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ums 10|11

132nd Season

University of Michigan | Ann Arbor

9-Oct 3 Susurrus
25 Sat Rosanne Cash

ums 10|11 30

Thu La Capella Reial de Catalunya with Hesperion XXI
and Tembembe Ensamble Continuo
Jordi Savall music director

7-9 Thu-Sat Paul Taylor Dance Company

9 Sat Paul Taylor Dance Company Family Performance
10 Sun Mariinsky Orchestra
Valery Gergiev artistic director and principal conductor
Denis Matsuev piano
14 Thu Takács Quartet: Schubert Concert 1
21 Thu Jerusalem Quartet
23-24 Sat-Sun Sankai Juku: Hibiki: Resonance from Far Away
27 Wed Venice Baroque Orchestra Hot Club of Detroit by Cybelle Codish
Robert McDuffie violin
29 Fri Django Reinhardt’s 100th Birthday Celebration
The Hot Club of San Francisco and
The Hot Club of Detroit
31 Sun NT Live: A Disappearing Number

4 Thu The Tallis Scholars
5 Fri NOTE NEW DATE! Mariachi Vargas de Tecalitlán
6 Sat ADDED CONCERT! Assi El Helani
10 Wed Murray Perahia piano
18-20 Thu-Sat Stew & The Negro Problem
132nd Season

3 Fri Carolina Chocolate Drops
4-5 Sat-Sun Handel’s Messiah

2 Sun NT Live: Hamlet
14-15 Fri-Sat Laurie Anderson’s Delusion
16 Sun Renée Fleming soprano
21-22 Fri-Sat Grupo Corpo
23 Sun Joanne Shenandoah
27 Thu Sequentia Sankai Juku
30 Sun Baby Loves Salsa Family Performance
30 Sun NT Live: FELA!

Cover Photos: Wynton Marsalis by Frank Stewart, Grupo Corpo by José Luiz Pederneiras, Renée Fleming by Andrew Eccles/Decca.
1 Tue The Cleveland Orchestra
Franz Welser-Möst music director
Pierre-Laurent Aimard piano
2 Wed Jazz at Lincoln Center Orchestra with Wynton Marsalis
4 Fri Nadja Salerno-Sonnenberg violin
New Century Chamber Orchestra
10 Thu Blues at the Crossroads:
The Robert Johnson Centennial Concert
11 Fri Rafał Blechacz piano
12 Sat Vijay Iyer Trio and Rudresh Mahanthappa’s Apex
13 Sun Concertante with Rafał Blechacz piano
18-19 Fri-Sat Merce Cunningham Dance Company: The Legacy Tour
20 Sun Takács Quartet: Schubert Concert 2
23 Wed Kodo Stew & The Negro Problem

9 Wed Scharoun Ensemble Berlin
10-13 Thu-Sun Martin McDonagh’s The Cripple of Inishmaan
Druid and Atlantic Theater Company
19 Sat Detroit Symphony Orchestra: Mahler’s Symphony No. 8
UMS Choral Union
Leonard Slatkin conductor
24 Thu Bach Collegium Japan: Bach’s Mass in b minor
Masaaki Suzuki conductor
30-Apr 3 Wed-Sun Shakespeare’s Richard III and The Comedy of Errors
2 Sat St. Petersburg Philharmonic
Yuri Temirkanov conductor
Nikolai Lugansky piano
6 Wed NT Live: Frankenstein
7 Thu Septeto Nacional de Ignacio Piñeiro de Cuba
8 Fri Takács Quartet: Schubert Concert 3
9 Sat Tetzlaff Quartet
16 Sat Tony Allen’s Afrobeat Tour
23 Sat Liebeslieder Waltzes (“Songs and Waltzes of Love”)

Specific date TBA NT Live: The Cherry Orchard
Scharoun Ensemble by Thomas Kierok | 734-764-2538
NT Live
NT Live: High-Definition Broadcasts from
the National Theatre, London
A Partnership between UMS and the Michigan Theater

UMS and the Michigan Theater join forces again to bring high-
definition screenings of live theater broadcasts by the National
Theatre, London. NT Live broadcasts plays produced by the
National Theatre in London onto cinema screens worldwide.
In the US, these "live" screenings are delayed to accommodate
the time difference. Broadcasts will feature behind-the-scenes
footage and interviews with actors.

Tickets for each NT Live event may be purchased at the UMS

Ticket Office or online at Tickets will be sold at the
Michigan Theater beginning 90 minutes before each broadcast.

Subscription packages for the entire series are available through

Friday, September 24, 2010. UMS donors and Michigan Theater
members receive discounted prices.
NT Live is supported internationally by Travelex.

A Disappearing Number by Robbie Jack

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The 10/11 Season features: FELA!
Bill T. Jones director and choreographer
Complicite’s A Disappearing Number
Simon McBurney director Sunday, January 30 2 pm

Sunday, October 31 2 pm FELA! is a new musical directed and choreographed by Tony Award winner
Bill T. Jones, in which audiences are welcomed into the extravagant, deca-
UMS presented the U.S. premiere of this stunning work in 2008, and after dent and rebellious world of Afrobeat legend Fela Anikulapo Kuti. Using his
repeated requests to “bring it back,” we’re delighted that we’re able to do pioneering music (a blend of jazz, funk, and African rhythm and harmonies),
so – on the live screen. This groundbreaking work embraces the universal FELA! explores Kuti's controversial life as an artist, political activist, and revo-
relevance of math, which often permeates the most unlikely of scenarios. lutionary musician. A three-time TONY Award winner in 2010, this production
A Disappearing Number, which won the Laurence Olivier Award for Best arrives at the National direct from Broadway.
New Play (2008), revolves around the mathematical and spiritual nature
of infinity, which becomes the link between two mathematicians: one
an established Cambridge professor and the other a young, autodidactic Frankenstein
genius from India.
Danny Boyle director
Wednesday, April 6 7 pm
Hamlet Oscar winner Danny Boyle (Slumdog Millionaire, Trainspotting) returns to his
Sir Nicholas Hytner director theater roots, directing a play by Nick Dear based on Mary Shelley’s novel,
Sunday, January 2 2 pm Frankenstein. Boyle first talked about directing this play nearly a decade ago
and reportedly is planning a “large-scale and theatrically and visually ambi-
National Theatre artistic director Sir Nicholas Hytner directs Shakespeare’s tious stage production” for his National Theatre debut.
classic play with a cast that includes Rory Kinnear in the title role, along-
side David Calder as Polonius, Clare Higgins as Gertrude, Patrick Malahide
as Claudius, and Ruth Negga as Ophelia. The Cherry Orchard
Howard Davies director
Date and Time TBA
Anton Chekhov’s final play stars Zoë Wanamaker as Madame Ranevskaya.
The play concerns an aristocratic Russian woman and her family, who return
to the family’s estate just before it is auctioned to pay the mortgage. It will be
directed by National Theatre associate director Howard Davies, whose recent
productions of Russian plays (including Philistines, Burnt by the Sun, and
The White Guard) have earned critical acclaim.
Added Event!
Assi El Helani
Saturday, November 6 8 pm
Hill Auditorium

UMS is delighted to announce the addition of Lebanese singer

Assi El Helani to its 10/11 season. Born in 1970, Assi El Helani has
been a major figure in the music scene of the Middle East since
the 1990s. With participation in numerous important musical
events, including the Carthage Festival, the Baalbeck International
Festival, and concerts throughout Europe, the Arab World, and
America, he is regarded as one of the true superstars to emerge
from Lebanon. He is also actively involved in humanitarian issues,
performing at fundraising concerts throughout the Middle East
in support of many different charities, including the World Food
Program of the United Nations and the Women’s Development
Association Hayati. His music videos give a nod to his reputation
as a talented actor who has received numerous offers for leading
roles in Arab films and television series. With more than a dozen
recordings to his name, Assi El Helani’s popstar status makes him
an incredibly exciting addition to the UMS series.
Media Partner

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A Fire Exit Production
Written, directed, and conceived by David Leddy
September 9 – October 3
Matthaei Botanical Gardens

Susurrus is a play without actors and without a stage. It is part radio play, part
recital, part lesson in bird dissection, and part stroll in the park. Audiences
follow a map around Matthaei Botanical Gardens as they listen to the piece
on headphones; the different elements form a “perfect melding of location
and text to create a theater experience in which there are no actors and only
one member in the audience: you.” (The Guardian)

The listener hears snippets about opera, memorial benches, and botany,
which fit together into a mournful and poignant story of love and loss
that is “a sensual reinterpretation of A Midsummer Night’s Dream with a
contemporary edge.” (The List)

Susurrus (pronounced sus-YOO-rus, it refers to the rustling sound of wind

in trees) is written and directed by David Leddy, a “theatrical maverick” with
a “propensity for fearless experiment” (Financial Times) who is “Scotland’s
hottest, edgiest young playwright.” (The Sunday Times)

“A clever refraction of Shakespeare’s themes and a distinct drama in its own

right…There are moments when location and content come together so
powerfully that your eyes moisten and your heart lurches.” (The Guardian)

Times vary, with groups of four admitted every 15 minutes. The piece
includes about a mile of walking on defined trails. Umbrellas provided
in case of rain.

