theatre of scotland

Created by david grieg

directed by Wils Wilson

tuesday, January 8, 7:30 pm

Wednesday, January 9, 7:30 pm

thursday, January 10, 7:30 pm

Friday, January 11, 8 pm

saturday, January 12, 8 pm

sunday, January 13, 6 pm

Corner Brewery

(720 Norris St., Ypsilanti)

UMS and the Detroit Symphony Orchestra have partnered together for years,

bringing many moving performances to UMS audiences. This latest partnership

seeks to celebrate the 100th birthday of Hill Auditorium with a concert that

features the Frieze Memorial Organ. The organ was built in Detroit in 1893 and

displayed at the Chicago World’s Fair: Columbian Exposition, which celebrated

the 400th anniversary of Christopher Columbus’s arrival in the New World.

Shortly thereafter, the University purchased the organ, and it was a centerpiece

of Albert Kahn’s design when Hill Auditorium was built.

McWilliam Tu es Petrus (b.1977)

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

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

Khachaturian Symphony No. 3 in C (1947)

1/13hill auditorium’s King of instruments:

the Frieze memorial organ

leonard slatkin, conductor

James david Christie, organ

david higgs, organ

James Kibbe, organ

ums Choral union

sunday, January 13, 4 pm

Hill Auditorium

david and Phyllis herzig Barbara sloat

The Strange Undoing of Prudencia Hart

Wgte 91.3 Fm, WrCJ 90.9 Fm, detroit Jewish news, and ann arbor’s 107one

Between the lines and michigan radio 91.7 Fm

media Partners

hosted By

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hosted By

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Writing and performing music that moves effortlessly from dense modernism

to spare vernacular song, pianist, composer, and singer Gabriel Kahane has

established himself as a leading voice among a generation of young indie

composers redefining music for the 21st century. Kahane performs with a variety

of influential artists, including Chris Thile, Brad Mehldau, cellist Alisa Weilerstein,

and his father, the noted pianist and conductor Jeffrey Kahane. He has also

written the music and lyrics for February House, which ran at New York City’s

Public Theater in 2012.

New to UMS, but not to Ann Arbor (he has performed at the Kerrytown Concert

House), Kahane will be performing songs from his latest album, Where Are The Arms, along with material drawn from his diverse songbook and musical theater

compositions. He performs with friends and collaborators yMusic, featuring

guitarist/violinist Rob Moose (Bon Iver, Antony and the Johnsons) and trumpet

player CJ Camerieri (Sufjan Stevens, American Composers Orchestra).

From Cass Corridor to the World:

Gabriel Kahane & Friends

1/17-18Featuring ymusic:

rob moose, violin and guitar

nadia sirota, viola

Clarice Jensen, cello

alex sopp, flutes

hideaki aomori, clarinets

CJ Camerieri, trumpet and horn

thursday, January 17, 7:30 pm

Friday, January 18, 8 pm

Arthur Miller Theatre

Every city has had a Golden Age. In most places, the Golden Age dies, but in

Detroit it remains unbroken through many different forms, from Jazz to Motown

to techno and hip-hop.

On Martin Luther King, Jr. Day, UMS and the U-M MLK Day Symposium

celebrate the unique relationship of the city of Detroit to the music it helped

create and shape. Beginning with trumpeter and educator Gerald Wilson (a

Cass Technical High School graduate) and continuing through the great Detroit

artists and mentors who have sustained the music through the second half of

the 20th century, Detroit continues to nurture and create international trends in

contemporary music-making and songwriting. With world-renowned jazz pianist

and Detroit native Geri Allen serving as music director and the D3 trio serving as

house band, From Cass Corridor to the World musically narrates this spectacular

and unique journey with celebrated Detroit artists.

A co-presentation with the University of Michigan office of Academic Multicultural initiatives.

a tribute to detroit's musical golden age

anne and Paul glendon Wemu 89.1 Fm, metro times, ann arbor’s 107one, and Wdet 101.9 Fm

Wdet 101.9 Fm

1/21 Featuring d3:

geri allen, music director and piano

robert hurst, bass

Karriem riggins, drums

with marcus Belgrave, trumpet and special detroit artists to be announced

monday, January 21, 7:30 pm

Hill Auditorium

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Founded in 1926 by pioneering choreographer Martha Graham, this modern

dance company is one of the oldest and most celebrated in America. Graham’s

innovative body of work stands alongside that of Pablo Picasso, Igor Stravinsky,

George Balanchine, and Coco Chanel as a pillar of 20th-century Modernism. Her

company has performed all over the world, including at the base of the Great

Pyramids and in the ancient Herod Atticus Theatre on the Acropolis. The Martha

Graham Dance Company has nurtured many choreographers of the 20th and 21st

centuries, including Merce Cunningham, Pearl Lang, Paul Taylor, Pascal Rioult, and

U-M’s Peter Sparling, whose film montage opens Friday’s program. The Saturday

evening performance brings back the work of Robert Wilson (Einstein on the Beach), who created a magical evocation of Graham as an artist, using abstract forms and

movements to recall the American images that gave meaning to her work and her life.

friday: inner landscape“Beautiful Captives” A film montage by Peter Sparling with music by Eric Santos

Witch Dance (1914) Choreography: Mary Wigman

Every Soul Is a Circus (1939) Choreography: Martha Graham, Music: Paul Nordof, Décor: Philip Stapp

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

Night Journey (1947) Choreography: Martha Graham, Music: William Schumann, Décor: Isamu Noguchi

saturdayAppalachian Spring (1944) Choreography: Martha Graham, Music: Aaron Copland, Décor: Isamu Noguchi

Snow on the Mesa (1995) Décor and Direction: Robert Wilson

We are proud to bring back Mariachi Vargas de Tecalitlán after an extremely popular

UMS debut in November 2010. Mariachi Vargas is one of the most highly regarded

ensembles in the history of mariachi, decisively shaping the art form. Founded

in a small city near Jalisco by Don Gaspar Vargas in the 1890s, this band basically

invented the modern mariachi, and five generations later, is still playing today. They

have recorded over 100 CDs, with original songs and arrangements that set the

standard for mariachi music. Masters at melding the Old World style of mariachi

music with new, innovative pieces, Mariachi Vargas is appealing to audiences across

all generations.