Recommended for ages 16+; contains adult themes.

Hosted by the Herbert and Junia Doan Foundation.
Media Partners Between the Lines, Michigan Radio 91.7 FM, and WEMU 89.1 FM.
The List
Rosanne Cash
Saturday, September 25 8 pm
Hill Auditorium

When Rosanne Cash was 18 and on the road with her father,
the incomparable country music superstar Johnny Cash, he
became alarmed at the number of important songs that she
didn’t know. As the tour progressed, he developed a list on a
legal pad — “100 Essential Country Songs” — and gave it to her
with a thinly veiled admonishment that she needed to do her
homework. Now, more than 30 years later, Cash has selected a
dozen songs from her father's syllabus and has recorded her first
album of covers, filtered through her own unique, sophisticated
perspective. “I think he was alarmed that I might miss something
essential about who he was and who I was. He had a deeply
intuitive understanding and overview of every critical juncture
in Southern music — Appalachian songs, early folk songs, Delta
blues, Southern gospel, right up to modern country music,” says
Cash. “These songs are as important as the Civil War to who we
are as Americans.” Rosanne Cash embraces her heritage with this
concert of songs that have shaped who she is as an artist.

Sponsored by

Hosted by Mainstreet Ventures, Thomas B. McMullen Company,

Jane and Edward Schulak, and Rick and Susan Snyder.

Photo by Debrorah Feingold

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The Route to the New World: From Spain to Mexico
La Capella Reial de Catalunya
with Hesperion XXI and
Tembembe Ensamble Continuo
Jordi Savall music director
Thursday, September 30 8 pm
St. Francis of Assisi Catholic Church

“The term ‘early-music superstar’ is surely an oxymoron. But in the most understated
of repertory, on the most subdued of instruments, and in the most self-effacing way,
Jordi Savall comes close to being one.” (The New York Times) For more than 30 years,
Jordi Savall has been devoted to the rediscovery and performance of neglected musical
treasures as soloist and director of three ensembles, two of which join forces with Mexico’s
Tembembe Ensamble Continuo for this concert. For the past 15 years, Ensamble Continuo
has explored the relationship between Mexican Baroque music and traditional Latin
American instruments. This concert will trace the movement of music from Spain to the
New World, bringing together ensembles from Spain and Mexico, and fusing Hispanic
Baroque and guitar music with contemporary jarocho and huasteco traditions.
Sponsored by Carl and Charlene Herstein.
Media Partner WRCJ 90.9 FM.

Photo by Vico Chamala

Paul Taylor Dance Company
Paul Taylor artistic director
Thursday, October 7 8 pm
Friday, October 8 8 pm
Saturday, October 9 1 pm [one-hour family performance]
Saturday, October 9 8 pm
Power Center

More than a half-century ago, after performing in the companies of Merce Cunningham, Martha
Graham, and George Balanchine, Paul Taylor became the youngest member of the pantheon
that created American modern dance. Now 80, Taylor is acclaimed for the vibrancy, relevance,
and power of his dances. As prolific as ever, he continues to offer cogent observations on
life’s complexities while tackling some of society’s thorniest issues. He may propel his dancers
through space for the sheer beauty of it, or use them to wordlessly illuminate war, spirituality,
sexuality, morality, and mortality. While his work has largely been iconoclastic, since the very
start of his career Taylor has also made some of the most purely romantic, most astonishingly
athletic, and downright funniest dances ever put on a stage. UMS, in collaboration with the U-M
Department of Dance, shines a light on Paul Taylor, with a week of programming meant to en-
gage audiences more deeply with his mammoth body of work, and therefore, the world of dance
itself. The week will include:

• Three distinct evening performances of repertory, plus youth and family performances, performed by his
accomplished ensemble of dancers, providing the broadest possible exposure to his work.

• Always one to look ahead to his next new creative idea, Paul Taylor has seldom looked back. But for this
Ann Arbor retrospective of his work, the Friday night program will include the world premiere reconstruc-
tion of one of his earlier dances from the 1960s, Orbs. Many original cast members will be on hand to discuss
their role in the creation of this original work.

• Two free events planned to open up the world of Paul Taylor: a panel discussion with current
members and alumni of the Company, followed by a conversation with Taylor scholar and
U-M Professor Angela Kane; and a pre-concert discussion before Friday's performance about
the revival of Orbs. More information at

Also Playing by Tom Caravaglia

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Paul Taylor photo by Maxine Hicks
Program (Thu 10/7)
Speaking in Tongues (Music by Matthew Patton) (1988)
Esplanade (J.S. Bach) (1975)
Program (Fri 10/8)
Orbs (Ludwig van Beethoven) (1966)
Also Playing (Gaetano Donizetti) (2009)
Program (sat 10/9 family performance)
Le Sacre du Printemps (The Rehearsal) (1980)
[performed by U-M School of Music, Theatre & Dance students]
Also Playing (Gaetano Donizetti) (2009)
Program (Sat 10/9)
Black Tuesday (Songs of the Great Depression) (2001)
The Word (David Israel) (1998)
Piazzolla Caldera (Astor Piazzolla and Jerzy Peterburshsky) (1997)
sponsored in part by linda and richard greene.

The 10/11 Family Series is Sponsored by

Funded in part by the Wallace Endowment Fund, Arts Midwest’s Performing Arts Fund,
and the National Endowment for the Arts as part of American Masterpieces:
Three Centuries of Artistic Genius.
media partners between the lines, metro times, and ann Arbor’s 107one.

Paul Taylor by Maxine Hicks

Mariinsky Orchestra
Valery Gergiev artistic director and principal conductor
Denis Matsuev piano
Sunday, October 10 4 pm
Hill Auditorium

“[Valery] Gergiev carries a disproportionate share of the music world

on his shoulders. He is something of a national hero in Russia for
having kept alive the Mariinsky Theatre after the collapse of the Soviet
Union. Under his leadership, the Mariinsky has become one of the
most celebrated opera companies in the world.” (The New Yorker)
Gergiev’s long association with the Mariinsky (formerly known as
the Kirov) — including 10 previous UMS appearances, most recently
a five-concert cycle of Shostakovich symphonies — has raised the
ensemble’s profile to the point where it is now widely regarded as one
of the most dynamic and exciting orchestras on the world stage today.
This Choral Union Series-opening celebration features the fiery Russian
pianist Denis Matsuev, the 1998 Tchaikovsky Competition winner, in
Rachmaninoff’s third piano concerto. “His technique is phenomenal…
Perhaps he is the new Horowitz.” (The London Times)
Rachmaninoff Piano Concerto No. 3 in d minor, Op. 30 (1900-01)
Mahler Symphony No. 5 (1901-02)
A reception in the hill auditorium mezzanine lobby follows the performance;
for reservations, call 734-764-8489.

10/11 Major Orchestras Sponsored by

Sponsored by The Catherine S. Arcure and Herbert E. Sloan Endowment Fund.

Hosted by Faber Piano Institute, James and Nancy Stanley, and
Jay and Mary Kate Zelenock.
Media Partners WGTE 91.3 FM, WRCJ 90.9 FM, and Detroit Jewish News.

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Schubert Cycle Concert 1
Takács Quartet
with Jeffrey Kahane piano
Thursday, October 14    8 pm
rackham Auditorium

One of hallmarks of the Takács Quartet's musical activity over the years has
not only been its well-regarded and supreme musical standard but, equally, its
ongoing commitment to deep explorations of a composer's artistry and immersive
experiences for audiences. Beethoven, Bartók, Kodály, Hungarian folk music
origins…we in Ann Arbor are familiar with this Quartet’s many gifts. And now,
we turn to Franz Schubert.

Reflecting on the treasure trove of composers from Vienna, it is often shocking

how Schubert can be sidelined among the classical heavyweights of Haydn,
Beethoven, and Mozart. Yet Schubert, and especially Mozart, share so much in
common: a city, a tradition, an unparalleled gift for melody, a prolific creativity
and, tragically, a too-early demise. Both Mozart and Schubert died in their early
thirties. It is so tantalizing to imagine “what could have been” if either of these
geniuses had lived even another decade.

The Takács Quartet’s Schubert project moves well beyond a mere quartet concert
cycle. It is an exploration of the extreme creativity of Schubert’s mature musical
voice, heard most acutely in his profoundly personal and intimate small scale
scores — string quartets and quintets and solo piano music. With the exception
of one early string quartet, all three concerts span the nine years of his
adulthood and showcase his outrageous gifts.
Schubert Quartettsatz in c minor, D. 703 (1820)
Schubert Piano Sonata in B-flat Major, D. 960 (Op. Poth.) (1828)
Daniel Kellogg Soft Sleep Shall Contain You: A Meditation on Schubert’s "Death
and the Maiden" (2010)
Schubert String Quartet in d minor, D. 810 (“Death and the Maiden”) (1824)

sponsored by Media Partner WGTE 91.3 FM.

Photo by Ellen Appel

Jerusalem Quartet
Thursday, October 21 8 pm
Rackham Auditorium

“Superlatives are inadequate in describing just how this

playing was from one of the young, yet great, quartets of
our time.” (The Strad) The Jerusalem Quartet was formed
in 1993, when its members were still teenagers, within
the framework of the Young Musicians’ Group under the
auspices of the Jerusalem Music Centre and the America
Israel Cultural Foundation. They return after their highly
acclaimed UMS visits in 2005 and 2007 with a new violist,
Ori Kam. “Musical electricity may be unfathomable, but
one thing is for sure — they have it.” (The Strad)
Mendelssohn Quartet in e minor, Op. 44, No. 2 (1837)
Mark Kopytman String Quartet No. 3 (1969)
Brahms Quartet in c minor, Op. 51, No. 1 (1873)

Sponsored by The Friends of the Jerusalem Quartet.

Media Partners WGTE 91.3 FM and Detroit Jewish News.

Photo by Marco Borggreve

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Hibiki: Resonance from Far Away
Sankai Juku
Ushio Amagatsu director, choreographer, designer

Saturday, October 23 8 pm
Sunday, October 24 2 pm
Power Center

Ushio Amagatsu, the founder and artistic director of

Sankai Juku, trained in classical as well as modern dance
before he devoted his life to butoh. Butoh first appeared
in Japan after World War II and is often defined by its
playful and grotesque imagery, taboo topics, and absurd
environments. Traditionally performed in white body
makeup with slow, hyper-controlled, mesmerizing
motion, butoh represents to Amagatsu a “dialogue with
gravity,” whereas most dance forms revel in the escape
from gravity. It plays with the perception of time and
space through slowing down the experience — the
dance equivalent of haiku, only longer. The company,
whose name translates to “studio by the mountain
and the sea” and implies the characteristic serenity
of the work, last appeared in Ann Arbor in 1999. In
2002, Hibiki: Resonance From Far Away received an
Olivier Award for “Best New Dance Production.” “[Ushio
Amagatsu] conveys the infinitely minute yet spellbinding
transformations of a world in constant metamorphosis.”
(Dance Magazine)
Funded in part by the Japan Foundation through the Performing
Arts Japan program.
Media Partners Metro Times and Between the Lines.
The Seasons Project
Venice Baroque
Orchestra with
Robert McDuffie violin soloist/leader
Wednesday, October 27 8 PM

Founded in 1997 by harpsichordist Andrea Marcon, the Venice Baroque

Orchestra is recognized as one of Europe’s premier ensembles devoted to
period instrument performance. For this UMS debut, they perform music of
their home city — Venetian composer Antonio Vivaldi’s The Four Seasons
— paired with an “American Four Seasons” by Philip Glass featuring violinist
Robert McDuffie, who has worked closely with Glass over the years and
who last appeared in Ann Arbor with the Jerusalem Symphony in 2008.
The VBO will perform the Vivaldi on period instruments, then switch to
modern-day instruments for the Glass composition. “The first performance
of [Philip Glass’s Violin Concerto No. 2, ‘The American Four Seasons,’] was
so spectacularly played by the new piece’s muse, American violinist Robert
McDuffie…that the event turned into one of the most exciting musical
evenings of the year.” (The Toronto Star)
Vivaldi The Four Seasons, Op. 8 (1723)
Glass Violin Concerto No. 2: “The American Four Seasons” (2009)

Photo by Matteo da Fina

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Django Reinhardt’s
100th Birthday
The Hot Club of San Francisco
The Hot Club of Detroit
Friday, October 29     8 pm
Michigan Theater

The Hot Club of San Francisco and The Hot Club of Detroit are
ensembles of accomplished and versatile musicians celebrating
the music of Django Reinhardt and Stéphane Grappelli’s
pioneering Quintette du Hot Club de France. This seminal French
jazz tradition continues to play out with this evening of live
Gypsy jazz performed alongside selected short silent films from
the 1930s by Charlie Bowers, James Sibley Watson, and Harold
Shaw, courtesy of the San Francisco Silent Film Festival. Django
Reinhardt is rightly hailed as one of the greatest guitarists who
ever lived, but many people praising his accomplishments as
a guitarist tend to overlook his roots in Gypsy culture and the
fertile, polyglot Paris of the 1920s. Reinhardt and his companions
used all of these elements, along with American jazz, to create
this new music, but the Gypsy heritage seems to be the most
important ingredient. Hearing the Hot Club of San Francisco and
the Hot Club of Detroit live carries the listener back to the 1930s
and the small, smoky jazz clubs of Paris or the refined lounges of
the famous Hotel Ritz.
Media Partners WEMU 89.1 FM, Metro Times, and Ann Arbor’s 107one.

The Hot Club of San Francisco by Stuart Brinin

In 1960 a group of avant-garde composers came together in Ann
Arbor, Michigan, to present the ONCE Festival, a modestly-scaled,
artist-run event that would occur annually for several years and came
to have an enormous impact on the American contemporary music
scene. The festival’s founders were the superbly gifted composers
Robert Ashley, Gordon Mumma, Roger Reynolds, Donald Scavarda,
and the late George Cacioppo, all of whom interacted with Ross Lee
Finney, the U-M School of Music’s then composer-in-residence, as well
as visiting composer Roberto Gerhard. The ONCE Festival was hugely
successful, as composers and performers embraced the opportunity to
have their work heard by their peers as well as the general public. The
Festival, which was hosted six times beginning in the early 1960s, had
a significant impact on the American arts and contemporary music
scene; one of the enduring outcomes was the Ann Arbor Film Festival.

On this 50th anniversary of the ONCE Festival, composers Ashley,

Mumma, Reynolds, and Scavarda will reunite in Ann Arbor for the first
time. This celebration of the ONCE Festival’s pioneering contributions
will include a concert of historic works selected by the composers
themselves, and a second concert featuring their more recent
creations. In addition to the concerts, the Institute for the Humanities
will host an exhibition of historical artifacts from the ONCE Festival
and a day-long symposium, providing a unique opportunity to explore
Ann Arbor’s progressive role in the development of the American
avant-garde. In a nod to the past, both concerts will feature 1961
ticket prices.
Media Partners WGTE 91.3 FM and Ann Arbor’s 107one.