1/27sunday, January 27, 4 pm

Hill Auditorium

Martha Graham Dance Company

Mariachi Vargas de Tecalitlán

1/25-26Janet eilber, artistic director

Friday, January 25, 8 pm

saturday, January 26, 8 pm

Power Center

metro times, Between the lines, and ann arbor’s 107one

(New Date)

Opening Night Post-performance Q&A

media Partners

suPPorted By

Funded in Part By

sPonsored By

renegade Ventures Fund

national endowment for the arts

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Wynton Marsalis stands in a league all his own. A creative genius, compassionate

humanitarian, legendary trumpeter, masterful composer, arts advocate, tireless

educator, and cultural leader, he inspires and uplifts people through superb

music-making. Performing music that links today’s improvisers with the rich

history of traditional and contemporary big-band composition, the Jazz at Lincoln

Center Orchestra, led by Marsalis, brings an expansive range of music to the

most treasured international stages. Despite one of the most aggressive touring

schedules in the business, JLCO makes each concert fresh, drawing in audiences

who are continually energized and amazed by the group’s depth of outrageous

talent. “The audience was weak from applauding and shouting and jumping up

and down with the joy of the great music it had heard.” (El Universal/The Herald)

1/31thursday, January 31, 7:30 pm

Hill Auditorium

“I am a witness of my time,” says Angélique Kidjo, a bona fide world music

superstar and activist from Benin who makes her UMS debut with this

performance. “When your history is not written, you count on traditional singers

to tell you who you are and what is going on in your society. That is what I do

with my music.” With James Brown, Jimi Hendrix, Miriam Makeba, and Carlos

Santana credited as influences, she brings a passion to her art that is filled with

her amazing spirit and experiences from her life’s incredible journey. Angélique

Kidjo is a UNICEF and Oxfam Goodwill Ambassador, has her own charitable

organization dedicated to supporting the education of young girls in Africa, and

passionately campaigns for women’s health in Africa. In 2011 she performed at

the Nobel Peace Prize ceremony and concert and was named by The Guardian

as one of the Top 100 most inspiring women in the world. A riveting performer,

“[Kidjo’s] supercharged pipes have never sounded better, her irresistible energy

and joie de vivre never more palpable.” (The Los Angeles Times)

2/1Friday, February 1, 8 pm

Hill Auditorium

Angélique Kidjo

Jazz at Lincoln Center Orchestra with Wynton Marsalis

Wdet 101.9 Fm and ann arbor’s 107one

Wemu 89.1 Fm and metro times

gil omenn and martha darling media Partners

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media Partners

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This San Francisco-based group made its UMS debut in February 2011 to huge

audience acclaim with a performance of remarkable precision, passion, and

power. Their return appearance with artistic director Nadja Salerno-Sonnenberg

offers the area premiere of a new work that NCCO commissioned by U-M

Professor Emeritus of Composition William Bolcom, as well as Heitor Villa-Lobos’

hauntingly beautiful Bachianas Brasileiras No. 5. “Salerno-Sonnenberg was

and most definitely is a force to be reckoned with [and] the superb musicianship

of her cohorts ensured that it was far more than her show.” (San Francisco Classical Voice)

Mendelssohn Symphony No. 10 in b minor (1823)

Bolcom Romanza for Violin and String Orchestra (2010)

Villa Lobos Bachianas Brasileiras No. 5 (1938-45)

R. Strauss Metamorphosen (1944-45)

Berlin Philharmonic Wind Quintet

2/2saturday, February 2, 8 pm

Rackham Auditorium

“An enthralled crowd, listening agog to the amazing woodwind [quintet] from

the Berlin Philharmonic, heard wind playing that was out of this world. Equally,

however, the performance provided a unique opportunity for a microcosmic

view of the philosophy and practice of the world’s most famous orchestra.

Everything that you could see and hear, in intimate detail, that made this quintet

so breathtakingly perfect, was a representation of the way the full band operates.

An astonishing experience.” (The Herald, Glasgow)

An exquisite blend of woodwind instruments performing a selection of wind

quintet pieces, the Berlin Philharmonic Wind Quintet continues to astonish

audiences worldwide with their range of expression, tonal spectrum, and

conceptual unity. Indeed, many listeners and critics agree that the ensemble

has succeeded in virtually redefining the sound of the classic wind quintet,

comprised of flute, oboe, clarinet, horn, and bassoon. U-M Professor Martin Katz,

one of the most sought-after collaborative pianists, joins the ensemble for the

Poulenc Sextet.

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

Kalevi Aho Windquintet (2006)

Ibert Trois pieces brèves (1939)

Milhaud La cheminée du roi Rene (1939)

Poulenc Sextet for Wind Quintet and Piano (1939)

2/9martin Katz, piano

saturday, February 9, 8 pm

Rackham Auditorium

linda and ronald Benson

New Century Chamber Orchestra & Nadja Salerno-Sonnenberg

Wgte 91.3 FmWgte 91.3 Fm Penny and Ken Fischermedia Partner

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Instantly recognizable from their spot-on intonation, impeccable vocal

blend, flawless articulation of text, and incisive timing, The King’s Singers are

consummate entertainers, charming the audience with a delightful British wit

along with their stunning vocal performance. The group takes its name from

King’s College, Cambridge, where the original members were choral scholars.

Composed of a bass, two baritones, a tenor, and two countertenors, The King’s

Singers have a discography of over 150 recordings and have commissioned

more than 200 works from prominent contemporary composers. A favorite of

the Mormon Tabernacle Choir, they performed together at the 2002 Winter

Olympics. The group returns to Ann Arbor for the first time since 2005.

Kodo

2/14thursday, February 14, 7:30 pm

St. Francis of Assisi Catholic Church

Drums did more than make music in Japanese tradition. They were valuable

tools found at every shrine. They marked the physical and metaphorical edge

of a village. If you could hear them beat, you were part of the community. Kodo

has lived this principle for 30 years, using thundering, soothing sounds that turn

audiences into one big village from Asia to South America. “The drum is a ritual

tool in Japan, played whenever a community needs to come together…If Kodo

can bring drums and travel around the world and deliver the sound of drums

there, we can unite the people who hear the sound and make them part of a

community,” says Kodo member Jun Akimoto. Under its new artistic director,

Kabuki luminary Tamasaburo Bando, the group’s 23rd UMS appearance features

a brand-new performance that includes new visual flair alongside its high-energy

percussion, elegant music, dance, and the striking physical prowess needed to

sustain a precise yet powerful sound.

2/15one earth tour 2013: legend

Friday, February 15, 8 pm

Hill Auditorium

glenn Watkins

The King’s Singers

ann arbor’s 107oneWrCJ 90.9 Fmmedia Partner

hosted By

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Penny and Ken Fischer media Partner

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“Amjad Ali Khan may be a master of the sarod rather than the guitar, but once he

had built up to the crescendo of his solo set — improvising furiously around the

melody line with repeated, rapid-fire playing and then letting his equally frantic

tabla player take over — it was easy to see why great Indian music can be as

exciting as classic blues and rock.” (The Guardian)

UMS welcomes sarod master Amjad Ali Khan for his UMS debut appearance this

season. The sarod is smaller than the sitar and sits in the player’s lap. Its metal

fingerboard has no frets and is played with the tips of the fingernails.

Amjad Ali Khan was only six years old when he gave his first sarod recital. After

his debut, the career of this musical legend took off, and the Indian classical

music scene was witness to regular and scintillating bursts of Raga supernovas.

He was born to the illustrious Bangash lineage rooted in the Senia Bangash

School and studied with his father and guru, the great Haafiz Ali Khan. Today he

shoulders the sixth generation inheritance of this legendary lineage — and his

sons, who perform with him, belong to the seventh generation.

Handel’s Radamisto

For his first opera at the Royal Academy, Handel chose an imposing subject:

desire, dictatorship, and personal infatuation at the court of the Armenian King

Tiridate. After its first airing in London in 1720, Radamisto was described by a

critic as “more solid, ingenious, and full of fire than any drama which Handel

had yet produced in this country.” But there’s intense subtlety and humanity

in Radamisto, too, in the delicate poise of its very personal and artful arias

and ensembles. Baroque aficionado Harry Bicket assembles an all-star cast to

join the musicians of the English Concert for this rare performance of Handel’s

exquisite opera.

In UMS’s early history, the concert opera was a standard feature on many

UMS seasons. We’re delighted to present this concert version of Radamisto

featuring U-M alumnus David Daniels, who has led the resurgence of interest

in countertenors over the past two decades. “To say he is the most acclaimed

countertenor of the day, perhaps the best ever, is to understate his achievement.

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

2/17the english Concert

harry Bicket, conductor

david daniels, countertenor

Patricia Bardon, mezzo-soprano

luca Pisaroni, bass-baritone

elizabeth Watts, soprano

Brenda rae, soprano

sunday, February 17, 4 pm

Hill Auditorium

Amjad Ali Khan

2/16with amaan ali Khan and ayaan ali Khan, sarods

saturday, February 16, 8 pm

Hill Auditorium

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Propeller returns after its much talked-about 2011 performances of Richard III and The Comedy of Errors with new productions of Twelfth Night and

The Taming of the Shrew, two comedies full of mistaken identities,

transformations, and deceptions that ultimately reveal truth.

In The Taming of the Shrew, a man playing a boy dresses up as a girl, which

confuses Christopher Sly. In Twelfth Night, a man plays a girl disguised as a boy,

which confuses everybody.

Both plays explore beautifully how being in love with the wrong person can

reveal true feeling.

Propeller uses an all-male cast as was done in Shakespeare’s day. Mixing a

rigorous approach to the text with a modern physical aesthetic, the company

updates the productions in surprising ways, with actors also performing live

music.

“As directed by Edward Hall, Propeller specializes in knuckle-duster Shakespeare

that digs for the harshness beneath the lyricism. Funny, antic, bawdy: the

productions are all these expected things. But they also make sure that the

chuckles stick in your throat. The poetry may still be pretty; the comedy definitely

is not.” (The New York Times)

New York Philharmonic

2/20-24Propeller

ed hall, director

Twelfth NightWednesday, February 20, 7:30 pm

Friday, February 22, 7:30 pm

saturday, February 23, 2 pm

sunday, February 24, 7:30 pm

Power Center

The Taming of the Shrewthursday, February 21, 7:30 pm

saturday, February 23, 7:30 pm

sunday, February 24, 2 pm

Power Center

The New York Philharmonic returns to Ann Arbor for the first time since 2009. For

this first residency led by music director Alan Gilbert, they perform two different

programs. The Philharmonic has given over 15,000 concerts in 430 cities, 63

countries, and five continents, and 16 of those have been given in Hill Auditorium,

beginning three years after the venue opened.

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

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

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

sundayMussorgsky Night on Bald Mountain (1886)

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

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

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

2/23-24alan gilbert, conductor

Jan Vogler, cello [sunday]

saturday, February 23, 8 pm

sunday, February 24, 2 pm

Hill Auditorium

Shakespeare’s Twelfth Night & The Taming of the Shrew

Wgte 91.3 FmBetween the lines, michigan radio 91.7 Fm, and detroit Jewish news

Charles h. gershenson trust, maurice Binkow, trustee

national endowment for the arts

dody Viola medical Community endowment Fund and susan B. ullrich

Opening Night Post-performance Q&A

media Partners

Funded in Part By

hosted By

suPPorted By

media Partner

Presented With suPPort From

sPonsored By

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The Berlin-based Artemis Quartet was founded in 1989. While a couple of big awards

and prizes signaled their success early on, they elected to immerse themselves in

further study with the Alban Berg Quartet rather than pitching into the tempting

fast track of career success. They turned professional in 1994 and have since

drawn attention for their performances, which overflow with fullness of sound and

unparalleled drama. Now in residence at Konzerthaus Vienna with a regular concert

series at the Berlin Philharmonie, the Artemis Quartet makes its UMS debut with

an interesting program that pairs Bach preludes and fugues with Piazzolla tangos

that were originally written for a stage play. The program is bookended by two

Mendelssohn quartets.

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

J. S. Bach Contrapunctus I from The Art of Fugue, BWV 1080 (1742)

Astor Piazzolla Tango del Angel (1957)

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

Piazzolla Muerte del Angel I (1962)

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

Piazzolla Milonga del Angel (1962)

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

Piazzolla Muerte del Angel II (1962)

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

Mendelssohn Quartet in f minor, Op. 80 (1847)

Anne-Sophie Mutter

Artemis Quartet

3/13Wednesday, march 13, 7:30 pm

Rackham Auditorium

With unparalleled distinction in the world of classical music, Anne-Sophie

Mutter returns to UMS for her sixth appearance since her 1989 UMS May Festival

debut with the Leipzig Gewandhaus Orchestra. With an international career that

began at age 13, when Herbert von Karajan invited her to perform with the Berlin

Philharmonic, she also devotes time to numerous charity projects and supports

the development of young, exceptionally talented musicians. Accompanied by

her longtime recital partner, Lambert Orkis, she offers a performance that gives

proof to her reputation as one of very best violin virtuosos in the world.