Gordon Mumma Roger Reynolds

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Faculty from the University of Michigan School of Music,
Theatre and Dance; Creative Arts Orchestra; Digital Music Ensemble;
Ann Arbor Improvisation Collective
Tuesday, November 2 8 pm
Rackham Auditorium

Roger Reynolds MOSAIC (1962) flute and piano
Robert Ashley in memoriam…CRAZY HORSE (symphony) (1963) 32 instrumentalists
Gordon Mumma LARGE SIZE MOGRAPH 1962 piano
Donald Scavarda GROUPS FOR PIANO (1959)
Ashley in memoriam…ESTEBAN GÓMEZ (quartet) (1963)
Scavarda FilmSCORE for Two Pianists (1962)
Scavarda GREYS, a FilmSCORE (1963) performed silently
Scavarda/Mumma GREYS, a FilmSCORE (1963) performed with stereo electronic music
George Cacioppo CASSIOPEIA (1962) piano
Mumma SINFONIA (1958-60) 12 instruments and magnetic tape
Reynolds A PORTRAIT OF VANZETTI (1962-63) narrator, ensemble, and multichannel tape

Faculty from of the University of Michigan School of Music, Theatre and Dance;
Ann Arbor Improvisation Collective; Phoenix String Quartet Robert Ashley

Thursday, November 4 8 pm
Rackham Auditorium

Robert Ashley VAN CAO'S MEDITATION (1991) piano
Gordon Mumma THAN PARTICLE (1985) live percussion with synthesized percussion
Donald Scavarda CINEMATRIX, a FilmSCORE performed silently (2002)
Scavarda CINEMATRIX, a FilmSCORE performed with multiple instrumentalists (2002)
Mumma GAMBRELED TAPESTRY (2007) solo piano with internal electro-acoustics Donald Scavarda
Scavarda S O U N D S For seven (2010) small ensemble
Roger Reynolds ARIADNE'S THREAD (1994) string quartet, computer-synthesized and spatialized sound
The Tallis Scholars
Peter Phillips director
Thursday, November 4 8 pm
St. Francis of Assisi Catholic Church

The Tallis Scholars were founded in 1973 by Peter Phillips,

who remains their director nearly 40 years later. In that time,
they have established themselves as the leading advocates of
Renaissance sacred music throughout the world. Named after
the composer Thomas Tallis, the ensemble is widely recog-
nized for the purity and clarity of its sound, which serves the
Renaissance repertoire and allows every detail of the musi-
cal lines to be heard. For this return appearance, The Tallis
Scholars juxtapose works of Renaissance England, including
Allegri’s exquisite Miserere, with the contemporary Estonian
composer Arvo Pärt, whose minimalist style finds inspiration
in Gregorian chant.
Pärt Sieben Magnificat-Antiphonen
Palestrina Magnificat for Double Choir
Tallis Miserere nostril
Allegri Miserere
Praetorius Magnificat II
Byrd Miserere Mei
Miserere mihi, Domine
Pärt Nunc Dimittis
Media Partner WRCJ 90.9 FM.

Photo by Eric Richmond

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Mariachi Vargas
de Tecalitlán
Friday, November 5    8 pm [note new date!]
Hill Auditorium

With a history that dates back to the late 1890s, the Mariachi
Vargas de Tecalitlán was founded in a small city near Jalisco
by Don Gaspar Vargas. This band basically invented the
modern mariachi and are still playing five generations later.
The group spent its formative years defining its sound and
experimenting with different instrumental lineups. Today
the group comprises two harps, one vihuela, one guitar,
one guitarron, two trumpets, and six violins. The songs
they sing cross over from one generation to the next,
making their performances appealing to both young and
mature audiences. In 1987, the group was featured on Linda
Ronstadt’s double-platinum Grammy Award-winning album
Canciones de mi Padre (Songs of My Father), her first Spanish
release. Recognized as “el major mariachi del mundo,"
Mariachi Vargas are masters at melding the old world style of
mariachi music with new, innovative pieces.
Funded in part by Arts Midwest’s Performing Arts Fund.
Media Partners WEMU 89.1 FM and Metro Times.
Murray Perahia piano
Wednesday, November 10 8 pm
Hill Auditorium

Anyone who has heard one of Murray’s Perahia’s

previous 11 UMS appearances would have to agree with
the assessment of The Los Angeles Times: “Perahia
is a marvel.” In the more than 35 years he has been
performing on the concert stage, he has become one
of the most cherished pianists of our time. “Perahia may
be the closest thing to a pure conduit of music — one in
which the imagination and skill of the player are entirely
at the service of the composer, not the player’s ego…
The soul of a poet, the mind of a thinker, the hands of
a virtuoso: No wonder audiences love this guy.” (The
Seattle Times)
Program to be announced; visit for updated
program information.
a prelude dinner precedes the performance.

co-sponsored by Natalie MatovinoviĆ and

gil omenn and martha darling.
media partners WGTE 91.3 FM, WRCJ 90.9 FM, and detroit jewish news.

Photo by Nana Watanabe

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Stew & The Negro Problem
Thursday, November 18 8 pm
Friday, November 19 8 pm
Saturday, November 20 7:30 pm & 10:30 pm
ann arbor location tba (Details announced in september)

“Stew’s endlessly inventive music draws on rock, gospel, soul, and blues…
A winning tribute to the diversity of the black musical experience.” (The
Hollywood Reporter) Songwriter Stew’s career took an unexpected turn in
2006. After a successful career fronting his critically acclaimed band, The
Negro Problem, Stew transformed his life story into the rock musical Passing
Strange. The show, co-composed with Heidi Rodewald, earned him the
2008 Tony Award for “Best Book of a Musical” and attracted the attention of
Spike Lee. Lee produced a film version of Passing Strange, which premiered
at the 2009 Sundance Film Festival and aired on PBS’s “Great Performances.”
Compared in the same breath with Kurt Weill, Burt Bacharach, and Jackie
Gleason, Stew’s concerts are coveted for their literate precision, sly humor,
and deep emotional resonance, hovering between the divergent worlds of
rock and theater. “Something hipper for the hipper…Stew is a very genial and
lovable guide through the common travails of life. Like a lot of fine writers and
musicians, he has the ability to layer reflexive self-doubt into his music and
lyrics…very witty, very smart.” (The Chicago Tribune)
Sponsored by Michael Allemang and Janis Bobrin.
funded in part by the national endowment for the arts as part of
american masterpieces: three centuries of artistic genius.
Media Partners Ann Arbor’s 107one and Michigan Chronicle.

Photo by Jeff Fasano

Carolina Chocolate Drops
Friday, December 3 8 pm
Michigan Theater

“Tradition is a guide, not a jailer. We play in an older tradition but we are

modern musicians,” says Justin Robinson, a member of the Carolina Choco-
late Drops. The popular folk band's name is a tip of the hat to the Tennessee
Chocolate Drops, who lit up the music scene in the 1930s. Inspired by old-
time fiddler Joe Thompson, at whose home they jammed every Thursday
night during the summer and fall of 2005, the CCD started playing anywhere
people would listen — town squares, farmers’ markets, and ultimately festivals
and concert halls, where their foot-tapping music linked the deep tradition of
the past with “dirt-floor-dance electricity.” (Rolling Stone) Their sellout shows
at The Ark and appearances at major venues and festivals across the U.S. in
the past year reinforce how far they’ve come in a very short time. “This strik-
ing North Carolina trio brings a modern sizzle to the legacy of classic African
American stringbands…sparking an electrifying ruckus.” (Spin)

sponsored by

Funded in part by the National Endowment for the Arts as part of

American Masterpieces: Three Centuries of Artistic Genius.
Media Partners WEMU 89.1 FM, Metro Times, Michigan Chronicle,
and Ann Arbor’s 107one.

24 | 25 | 734-764-2538
Handel’s Messiah
Ann Arbor Symphony Orchestra and UMS Choral Union
Jerry Blackstone conductor
Caitlin Lynch soprano
Meredith Arwady contralto
Nicholas Phan tenor
Jesse Blumberg baritone
Edward Parmentier harpsichord
Saturday, December 4 8 pm
Sunday, December 5 2 pm
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, Handel’s glorious oratorio Messiah. An Ann Arbor tradition
in the beautiful surroundings of Hill Auditorium, these performances are ultimately
the heart and soul of UMS, connecting audiences not only with the talented people
on stage, but also with the friends and family who attend each year. Those who
have been coming for decades say that the chorus has never sounded better. And
this year’s soloists all have strong ties to Michigan: three of the four (Caitlin Lynch,
Nicholas Phan, and Jesse Blumberg) are U-M alumni (Phan grew up in Ann Arbor),
and Meredith Arwady is a Michigan native who currently resides in Kalamazoo.

Sponsored by the Carl and Isabelle Brauer Fund.