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

Schubert Fantasy in C Major, D. 934 (1827)

Lutosławski Partita (1984)

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

3/14lambert orkis, piano

thursday, march 14, 8 pm

Hill Auditorium

Wgte 91.3 Fm and WrCJ 90.9 FmWgte 91.3 FmWilliam r. Kinney endowment Fund media Partner

Presented With suPPort From

media Partners

sPonsored By

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“Yo-Yo Ma is part modern Marco Polo, an explorer of cultures far beyond his

own; part musical missionary, eager to share ideas and make vital connections

between peoples.” (The Chicago Tribune) Founded by Yo-Yo Ma in 1998, the

Silk Road Project is about “seeing the world’s multiple perspectives, stirring the

imagination, getting people to dream.” It has been a catalyst for a new kind of

conversation, opening avenues of inter-cultural communication and collaborative

thinking. For about 2,000 years the Silk Road was the main conduit for the spread

and exchange of goods, ideas, religions, and culture, connecting people from

Asia to the Mediterranean. The collective is drawn from internationally renowned

musicians who share traditions from various cultures and develop and perform

new music and multimedia pieces, exploring and expanding contemporary music

crossroads. Yo-Yo Ma believes that “when we enlarge our view of the world, we

deepen our understanding of our own lives and culture.”

at this concert, yo-yo ma and the silk road Project will be recognized as

recipients of the 2013 ums distinguished artists award, presented as part of the

Ford honors Program. details about a gala dinner to benefit ums education and

community engagement programs will be announced later this fall.

Hamid Al-Saadi and Amir ElSaffar’s Two Rivers

3/16saturday, march 16, 8 pm

Hill Auditorium

When Iraqi heritage meets American jazz you get something “hypnotic and

utterly unique.” (TimeOut Chicago) Hamid Al-Saadi is a master of the centuries-

old tradition of Iraqi maqam, a system of melodic modes in traditional Arabic

instrumental and vocal music. He is the only living performer who has mastered

all of the compositions of the maqam repertoire. Due to its intricate details,

variations, and highly demanding vocal techniques, very few performers master

the entire repertoire.

Amir ElSaffar, an Iraqi-American trumpeter, santur player, vocalist, and composer,

has distinguished himself with a mastery of disparate musical styles and a

singular approach to combining aspects of Middle Eastern music with American

jazz, extending the boundaries of each tradition. In 2002, he put his New York

jazz career on hold to immerse himself in the music of his father’s ancestral

past, the Iraqi maqam, and has made innovative strides in creating a language

that reconciles and combines the aesthetics and techniques of jazz and Middle

Eastern music. Two Rivers was commissioned by Vijay Iyer, Cecil Taylor, and

Daniel Barenboim as a suite that invokes Iraqi musical traditions framed in a

modern jazz setting. The resultant sound is new and fresh, differing considerably

from other contemporary cross-cultural musical fusions.

This double-bill performance brings together the traditional and the ever-

evolving. As Yo-Yo Ma says, “If we want to preserve a tradition, the best way to

preserve it is to let it evolve.”

3/23hamid al-saadi and the iraqi maqam ensemble

hamid al-saadi, vocals

Baher al-rejab, qanun

amir elsaffar, santur

Fadhel al-saadi, dumbek

amir elsaffar’s Two Riversamir elsaffar, trumpet, santur, vocals

ole mathisen, tenor saxophone

zafer tawil, oud, percussion

tareq abboushi, buzuq

Carlo derosa, bass

nasheet Waits, drums

saturday, march 23, 8 pm

Hill Auditorium

Yo-Yo Ma and The Silk Road Ensemble

Wdet 101.9 Fm, Wemu 89.1 Fm, and ann arbor’s 107one

Bank of ann arbor; miller, Canfield, Paddock and stone, P.l.C.; mosaiC Foundation (of r. & P. heydon); and university of michigan health system

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

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

Comerica Bankmedia Partners

Virtuoso sPonsors

hosted By

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When Hill Auditorium was first built, UMS was the organization that oversaw

the School of Music, a situation that held true until the early 1940s, when UMS

transferred oversight of the School of Music to the University of Michigan. To

commemorate 100 years of collaboration, we celebrate with a massive orchestral

and choral work, Darius Milhaud’s Oresteian Trilogy, set for vocal soloists, chorus,

orchestra, and a battery of percussion instruments. Based on the plays by

Aeschylus and the only trilogy in Greek drama that has survived from antiquity,

it relates the bloody chain of murder and revenge within the royal family of

Argos. The work has rarely been performed in its entirety and, as with William

Bolcom’s Songs of Innocence and of Experience in 2004, will be recorded for

international release. The concert and recording feature ensembles from the

University of Michigan School of Music, Theatre & Dance alongside the UMS

Choral Union and a cast of soloists, all conducted by U-M’s Kenneth Kiesler.

Esperanza Spalding Radio Music Society

4/4Agamemnon, Les Choëphores, Les Euménidesuniversity symphony orchestra

ums Choral union

u-m school of music, theatre & dance Choral ensembles

Kenneth Kiesler, conductor

thursday, april 4, 7:30 pm

Hill Auditorium

With her ample talent and beauty, singer, bassist, and composer Esperanza

Spalding instantly found herself ranked among the darlings of jazz despite — or

perhaps because of — her unusual background. At 15 she left high school and,

armed with a GED, entered Portland State University to study music. By age

20, she was one of the youngest faculty members in the history of the Berklee

College of Music. At 26, she captured the world’s attention when she was

awarded the 2010 Grammy for Best New Artist, the first time the award had gone

to a jazz musician in 35 years. After wowing us as a member of Joe Lovano’s “Us

Five” Quintet in 2007, she returns with her new album, Radio Music Society,

which explores song forms and melodies that are formatted as “pop” songs.

“Whether exploding into vocalese or making her bass solo sound like a horn,

she’s a spark plug who dances as she grooves through a funked-up and rocked-

out repertoire.” (Billboard)

4/6esperanza spalding, double bass and vocals

leo genovese, piano

lyndon rochelle, drums

Jef lee Johnson, guitar

Jeff galindo and Corey King, trombone

igmar thomas and leala Cyr, trumpet

dan Blake, tia Fuller, and aaron Burnett, saxophones

Cris turner, backing vocals

saturday, april 6, 8 pm

Michigan Theater

Darius Milhaud’s Oresteian Trilogy

Wdet 101.9 Fm, Wemu 89.1 Fm, and ann arbor’s 107one

Wgte 91.3 Fmmedia Partner

media Partners

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

startling originality.

The Bayou is a feared and loathed part of the city, wherein lies the infamous

Bayou Mansions: a sprawling, stinking tenement block where curtain-twitchers

and peeping-toms live side by side, where children have gone completely feral,

and the wolf is always at the door.

When the idealistic Agnes Eaves and her daughter arrive late one night, does it

signal hope in this hopeless place, or has the real horror only just begun?

Seamlessly synchronizing original live music, physical performance, a darkly

humorous narrative, and striking video animation, Animals and Children is

a visually stunning and wickedly twisted tale of intrigue and paranoia from

1927, the London-based performance company that specializes in combining

performance and live music with animation and film.

“A jaw droppingly clever and gloriously subversive parable…1927 conjures a world

so complete it feels as if you’ve fallen down a rabbit hole.” (The Guardian)

Takács Quartet

The Animals and Children Took to the Streets

4/10-141927

suzanne andrade, performance poet

Paul Barritt, animator

Wednesday, april 10, 7:30 pm

thursday, april 11, 7:30 pm

Friday, april 12, 8 pm

saturday, april 13, 2 pm & 8 pm

sunday, april 14, 2 pm

Performance Network

Recognized as one of the world’s great ensembles, the Takács Quartet plays with

a unique blend of drama, warmth, and humor, combining four distinct musical

personalities to bring fresh insights to the string quartet repertoire. They return for

their 16th UMS performance since 1984 and their first since their terrific three-concert

Schubert series two years ago. “Every time one is blown away by the rightness and

freshness of everything they do.” (The Guardian)

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

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

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

4/12Friday, april 12, 8 pm

Rackham Auditorium

richard and susan gutow Wgte 91.3 FmBetween the lines and michigan radio 91.7 Fm

Opening Night Post-performance Q&A

media Partners

hosted By

media Partners

sPonsored By

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Listening to Bobby McFerrin sing may be hazardous to your preconceptions;

side effects may include unparalleled joy and a sudden, irreversible urge to

lead a more spontaneous existence. The ten-time Grammy Award winner will

always be the guy who sang “Don’t Worry, Be Happy,” but his “greatest gift

to audiences may be transforming a concert hall into a playground, a village

center, a joyous space.” (The Los Angeles Times) What Bobby McFerrin does is

not an act; it’s spontaneous invention. His legendary vocal performances have

dazzled audiences all over the world and sent them home singing. With his new

project, spirit you all, Bobby pays homage to his father (the opera singer Robert

McFerrin, Sr.) and the generations of Americans who sang of shared joy and

pain through the songs commonly known as the Negro Spirituals. McFerrin says,

“Music for me is like a spiritual journey down into the depths of my soul. And I

like to think we’re all on a journey into our souls…That’s why I do what I do.”

4/18spirit you allthursday, april 18, 7:30 pm

Hill Auditorium

Firmly established as one of the world’s leading trumpeters, Alison Balsom

makes her UMS debut with an evening of supremely beautiful music. Born in

1978, Balsom was recently crowned “Female Artist of the Year” at the Classical

BRITs for the second time, and in 2009 she headlined one of classical music’s

most celebrated concerts — the last night of the BBC Proms, which reached

its biggest ever global TV audience, an estimated 200 million. She is joined by

the Scottish Ensemble, the UK’s only professional string orchestra and one that

brings an energetic and passionate dynamic to every performance.

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

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

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

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

Purcell Dance of the Furies from Dido and Aeneas (1688)

Purcell Chacony in g minor (1680)

Purcell Fantasia on One Note (1680)

Biber Batallia (1673)

Handel Suite in D Major for Trumpet and Strings (1733)

A Prelude dinner precedes the performance. Reservations 734.764.8489.

4/20the scottish ensemble

saturday, april 20, 8 pm

Hill Auditorium

Bobby McFerrin

Alison Balsom, trumpet

Wdet 101.9 Fm, Wemu 89.1 Fm, and ann arbor’s 107one

media Partners

sPonsored By

suPPorted By

hosted By

renegade Ventures Fund, Jerry and gloria abrams and dennis and ellie serras

Wgte 91.3 Fm and WrCJ 90.9 Fm

James and nancy stanley and Jay zelenock and Family

media Partners

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Choreographers Ranee and Aparna Ramaswamy use the philosophy and myth

of Indian traditions to explore the interconnectedness between humans and

the landscapes that shape them. Accompanied by live music, the evening builds

from silent, meditative beginnings to a thrilling crescendo as the performers

surrender to the beauty of the sacred earth that has been given to us to

safeguard, cherish, and pass on to future generations.

Sacred Earth’s choreography, ranging from contemplative to ecstatic, brings

both internal (akam) and external (puram) landscapes to life through two

ephemeral visual traditions — kolam floor designs and Warli wall paintings —

creating a sacred space and becoming a link between the intimate home and

the vastness of the outside world. Kolams are rice flour designs made each

morning by women in southern India as conscious offerings to Mother Earth.

The Warli people of western India revere the land and live in perfect coexistence

with nature. Using their everyday lives as inspiration, they create dynamic wall

paintings that find the spiritual in the everyday.

Sacred Earth reframes the cultural specificity of the Bharatanatyam dance

tradition, bringing the eloquence of the form to universal themes in order to

spark a global conversation.

Trojan Women (after Euripides)

4/24Sacred Earthranee and aparna ramaswamy, co-artistic directors

Wednesday, april 24, 7:30 pm

Power Center The Trojan Women, by the Greek playwright Euripides, was first performed

over 2,400 years ago during the Peloponnesian War and is often considered a

commentary on the barbaric behavior of the Athenians toward the women and

children of the people they subjugated. In the ruins of their burning city, the royal

women of Troy — still mourning the slaughter of their husbands and sons — await

enslavement and exile. The play is a timeless meditation on the moments of

individual choice that separate death and life, despair and hope, future and past.

This adaptation by Jocelyn Clarke isn’t a literal staging of the ancient Greek

play, but uses Euripides’ text as a framework, imbuing his characters with the

sensibilities and souls of 21st-century individuals. Anne Bogart, the founder of

SITI Company and interviewer of Philip Glass and Robert Wilson for last year’s

Einstein on the Beach Penny Stamps lecture, directs.

4/27-28siti Company

anne Bogart, director

adapted by Jocelyn Clarke

saturday, april 27, 8 pm

sunday, april 28, 2 pm

Power Center

herbert s. and Carol l. amster Fund

Ragamala Dance

Between the lines and metro timesarts midwest touring Fund Between the lines and michigan radio 91.7 Fm

Opening Night Post-performance Q&A Opening Night Post-performance Q&A

media Partners

Funded in Part By

media Partners

Presented With suPPort From

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What will take you by surprise?

2/20-24shakespeare’s Twelfth Night & The Taming of the ShrewPropeller

ed hall, director

Power Center

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Just Announced

n at i o n a lt h e at r el i V es e a s o n 4

r e s i d e n C y W i t h t h e C h i a r a s t r i n g Q u a r t e t

In addition to the live theater events included in this brochure, UMS and the Michigan Theater will again join together to bring high-definition broadcasts from London’s National Theatre during the 2012-2013 season. The season will include productions of Stephen Beresford’s new play, The Last of the Haussmans, as well as The Curious Incident of the Dog in the Night-Time, Timon of Athens, and Othello. Local broadcast details will be announced in August. Additional titles will be announced later this fall.