Media Partners Michigan Radio 91.7 FM and Ann Arbor’s 107one. W C BURGARD

Illustration by Bill Burgard

Laurie Anderson’s
Friday, January 14 8 pm
Saturday, January 15 8 pm
power center

A pioneering storyteller whose ever-intriguing convergence of

technology, violin, visuals, and voice creates spellbinding tales, Laurie
Anderson is “a singer-songwriter of crushing poignance — a minimalist
painter of melancholy moods who addresses universal themes in the
vernacular of the commonplace.” (Rolling Stone) At the heart of this new
multimedia work, which was presented for the first time at the Vancouver
2010 Olympic Games, is the pleasure of language and a fear that the
world is made entirely of words. Conceived as a series of short mystery
plays, Delusion jump-cuts between the everyday and the mythic, evoking
a world filled with nuns, elves, rotting forests, ghost ships, archaeologists,
dead relatives, and unmanned tankers. Employing a series of altered
voices and imaginary guests, Anderson combines her signature violin
pieces, electronic puppetry, music, and visuals, with the poetic language
that has become her trademark to tell a complex story about longing,
memory, and identity.
Media Partners Between the Lines, Michigan Radio 91.7 FM, WEMU 89.1 FM,
Metro Times, and Ann Arbor’s 107one.

26 | 27 | 734-764-2538
Renée Fleming soprano
Hartmut Höll piano
Sunday, January 16 4 pm
Hill Auditorium

One of the most beloved and celebrated musical ambassadors of

our time, soprano Renée Fleming captivates audiences with her
sumptuous voice, consummate artistry, and compelling stage
presence. In addition to commanding the stages of the great opera
houses of the world, she hosts the Metropolitan Opera’s Live in HD
series for movie theaters and television with behind-the-scenes
interviews. In 2008, she became the first woman in the 125-year
history of the Metropolitan Opera to headline its opening night
gala. Her fame is such that perfumes, desserts, and flowers have
all been named after her, but those superficial accolades pale in
comparison to her devoted following of opera lovers around the
world. This great American soprano returns to UMS after her 1997
recital and her 2005 appearance in a concert version of Richard
Strauss’s Daphne.
Program to be announced; visit for updated
program information.

Media Partner WGTE 91.3 FM.

Photo by Andrew Eccles/Decca

Grupo Corpo
Paulo Pederneiras artistic director
Rodrigo Pederneiras choreographer
Friday, January 21 8 pm
Saturday, January 22 8 pm
Power Center

This electrifying Brazilian dance company captivates with

stunning, sexy physicality, dynamic ability, and rich visual flair.
Grupo Corpo (literally “Body Group”) creates a vibrant and
seamless blend of ballet’s grace, modern dance’s verve, and the
hip-swiveling exuberance of Carnival sambas and their Afro-
Brazilian roots. Founded in 1975, Grupo Corpo returns to Ann
Arbor — the company appeared in 2002 as part of UMS’s focus on
Brazilian artists — with two performances of the same program
featuring Parabelo and Ímã. Don’t miss this chance to experience
Grupo Corpo’s “searing sensuality elegantly under control.” (Le
Monde, Paris)
Parabelo (1997)
Choreography: Rodrigo Pederneiras
Music: Tom Zé and Zé Miguel Wisnik
Ímã (2009)
Choreography: Rodrigo Pederneiras
Music by + 2 (Moreno, Domenico, Kassin)

The Friday performance is sponsored by

media partners between the lines, metro times, and wemu 89.1 fm.

Photo by José Luiz Pederneiras

28 | 29 | 734-764-2538
Joanne Shenandoah
Sunday, January 23 4 pm
lydia mendelssohn theatre

One of today’s most revered Native American singers and

songwriters, Joanne Shenandoah is a Wolf Clan member of the
Iroquois Confederacy, Oneida Nation. Her Native name, Deguiya
whah-wa, means “she sings.” The singer/songwriter has performed
with such legendary entertainers as Kris Kristofferson and Willie
Nelson and has won more Native American Music Awards
(Nammies) than any other artist. The daughter of two talented
musicians (her father, a jazz guitarist, played with Duke Ellington),
Shenandoah was an architectural systems engineer before forging
her successful career as a musician. “From my office window I saw
a tree being cut down and knew that I, too, had been uprooted
and needed to follow my natural gift,” she says. Shenandoah’s
original composition, combined with a striking voice, enables her
to embellish the ancient songs of the Iroquois using a blend of
traditional and contemporary instrumentation.

Media Partner WEMU 89.1 FM.

Voices from the Island Sanctuary:
Paris (1170-1230)
Benjamin Bagby director
Thursday, January 27 8 pm
St. Francis of Assisi Catholic Church

For more than 30 years, Sequentia has set the standard for the
performance of medieval music (from the period before 1300). After
25 years based in Cologne, Germany, the group has re-established
its home in Paris, with a new program of vocal music from Notre
Dame de Paris. For centuries, Parisians and visitors to Paris have
been thrilled by the imposing Cathedral of Notre Dame, whose
massive towers and elegant flying buttresses dominate the Île de
la Cité. While today the area around the Cathedral contains many
of the trappings of a popular tourist site, in the 12th century, the
Cathedral of Notre Dame was situated within its own “campus” that
enclosed nearly one-third of the island and housed an autonomous
mini-state with its own laws and enforcement, free from the secular

Three clerics singing from a rotulus, British Library, Arundel MS83.f.63v. (Howard Psalter, East Anglia, 13c)
power wielded by the French king. Within this “city within a city”
was the high altar, where the most innovative musical minds gave
expression to new ideas in thrilling sonic structures that echoed the
dynamic new architecture taking shape around them. This program
draws from medieval vocal music from Paris in the 13th century.

media partner WRCJ 90.9 FM.

30 | 31 | 734-764-2538
Family Performances
Baby Loves Salsa
Sunday, January 30 1 pm & 4 pm
Lydia Mendelssohn Theatre

Just as Dan Zanes has revolutionized kids’ music, José Conde —

leader of the New York-based band Ola Fresca — takes the Afro-
Cuban form of salsa and turns it into something that kids and
parents both love. Born in Chicago and raised in Miami by his
Cuban-immirgrant parents, Conde earned a degree from Berklee
College of Music in the late 1990s. After experimenting with jazz,
rock, funk, blues, and Latin music, he realized his musical journey was
leading him back to his Cuban roots. He formed Ola Fresca (Fresh
Wave) in 2000 to present traditional, Cuban rhythms and style while
still incorporating non-traditional elements. His music is featured
on several Putamayo recordings of kids’ music, including Picnic
Playground and Jazz Playground. Whatever you do, don’t be misled
by the band’s name — kids who have outgrown their diapers are sure
to enjoy this band’s dizzying range of Afro-Latin styles.

The 10/11 Family Series is Sponsored by

Media Partner WEMU 89.1 FM.
The Cleveland Orchestra
Franz Welser-Möst music director
Pierre-Laurent Aimard piano
Tuesday, February 1 8 pm
Hill Auditorium

Founded shortly after the end of World War I, The Cleveland

Orchestra has been guided by seven music directors, each of
whom left his mark on the widely admired “Cleveland sound":
Nikolai Sokoloff, Artur Rodzinski, Erich Leinsdorf, George Szell,
Lorin Maazel, Christoph von Dohnányi, and Franz Welser-
Möst, who leads the ensemble and French pianist Pierre-
Laurent Aimard in this performance. Widely acclaimed as a
key figure in the music of our time and a uniquely significant
interpreter of piano repertoire from every age, Aimard returns
to Ann Arbor after his 2002 appearance with the Orchestre
de Paris.
Bartók Music for Strings, Percussion, and Celeste, Sz. 106, BB 114 (1936)
Schumann Piano Concerto in a minor, Op. 54 (1845)
Wagner Overture to Tannhäuser (1845)
A Prelude Dinner precedes the performance.

10/11 major orchestras sponsored by

funded in part by the national endowment for the arts as part of

american masterpieces: three centuries of artistic genius.
media partnerS WGTE 91.3 FM, WRCJ 90.9 FM, and detroit jewish news.

Pierre Laurent-Aimard by Felix Broede/DG

32 | 33 | 734-764-2538
Jazz at Lincoln Center
Orchestra with
Wynton Marsalis
Wednesday, February 2 8 pm
Hill Auditorium

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

compassionate humanitarian, legendary trumpeter, masterful
composer, arts advocate, tireless educator, and cultural leader, he
inspires and uplifts people through superb jazz concerts. His first
trumpet came from Al Hirt at age 6, though it took a few years for
interest in the instrument to stick. Now, more than 40 years later, he
is best known as the leader of the 15-member Jazz at Lincoln Center
Orchestra. Despite one of the most aggressive touring schedules in
the business, JLCO makes each concert fresh, drawing in audiences
who are continually energized and amazed by the group’s depth of
outrageous talent. “The audience was weak from applauding and
shouting and jumping up and down with the joy of the great music it
had heard.” (El Universal/The Herald)
funded in part by the national endowment for the arts as part of
american masterpieces: three centuries of artistic genius.
media sponsors WEMU 89.1 FM, Metro times, michigan chronicle,
and ann Arbor’s 107one.