Celebrating the 50th anniversary of the ums Chamber arts seriesspecial Free Community Concert: Friday, october 19, 8 pm Location and program TBA

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

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

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

h a n d e l’ s M E S S i A H

handel’s Messiahann arbor symphony orchestra

Jerry Blackstone, conductor

saturday, december 1, 8 pm

sunday, december 2, 2 pm

Hill Auditorium

Tickets: 734.764.2538, www.ums.org

detroit symphony orchestraleonard slatkin, conductor

sunday, January 13, 4 pm

Hill Auditorium

Tickets: 734.764.2538, www.ums.org

darius milhaud’s oresteian trilogyuniversity symphony orchestra

Choral ensembles from the u-m

school of music, theatre & dance

Kenneth Kiesler, conductor

thursday, april 4, 7:30 pm

Hill Auditorium

Tickets: 734.764.2538, www.ums.org

detroit symphony orchestra Beethoven symphony no. 9

leonard slatkin, conductor

thursday, February 21, 7:30 pm

Friday, February 22, 8 pm

saturday, February 23, 8 pm

sunday, February 24, 3 pm

Orchestra Hall, Detroit

Tickets: 313.576.5111, www.dso.org

detroit symphony orchestra ives symphony no. 4

leonard slatkin, conductor

sunday, april 28, 3 pm

Orchestra Hall, Detroit

Tickets: 313.576.5111, www.dso.org

UMS Choral Union

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U M S K I D S C LU B

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

new this year.

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

FA M I LY- F R I E N D LY O P P O R T U N I T I E S

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

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

1 9 2 7 : T H E A N i M A L S A N d C H i L d R E N T o o K T o T H E S T R E E T S

Ko d o

m a r i a C h i Va r g a s d e t e C a l i t l á n

all ages

aspen santa Fe Ballet

one-hour Family Performance

Sat, Oct 6

ages 8 and uP (3rd grade)

aspen santa Fe Ballet

Sat-Sun, Oct 6-7

mariachi Vargas de tecalitlán

Sun, Jan 27

Kodo

Fri, Feb 15

1927: The Animals and Children Took to the Streets

Wed-Sun, Apr 10-14

ragamala dance: Sacred Earth

Wed, Apr 24

ages 12 and uP (middle sChool)

murray Perahia, piano

Sat, Oct 20

handel’s Messiah

Sat-Sun, Dec 1-2

dianne reeves Quartet with

raul midón

Sat, Dec 8

martha graham dance Company

Fri-Sat, Jan 25-26

Jazz at lincoln Center orchestra with

Wynton marsalis

Thu, Jan 31

the King’s singers

Thu, Feb 14

amjad ali Khan, sarod

Sat, Feb 16

Bobby mcFerrin: spirit you all Thu, Apr 18

alison Balsom, trumpet and

the scottish ensemble

Sat, Apr 20

ages 14 and uP (high sChool)

Kidd Pivot: The Tempest Replica

Fri-Sat, Sep 21-22

mariinsky orchestra of st. Petersburg

Sat, Oct 27

Belcea Quartet

Sun, Nov 11

gilberto gil

Fri, Nov 16

From Cass Corridor to the World

Mon, Jan 21

new Century Chamber orchestra

Sat, Feb 2

Berlin Philharmonic

Wind Quintet

Sat, Feb 9

new york Philharmonic

Sat-Sun, Feb 23-24

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

Wed-Sun, Feb 20-24

artemis Quartet

Wed, Mar 13

anne-sophie mutter, violin

Thu, Mar 14

esperanza spalding:

radio music society

Sat, Apr 6

siti Company:

Trojan Women (after Euripides)

Sat-Sun, Apr 27-28

UMS Kids Club andFamily-Friendly Performances

UMS Family Programs are sponsored by

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Whatwill inspire young minds?

Education experiences for youth

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

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

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

Youth education is at the

heart of UMS’s mission.

Through experiences with the

performing arts, we are helping

to create the next generation of

global citizens who understand

and appreciate diversity,

creativity, collaboration, and

self-expression. We open

new worlds for each student,

allowing them to see what is

truly possible.

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Whatwill you discover?

At UMS, our mission is to harness

the power of the performing arts to

enrich our community, individuals,

and society. We aim to break down

the fourth wall on the stage, bringing

experiences to people of all ages and

access to some of the most talented

artists on the globe. Each season,

we offer a spectrum of interactive

educational activities designed to draw

you in and out of your comfort zone,

connect you to interesting people and

unexpected ideas, and bring you closer

to the heart of the artistic experience.

Education experiences for all

P o s t- s h o W Q & a s W i t h a r t i s t s

u m so n F i l m

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

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

UMS on Film is presented in collaboration with the U-M Museum of Art.

look for the educationicon on artist pages

icons Among Us: Jazz in the Present Tense (2010, lars larson, michael rivoira &

Peter J. Vogt , 93 min.)

Wednesday, september 19, 6 pm

Jazz is undergoing changes of monumental

magnitude and importance. Icons Among Us

examines the jazz music scene today by

focusing the spotlight on many current jazz

icons, including Terence Blanchard, Ravi

Coltrane, Robert Glasper, Donald Harrison Jr.,

Anat Cohen, and Esperanza Spalding, among

others. The film also features the legendary

predecessors and influences of today’s

contemporary jazz stars, including Herbie

Hancock and Wynton Marsalis.

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

Rite of Spring mash-uptuesday, october 9, 7 pm

In celebration of the 100th anniversary of the

explosive debut of Stravinsky’s The Rite of Spring, UMS will screen versions of the work

from different choreographers.

Messiah (1999, William Klein, 117 min.)

tuesday, november 27, 7 pm

Photographer-filmmaker William Klein takes

on Handel’s Messiah, creating a gorgeous

concert-film that mixes the sacred with

the profane. Performed in its entirety and

conducted by Mark Minkowski, the oratorio

provides a narrative of Christ’s nativity, passion,

and resurrection juxtaposed against images of

the absurdities of and abuses against humans

around the world. The film reveals a wide

array of worshippers, from the Bodybuilders of

Christ to the Lavender Light Gay and Lesbian

Interracial Choir and the Dallas police choir.

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

For a full listing of our education events and

opportunities, please visit www.ums.org.

E i N S T E i N o N T H E B E A C H

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There are many ways to support UMS.