Photo by Frank Stewart

New Century Chamber
Orchestra with
Nadja Salerno-Sonnenberg
Friday, February 4 8 pm
rackham Auditorium

Electrifying performances, fearless interpretations, and musical depth have

established Nadja Salerno-Sonnenberg as one of the leading violinists of
our time. She was born in Rome and emigrated to the United States at
the age of eight to study at The Curtis Institute of Music, beginning her
professional career in 1981 when she became the youngest person ever to
win the Walter W. Naumburg International Violin Competition. For the past
two years, she has served as music director of San Francisco’s New Century
Chamber Orchestra, which makes its UMS debut with a program that
includes Astor Piazzolla’s Four Seasons of Buenos Aires, a tango-inspired
version that complements the Vivaldi and Philip Glass “Four Seasons”
performed by the Venice Baroque Orchestra in October.
Wolf, arr. Drew Italian Serenade (1887)
Bartók/Willner Romanian Folk Dances (1915/17)
Piazzolla Cuatro estaciónes porteñas (Four Seasons of
Buenos Aires) (1964-70)
Tchaikovsky Serenade in C Major, Op. 48 (1880)
funded in part by the national endowment for the arts as part of
american masterpieces: three centuries of artistic genius.
media partner wgte 91.3 fm.

Photo by Christian Steiner

34 | 35 | 734-764-2538
Blues at the Crossroads:
The Robert Johnson
Centennial Concert
Big Head Todd & The Monsters
David “Honeyboy” Edwards | Hubert Sumlin
Cedric Burnside | Lightnin’ Malcolm
Thursday, February 10 8 pm
hill Auditorium

Straight from the heart of the back country, Blues at the Crossroads has a direct
connection linking back to Robert Johnson (1911-1938), widely considered the
most famous of all Delta blues musicians. Johnson’s landmark recordings in
the 1930s displayed a remarkable combination of singing, miraculous guitar
skills, and songwriting talent that have influenced generations of musicians,
including Eric Clapton, who calls him “the most important blues singer that ever
lived.” This concert picks up the thread of Johnson’s legacy in Mississippi at the
very crossroads where, as legend has it, Robert Johnson made a deal with the
devil, giving up his soul to write the most incredible blues the world had ever
heard. The concert features Big Head Todd & The Monsters, as well as David
“Honeyboy” Edwards, who at 94 is the only living person to have played with
Robert Johnson before his untimely death at age 27.
sponsored by

Media partners wemu 89.1 fm, metro times, michigan chronicle, and ann Arbor’s 107one.
Rafał Blechacz piano
Friday, February 11 8 pm
hill Auditorium

In October 2005, then 20-year-old Rafał Blechacz, an unassuming

young man from a small town in northern Poland, arrived in
Warsaw for the 15th International Chopin Competition. His
sensational performance won not only the entire competition,
but also all four special prizes for the polonaise, mazurka, sonata,
and concerto performances — in fact, one of the judges remarked
that he “so outclassed the remaining finalists that no second prize
could actually be awarded.” Blechacz was the first Pole to win the
prize since Krystian Zimerman 30 years earlier. Notwithstanding
his young age, his playing offers poetry, maturity, poise and
concentration, as well as a phenomenal and luminous technique.
“How reassuring it is to see one so young putting poetry first…we
were all on another planet.” (Financial Times)
Mozart Variations on "Lison dormait" in C Major, K. 264 (1778)
Debussy L'îsle joyeuse (1904)
Szymanowski Sonata No. 1 in c minor, Op. 8 (1903-04)
Chopin Ballade in g minor, Op. 23 (1835)
Two Polonaises, Op. 26 (1835)
Four Mazurkas, Op. 41 (1838-39)
Ballade in F Major, Op. 38 (1839)
sponsored by

Media partners wgte 91.3 Fm, wrcj 90.9 fm, and detroit jewish news.

Photo by Felix Broede/DG

36 | 37 | 734-764-2538
Vijay Iyer Trio
Vijay Iyer piano | Stephan Crump bass | Marcus Gilmore drums

Rudresh Mahanthappa’s
Rudresh Mahanthappa and Bunky Green alto saxophones
Craig Taborn piano | François Moutin bass | Damion Reid drums
Saturday, February 12 8 pm
Power Center

This double bill brings together two of today’s most interesting jazz
practitioners — and the Jazz Journalists Association's 2010 Musician of
the Year and Alto Saxophonist of the Year — on the same stage. Dubbed
one of “today’s most important pianists” by The New Yorker, Vijay Iyer is
a singular talent — a forceful, rhythmically invigorating performer who
weds a cutting-edge sensibility to a unique sense for compositional
balance. An exceptional, forward-thinking composer, Iyer draws from
African, Asian, and European musical lineages to create fresh, original
music in the American creative tradition. His latest album, Historicity,
received year-end acclaim for #1 Jazz/Pop Album of the Year (The New
York Times) and #1 Jazz Album of the Year (National Public Radio and
The Los Angeles Times). The second half of the program features Apex, a
blazing collaboration that puts on display a 50-year continuum of state-
of-the-art saxophone playing. Mahanthappa, who appeared on the Hill
stage with Danilo Perez in April 2010, is one of the most innovative and
fiery young musicians and composers in jazz today, joined by the hugely
influential but under-recognized jazz original, Bunky Green.
Presented in collaboration with the 2011 U-M Jazz Combo Festival.
media partners wemu 89.1 fm and metro times.

Photo by Jimmy Katz

Rafał Blechacz piano
Sunday, February 13 4 pm
rackham Auditorium

Composed of a core of six virtuoso string players, Concertante

performs in varied combinations of instrumentalists with a sheen,
warmth, and polish that are the hallmark of superb chamber music
groups. For this concert, they are joined by Polish pianist Rafał
Blechacz, who makes his UMS recital debut in Hill Auditorium two
nights earlier. Together they perform Chopin’s arrangement of his
Piano Concerto No. 1, written when the composer was only 20
years old. Blechacz is widely regarded as a supreme interpreter
of Chopin’s works, sweeping all five first prizes at the 2005
International Chopin Competition when he was just 20, the first
Pole to win the competition since Krystian Zimerman in 1975.
Elgar Serenade for Strings in e minor, Op. 20 (1892)
Schoenberg Verklärte Nacht, Op. 4 (1899)
Chopin Piano Concerto No. 1 in e minor, Op. 11 (1830)
media partner wgte 91.3 fm.

Photo by Michael Aheam

38 | 39 | 734-764-2538
The Legacy Tour
Merce Cunningham
Dance Company
Friday, February 18 8 pm
Saturday, February 19 8 pm
Power Center

When the always forward-thinking Merce Cunningham passed Program

away in July 2009 at the age of 90, he left behind a plan for the Squaregame (1976)
Music: Takehisa Kosugi
dissolution of his dance company and the preservation of his
Design: Mark Lancaster
works: a two-year "legacy tour" that would end on December 31,
2011 with performances in New York City. Cunningham was a Split Sides (2003)
leader of the American avant-garde throughout his 70-year career Music: Radiohead & Sigur Rós
Décor: Catherine Yass, Robert Heishman
and is considered one of the most important choreographers and
Costumes: James Hall
artists of the past century. Through much of his life, he was also Lighting: James F. Ingalls
one of the greatest American dancers, performing with the Martha
funded in part by the
Graham Dance Company for six years. With an artistic career national endowment for the arts
distinguished by constant innovation, Cunningham expanded not as part of american masterpieces:
three centuries of artistic genius.
only the frontiers of dance, but also of contemporary visual and media partners between the lines,
performing arts. His collaborations with artistic innovators from metro times, and ann arbor’s 107one.

every creative discipline have yielded an unparalleled body of

American dance, music, and visual art. The program is drawn from
the more than 150 dances that Cunningham created over more
than six decades of choreographic innovation. In Merce’s own
words: “You have to love dancing to stick to it. It gives you nothing
back, no manuscripts to store away, no paintings to show on walls
and maybe hang in museums, no poems to be printed and sold,
nothing but that single fleeting moment when you feel alive.”
Fleeting for the dancer, perhaps, but creating lasting impressions
for the audiences that experience it.