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

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

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

To make a gift, you may send a check payable to UMS to:ums developmentBurton Memorial Tower881 North University AvenueAnn Arbor, MI 48109-1011

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

UMS represents something fundamental and essential to our community,

to individuals, and to an enriched life. We believe that live performance

at its highest level defines a community’s greatest characteristics: giving,

sharing, embracing creativity, and seeing the best in humanity.

UMS exists to connect. We connect individuals to creativity. We connect

passion with performance. We connect artists to willing participants.

We connect community members to community members. We connect

youth to possibility. And we hope to connect individuals with their own

inner selves in ways they were not expecting. All of this takes generous

support from our community.

B E P R E S E N T

a r t i s tm a r t h a g r a h a m d a n C e Co m Pa n y

h a n d e l’ s M E S S i A H

Whatcan the arts do for you?

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Tickets& info

h o Wt oo r d e r

a l l t i C K e t s o n s a l e B e g i n n i n g m o n d ay, a u g u s t 6 , at 1 0 a m !

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ums.org p h o n e

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

fa x

734.647.1171

m a i lums tiCKet oFFiCeBurton Memorial Tower881 North University AvenueAnn Arbor, MI 48109-1011

i n p e r S o nPlease visit the Ticket Office on the north end of the Michigan League building (911 North University Avenue).

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

S u m m e r h o u r S10 am to 5 Pm mon-FriClosed sat and sun

h o u r SBeginning Tuesday, September 49 am to 5 Pm mon-Fri10 am to 1 Pm satPerformance hall ticket offices open 90 minutes before performance start time.

h e l P F u l t i P s F o r a h a s s l e - F r e e e x P e r i e n C e

p l e a S e m a k e S u r e w e h av e yo u r

e - m a i l a d d r e S S o n f i l e

UMS regularly sends updated concert-related parking and late seating information via e-mail a few days before each event. Please be sure that we have your e-mail address on file so that you receive these helpful communications.

r e f u n d S

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

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

t i c k e t e xc h a n g e S

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 e-mail a photo to umstix@umich.edu.

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

The value of the ticket(s) may be applied to another performance or will be held as UMS Credit until the end of the 2012-2013 season. Credit must be redeemed by April 28, 2013.

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

t i c k e t d o n at i o n S / u n u S e d t i c k e t S

Unused tickets may be donated to UMS until the published start time of the concert. A receipt will be issued for tax purposes. Please consult your tax advisor. Unused tickets that are returned after the performance are not eligible for UMS Credit or as a contribution/donation.

l o S t o r m i S p l a c e d t i c k e t S

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 e S

Children under the age of three will not be admitted to regular UMS performances. All children attending UMS performances must be able to sit quietly in their own seats without disturbing other patrons, or they may be asked to leave the auditorium. Please use discretion when choosing to bring a child, and remember that everyone must have a ticket, regardless of age. See pages 62-63 for information about family-friendly performances and the UMS Kids Club.

a c c e S S f o r p e o p l e w i t h d i S a b i l i t i e S

Accessible parking is provided in University of Michigan parking structures for those with a state-issued disability permit or a U-M handicap verification permit. There is a drop-off area near Hill Auditorium and Rackham Auditorium, and inside the Power Center structure. For more information, please contact the UMS Ticket Office at 734.764.2538.

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

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

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

S ta r t t i m e & l at e c o m e r S

UMS makes every effort to begin concerts at the published start time. Latecomers will be asked to wait in the lobby and will be seated by ushers at a predetermined time in the program. The late seating break is determined by the artists and will generally occur during a suitable break in the program, designed to cause as little disruption as possible to other patrons and the artists on stage. Please allow extra time to park and find your seats.

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

v e n u e S e at m a p S

Seat maps of all UMS venues are available at www.ums.org/visit/venues.

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

g r o u p S o f 1 0 o r m o r e

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

d o n o r s o F $ 5 0 0 + m ay o r d e r t i C K e t s B e g i n n i n g m o n d ay, J u ly 3 0 , at 1 0 a m .

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SeatMapsP r i C i n g l e V e l s

a b c d e

g e n e r a l a d m i s s i o n

h i l l a u d i t o r i u m8 2 5 n . u n i V e r s i t y aV e .

hill auditorium (h1)

Chicago symphony orchestra Thursday, September 27

mariinsky orchestra Saturday, October 27

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

detroit symphony orchestra Sunday, January 13

handel’s Radamisto Sunday, February 17

new york Philharmonic Saturday-Sunday, February 23-24

milhaud’s oresteian trilogy Thursday, April 4

hill auditorium (h3)

dianne reeves with raul midón Saturday, December 8

From Cass Corridor to the World: a tribute to detroit’s musical golden age Monday, January 21

mariachi Vargas de tecalitlán Sunday, January 27

angélique Kidjo Friday, February 1

amjad ali Khan, sarod Saturday, February 16

hamid al-saadi iraqi maqam ensemble and amir elsaffar’s Two Rivers Saturday, March 23

hill auditorium (h2)

murray Perahia, piano Saturday, October 20

gilberto gil Friday, November 16

Jazz at lincoln Center orch/marsalis Thursday, January 31

Kodo Friday, February 15

anne-sophie mutter, violin Thursday, March 14

yo-yo ma/silk road ensemble Saturday, March 16

Bobby mcFerrin: spirit you all Thursday, April 18

alison Balsom/scottish ensemble Saturday, April 20

H I L L A U D I T O R I U M

B A LCO N Y

M E Z Z A N I N E

M A I N F LO O R

S TA G E

23

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1

10 9 8 7 6

1615 14 13 12

11

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H I L L A U D I T O R I U M

B A LCO N Y

M E Z Z A N I N E

M A I N F LO O R

S TA G E

23

4

54 3 2

1

10 9 8 7 6

1615 14 13 12

11

17181920

21

H I L L A U D I T O R I U M

B A LCO N Y

M E Z Z A N I N E

M A I N F LO O R

S TA G E

23

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10 9 8 7 6

1615 14 13 12

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Pricing levels apply to all venues.

St. francis of assisi catholic church (Sf)2250 East Stadium Boulevard

Basiani Thursday, October 4

the King’s singers Thursday, February 14

corner brewery (cb)720 Norris Street, Ypsilanti

national theatre of scotland: The Strange Undoing of Prudencia Hart Tuesday-Sunday, January 8-13

arthur miller theatre (amt)1226 Murfin Avenue

gabriel Kahane & Friends Thursday-Friday, January 17-18

performance network (pn)120 East Huron Street

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

P o W e r C e n t e r1 2 1 F l e t C h e r s t.

m i C h i g a n t h e at e r6 0 3 e . l i B e r t y s t.

power center (p)

Kidd Pivot: Tempest Replica Friday-Saturday, September 21-22

aspen santa Fe Ballet Saturday-Sunday, October 6-7

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

martha graham dance Company Friday-Saturday, January 25-26

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

ragamala dance: Sacred Earth Wednesday, April 24

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

michigan theater (mt)

dave holland Big Band Saturday, November 17

esperanza spalding radio music society Saturday, April 6

P O W E R C E N T E R

S TA G E

M A I N F LO O R

B A LCO N Y

1

23

4

5

10

98

7

6

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

A

M A I N F LO O R

S TA G E

B A LCO N Y

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rackham auditorium (r)

Jerusalem Quartet Wednesday, October 10

Belcea Quartet Sunday, November 11

new Century Chamber orchestra Saturday, February 2

Berlin Philharmonic Woodwind Quintet Saturday, February 9

artemis Quartet Wednesday, March 13

takács Quartet Friday, April 12

lydia mendelssohn theatre (lmt)

suzhou Kun opera theater of Jiangsu Province Friday-Saturday, September 28-29

R A C K H A M A U D I T O R I U M

S TA G E

2

3 1

48

7 56

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

S TA G E

O R C H E S T R A

B A LCO N Y

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J o i n u S i n t h e l o b b y !

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

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

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

facebook.com/umsnews twitter.com/umsnews youtube.com/umsvideos

P h o t o C r e d i t s Cover (front & back): Kidd Pivot by Jorg Baumann. Pg 2: Esperanza Spalding by Carlos Pericas. Pg 4: The English Concert by Richard Haughton. Pg 10: Kidd Pivot by Jorg Baumann. Pg 11: Gilberto Gil by Marcos Hermes; Alison Balsom by Chris Dunlop, EMI Classics. Pg 12-13: Ionesco’s Rhinocéros by Jean-Louis Fernandez. Pg 14: Kidd Pivot by Jorg Baumann. Pg 15: Riccardo Muti by Todd Rosenberg. Pg 18: Aspen Santa Fe Ballet by Rosalie O’Connor. Pg 19: Jerusalem Quartet by Felix Broede. Pg 20: Ionesco’s Rhinocéros by Jean-Louis Fernandez. Pg 21: Murray Perahia by Felix Broede. Pg22: Rite of Spring by Francette Levieux. Pg 24: Gilberto Gil by Jorge Bispo. Pg 25: Dave Holland by Mark Higashino. Pg 26: Handel’s Messiah by Mark Gjukich. Pg 27: Dianne Reeves by Christian Lantry. Pgs 28-29: Yo-Yo Ma by Todd Rosenberg; Silk Road Ensemble by Max Whittaker; Silk Road Ensemble by Todd Rosenberg. Pg 30: National Theatre of Scotland by Drew Farrell. Pg 31: Frieze Memorial Organ by Mark Gjukich. Pg 34: Martha Graham Dance Company by Costas. Pg 36: Wynton Marsalis by Clay McBride. Pg 37: Angélique Kidjo by Nabil Elderkin. Pg 38: New Century Chamber Orchestra by Jim Block. Pg 39: Berlin Philharmonic Wind Quintet by Peter Adamik. Pg 40: The Kings Singer’s by Alex McNaughton. Pg 41: Kodo by Takashi Okamoto. Pg 43: David Daniels by Robert Recker. Pg 44: Propeller by Manuel Harlan. Pg 46: Artemis Quartet by Boris Streubel. Pg 47: Anne-Sophie Mutter by Harald Hoffman. Pg 48: Yo-Yo Ma by Michael O’Neill. Pg 51: Esperanza Spalding by Carlos Pericas, courtesy Montuno. Pg 53: Takács Quartet by Ellen Appel. Pg 54: Bobby McFerrin by Carol Friedman. Pg 55: Alison Balsom by Mat Hennek, EMI Classics. Pg 56: Ragamala Dance by Ed Bock. Pg 58-59: Propeller by Manuel Harlan. Pg 61: National Theatre Live by Catherine Ashmore; Chiara String Quartet by Christian Steiner; Chiara String Quartet by Liz Linder. Pg 63: Kodo by Takashi Okamoto. Pg 64-65: UMS Youth Education activities by Mark Gjukich. Pg 66: Cloud Gate Dance Theatre Calligraphy Workshop by Mark Gjukich. Pg 67: Handel’s Messiah by Mark Gjukich. Pg 69: Martha Graham Dance Company by Costas.

Creditss P e C i a l t h a n K s t o t h e F o l lo W i n g s u P P o r t e r s

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

d o r i S d u k e c h a r i ta b l e f o u n d at i o n e n d o w m e n t f u n dSpecial project support for several components of the 2012-2013 UMS season is provided by the Doris Duke Charitable Foundation Endowment Fund, established with a challenge grant from the Leading College and University Presenters Program at the Doris Duke Charitable Foundation.

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

m i c h i g a n h u m a n i t i e S c o u n c i lEducational programs for 100 Years of UMS in Hill Auditorium are funded in part by the Michigan Humanities Council, an affiliate of the National Endowment for the Humanities. Any views, findings, conclusions, or recommendations expressed in this project do not necessarily represent those of the National Endowment for the Humanities or Michigan Humanities Council.

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 SSpecial project support for the Chicago Symphony, the Martha Graham Dance Company, and Propeller is provided by the National Endowment for the Arts. Art Works.

u n i v e r S i t y o f m i c h i g a nThe University of Michigan provides special project support for many activities in the 2012-2013 season through the U-M/UMS Partnership Program. Additional support is provided by the University of Michigan Health System, the U-M Office of the Vice President for Research, the U-M Office of the Senior Vice Provost for Academic Affairs, Arts at Michigan, the Confucius Institute, and many other individual academic units.

wa l l a c e e n d o w m e n t f u n dThe Théâtre de la Ville production of Ionesco’s Rhinocéros is funded in part by the Wallace Endowment Fund, established with a challenge grant from the Wallace Foundation to build public participation in arts programs.

ums is a member of the university of michigan arts Consortium, the arts alliance, and the Cultural alliance of southeastern michigan.

The University of Michigan is an Equal Opportunity Employer and provides programs and services without regard to race, sex, color, religion, sexual orientation, gender identity, national origin, or disability.

m e d i a Pa r t n e r s

Burton Memorial Tower

University of Michigan

881 North University Avenue

Ann Arbor, MI 48109-1011

non-Profit

organization

u.s. Postage

Paid

ann arbor, mi

Permit no. 27

Publication Date: July 2012

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