Split Sides (Holley Farmer, Daniel Squire) by Tony Dougherty

Schubert Cycle Concert 2
Takács Quartet
Sunday, February 20 4 pm
Rackham Auditorium

The always superlative Takács Quartet has become an Ann Arbor

favorite over the past decade, consistently delivering perfor-
mances that live well beyond the last note played in the concert
hall. In the 10/11 season, they perform a three-concert cycle of
Schubert’s quartets and quintets, all of them written during the
final decade of his life except for one early quartet performed on
this program. Commenting on their latest Schubert recording for
Hyperion, Gramophone magazine noted, “The Takács have the
ability to make you believe that there’s no other possible way the
music should go, and the strength to overturn preconceptions
that comes with only the greatest performers.”
Schubert String Quartet in B-flat Major, D. 112 (1814)
Schubert String Quartet in a minor, D. 804 (“Rosamunde”) (1824)
Schubert String Quartet in G Major, D. 887 (1826)

Photo by Ellen Appel

40 | 41 | 734-764-2538
Wednesday, February 23 8 pm
hill Auditorium

“Superlatives don’t really exist to convey the primal

power and bravura beauty of Kodo… The devil of it is
the combination of the discipline of a surgeon’s scalpel
with the primitive, muscular endurance of a cavalry
charge. The speed and dexterity are as impressive as
the physical tenacity is breathtaking.” (The Chicago
Tribune) In ancient Japan, the taiko drum was a symbol
of the rural community, and it is said that the limits of
the village were defined not by geography, but by the
furthest distance from which the taiko could be heard.
With its “One Earth” tour, Kodo brings the sound of the
taiko to people around the globe, transcending barriers
of language and custom and reminding us all of our
membership in that much larger community, the world.
“In this age of exploding populations and lightning-fast
communication, it is more important than ever that these
diverse cultures learn to recognize and accept each other
so that all may share our increasingly shrinking planet in
harmony,” says Kodo’s primary philosophy. The Japanese
characters of the company’s name convey two meanings:
“heartbeat,” the primal source of all rhythm, and “children
of the drum,” a reflection of Kodo’s desire to play their
drums simply, with the heart of a child.
media partner metro times.

Photo by Buntaro Tanaka

Scharoun Ensemble
Chamber Musicians of the Berlin Philharmonic
Wednesday, March 9 8 pm
rackham Auditorium

In 1983, members of the Berlin Philharmonic founded the Scharoun

Ensemble Berlin, named after the architect who designed the
marvelous concert hall where the Berlin Philharmonic performs
at home. The eight musicians of the Scharoun Ensemble express
an artistic commitment to both the heritage of the past and the
challenges of the present. The ensemble comprises the standard
octet instrumentation — clarinet, horn, bassoon, two violins, viola,
cello, and double bass — allowing them to perform some of the
great chamber music literature of Schubert, Mozart, Beethoven,
and Brahms, in addition to 20th-century modern works and
contemporary music.
Program to include Schubert’s Octet in F Major, D. 803,
plus other repertoire to be announced.
Media Partner WGTE 91.3 FM.

Photo by Thomas Kierok

42 | 43 | 734-764-2538
Martin McDonagh’s
The Cripple of Inishmaan
Druid and Atlantic Theater Company
Garry Hynes director
Thursday, March 10 8 pm
Friday, March 11 8 pm
Saturday, March 12 8 pm
Sunday, March 13 2 pm
Power Center

It’s 1934, and news is thin on the island of Inishmaan. Then word arrives that
a Hollywood filmmaker is coming to a neighboring island to shoot a movie,
and excitement ripples through the sleepy community. For Billy Claven, a
crippled orphan, the film provides an opportunity to get away from his bleak
existence. He auditions for a part in the film and, to everyone’s surprise, gets
his chance. The Cripple of Inishmaan is “a break-your-heart, cruelly funny
evening directed with an exhilarating ruthlessness and acted with a bracing
lack of sentimentality.” (The Guardian) The second play in Martin McDonagh’s
Aran Islands trilogy, it is infused with his trademark humor, rich with macabre
cruelty, and teeming with eccentric island characters from Billy’s Aunt Kate,
who talks to stones, to gossip monger “JohnnyPateenMike,” who attempts
to get his elderly mother to drink herself to death. Ireland’s acclaimed Druid
Theater Company makes its UMS debut with this 2008 production.
individual performances sponsored by
linda and maurice binkow
philanthropic fund Billy Claven (Tadhg Murphy) by Ros Kavanagh
Hosted by David and Phyllis Herzig.
media partners michigan radio 91.7 fm, between the lines,
And ann arbor’s 107one.
Mahler’s Symphony No. 8
Detroit Symphony Orchestra
UMS Choral Union
U-M Chamber Choir | U-M University Choir
U-M Orpheus Singers | MSU Children’s Choir
Leonard Slatkin conductor
Christine Goerke soprano | Christine Brewer soprano
Mary Wilson soprano | Elizabeth Bishop alto
Kristine Jepson alto | Anthony Dean Griffey tenor
Nmon Ford baritone | Morris Robinson bass
Saturday, March 19 8 pm
Hill Auditorium

In commemoration of the 150th anniversary of Gustav Mahler’s birth and the 100th
anniversary of his death, UMS is collaborating with the Detroit Symphony Orchestra,
the U-M School of Music, Theatre & Dance, the MSU Children’s Choir, and Michigan
Opera Theatre to present a spectacular, not-to-be-missed performance of Mahler’s
monumental Symphony No. 8. The first performance of this “choral symphony”
featured a chorus of about 850, with an orchestra of 171, leading Mahler’s agent to
dub the work “Symphony of a Thousand.” While Mahler himself did not approve
of the title, it nevertheless remains associated with this work, which is rarely
preformed due to the massive forces required to do it justice.
Mahler Symphony No. 8 (“Symphony of a Thousand”) (1907)
A Prelude Dinner precedes the performance.

10/11 major orchestras Sponsored by

Funded in part by the community foundation for southeast michigan.

Media Partner WGTE 91.3 FM. American première of Mahler’s Symphony No. 8, performed by the
Philadelphia Orchestra and Leopold Stokowski, 1916.

44 | 45 | 734-764-2538
Bach’s Mass in b minor
Bach Collegium Japan
Masaaki Suzuki conductor
Thursday, March 24 8 pm
Hill Auditorium

Founded in 1990 by Masaaki Suzuki with the aim of introducing

Japanese audiences to period instrument performance of great
works from the Baroque period, the Bach Collegium Japan includes
both orchestra and chorus. The group has developed a formidable
reputation through its recordings of J.S. Bach’s church cantatas, and
returns to Ann Arbor after its 2003 St. Matthew Passion in St. Francis
of Assisi Catholic Church. Widely regarded as one of the supreme
achievements in classical music, the Mass in b minor was composed
over a period of 25 years and assembled in its present form in 1749,
the year before Bach died. “I have never heard period instruments
played with such purity of tone, so reliably in tune. The small,
precise, dramatically alert chorus breathed fire but also revealed a
heartbreaking tenderness.” (The Los Angeles Times)
J.S. Bach Mass in b minor, BWV 232 (1724-49)
Co-Sponsored by Robert and marina whitman and Clayton and ann Wilhite.
Media Partners WGTE 91.3 FM and WRCJ 90.9 FM.

Photo by K. Miura
Richard III and
The Comedy of Errors
Edward Hall director
Power C enter

Richard III
Wednesday, March 30 7:30 pm
Friday, April 1 7:30 pm
Saturday, April 2 2 pm
Sunday, April 3 7:30 pm

The Comedy of Errors

Thursday, March 31 7:30 pm
Saturday, April 2 7:30 pm
Sunday, April 3 2 pm

The Taming of the Shrew by Philip Tull

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“Edward Hall's superb, all-male company Propeller proves
again the value of a true ensemble and a director who treats
Shakespeare's plays as if they'd just been written.” (The Guardian
on A Midsummer Night’s Dream, 2009)

Propeller, the internationally celebrated, innovative Shakespeare

company led by Edward Hall, presents new productions of two of
Shakespeare’s greatest contrasting masterpieces.

Renowned for combining a rigorous approach to the text with an

exciting, physical aesthetic to engage its audience’s imagination
and bring fresh understanding to classic plays, Propeller is
Shakespeare rediscovered.

Richard III brings the War of the Roses cycle of history plays to a
close in bloody fashion. Arguably Shakespeare’s most villainous
King, Richard murders his way to the throne, unable to resist his
cruel wit and dark humor. This hugely entertaining and diabolical
adventure tells the story of one man’s journey to heaven, then
back to hell.

In complete contrast, The Comedy of Errors is Shakespeare’s most

farcical comedy, and also his smartest. Two sets of estranged
twins, separated at birth, find themselves in the same city 25 years
later with hilarious consequences. A series of mistaken identities,
assumed personas, and wild mishaps bring a family crisis into
heartwarming focus.

The two plays will be presented in repertory with the same cast.

“Propeller’s collective ingenuity makes an evening that delights

the heart as much as it stimulates the mind.” (The Daily Telegraph)
“The daring, the dazzle, and the pure craft of this company…
A Midsummer Night’s Dream by Nobby Clarke
absolutely exhilarating.” (The New York Times)
Individual performances sponsored by robert and pearson macek,
Jane and Edward Schulak, and Loretta Skewes and Dody Viola.
Media Partners wemu 89.1 fm and metro times.

St. Petersburg
Yuri Temirkanov conductor
Nikolai Lugansky piano
Saturday, April 2 8 pm
Hill Auditorium

The Russian city of St. Petersburg boasts two world-class

orchestras, and UMS has enjoyed a long relationship with
each. With a history dating back more than 200 years, the St.
Petersburg Philharmonic is embedded with musical history,
having performed the world première of Beethoven’s Missa
Solemnis in 1824, as well as Tchaikovsky’s Symphony No. 6,
Prokofiev’s Symphony No. 1, and many works by Shostakovich.
Pianist Nikolai Lugansky, who won the 1994 Tchaikovsky Piano
Competition, makes his UMS debut. A Russian newspaper said
of his performance in the final round of competition: “It was
like getting sunstroke, a musical shock. Nobody could imagine
that the soul of this unpretentious, modest young man, with his
ascetic, but also poetic appearance, held such a volcano inside
with inspired and resolute control.”
Rimsky-Korsakov Scheherazade, Op. 35 (1888)
Rachmaninoff Piano Concerto No. 2 in c minor, Op. 18 (1909)
A Prelude Dinner precedes the performance.

10/11 major orchestras Sponsored by

Sponsored by

Nikolai Lugansky by James McMilan

Sponsored in part by Donald Morelock.
Media Partners WGTE 91.3 FM, WRCJ 90.9 FM, and Detroit Jewish News.

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Septeto Nacional
Ignacio Piñeiro de Cuba
Thursday, April 7 8 pm
hill Auditorium

Septeto Nacional Ignacio Piñeiro de Cuba has been the greatest

champion of the traditional sound of the Cuban son for more than 80
years. The ensemble performs some of the most treasured and well-
known Cuban songs in the tradition of Ignacio Piñeiro Martínez, the
legendary founder of the Septeto’s first incarnation in 1927 and one of
the most important composers of son music. The group’s exceptional
musicianship is firmly rooted in the musical explosion of Cuban son
that took place during the 1920s and 1930s, evoking the nostalgic
elegance of the dancing ballrooms and clubs of Havana.
It is impossible to resist the infectious rhythms of this celebrated
ensemble — they are masters of Afro-Cuban rhythm and spirit, adding
a splash of rumba to their son and delivering up-tempo fun. This band
may be “official cultural ambassadors” of Cuba, but they know how to
throw a dance party! Septeto Nacional recently returned to perform
in the US for the first time since 1933.
media partners wemu 89.1 fm, michigan chronicle, and metro times.
Schubert Cycle Concert 3
Takács Quartet
Jeffrey Kahane piano
Paul Katz cello
John Feeney double bass
Friday, April 8 8 pm
Rackham Auditorium

This final concert of the Takács Quartet’s Schubert cycle

features two of Schubert’s most beloved compositions
for chamber ensembles. The Cello Quintet is written for
standard string quartet plus an additional cellist. Rather
than the usual piano quintet lineup, the “Trout” Quintet is
written for piano, violin, viola, cello, and double bass. The
name comes from the fourth movement, which features
a set of variations based on Schubert’s song “Die Forelle”
(The Trout). Pianist Jeffrey Kahane and bass player John
Feeney join the group, as does Paul Katz, the former
cellist with the Cleveland Quartet.
Schubert Piano Quintet in A Major, D. 667 (“Trout”) (1819)
Schubert Cello Quintet in C Major, D. 956 (1828)
sponsored by gil omenn and martha darling.

Photo by Ellen Appel

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Tetzlaff Quartet
Saturday, April 9 8 pm
rackham Auditorium

The terrific German violinist Christian Tetzlaff, who most

recently appeared as soloist with the San Francisco
Symphony in March 2010, brings his string quartet to Ann
Arbor. The group was founded in 1994 by Tetzlaff and his
sister, Tanja, along with two other musicians whom they
met at a chamber music festival in Switzerland. Despite
intense individual touring schedules, they make a
commitment to perform each year as a quartet, drawing
accolades from critics and casual listeners alike.
Haydn Quartet in g minor, Op. 20, No. 3 (1772)
Mendelssohn Quartet in a minor, Op. 13 (1827)
Sibelius Quartet in d minor, Op. 56 (“Voces Intimae”) (1909)
Sponsored by Paul and Anne Glendon.
media partner Wgte 91.3 fm.

Photo by Alexandra Vosding

Secret Agent
Tony Allen’s Afrobeat Tour
Saturday, April 16 8 pm
hill Auditorium

The drummer behind the legendary Nigerian bandleader Fela Anikulapo Kuti,
Tony Allen is probably the most highly regarded African drum set player,
with drummers and other musicians of all backgrounds marveling at his
polyrhythmic style. Fela Kuti is widely remembered as the most influential
African popular musician of the post-colonial era, and Tony Allen was his
crucial collaborator in the synthesis of jazz, funk, and highlife that resulted
in the style known as Afrobeat. Born in Nigeria in 1940 of mixed Nigerian
and Ghanaian parentage, Allen is influenced by everything from European
ballroom dance music to big-band jazz drumming, indigenous percussion
traditions, and the tradition of modern jazz drumming typified by such
musicians as Art Blakey, Elvin Jones, and Max Roach. After playing for years in
the shadows of better-known musicians, Tony Allen is now starting to receive
the worldwide credit he deserves as one of the most dynamic players of the
drum set. “Without Tony Allen, there’d be no Afrobeat.” (Fela Anikulapo Kuti)

For more on Afrobeat, don't miss the NT Live broadcast of FELA! on

January 30. See page 5 for more information.
media partners Wemu 89.1 fm, michigan chronicle, and ann arbor’s 107one.

Photo by Bernard Benant

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Liebeslieder Waltzes:
Songs and Waltzes of Love
Genia Kühmeier soprano | Bernarda Fink mezzo-soprano
Michael Schade tenor | Thomas Quasthoff bass-baritone
Malcolm Martineau piano | Justus Zeyen piano
Saturday, April 23 8 pm
hill Auditorium

After nearly a decade in which he composed no vocal music at all,

Schumann made a striking return to the genre with the Spanische
Liebeslieder (Love Song Waltzes) song collection, which combines songs
for solo voice with duets and quartets. A generation later, Brahms took
the same instrumentation — vocal quartet plus four-hand piano — and
composed the Liebeslieder and Neue Liebeslieder Waltzes. These three
works serve as the centerpiece of a program that also includes Brahms’
composition for vocal quartet and piano, performed by a brilliant quartet of
musicians, including bass-baritone Thomas Quasthoff, who last appeared at
UMS in a Lydia Mendelssohn Theatre recital in 2000.
Schumann Spanische Liebeslieder, Op. 138 (1849)
Brahms Liebeslieder Waltzes, Op. 52 (1868-69)
Brahms Four Songs from Quartets for Four Voices and Pianos, Ops. 64 & 92 (1862-84)
Brahms Neue Liebeslieder Waltzes, Op. 65 (1874)
media partner Wgte 91.3 fm.

Johannes Brahms
Transportation from Oakland County
UMS is delighted to announce a new program providing Coach service will be offered for the following performances:
luxury coach transportation from Oakland County to Ann
Arbor for selected performances.
Mariinsky Orchestra (formerly known as the Kirov Orchestra)
Valery Gergiev conductor | Denis Matsuev piano
The coaches will depart from a central location in Oakland Sunday, October 10 4 pm [coach leaves at 2:30 pm]
County approximately 90 minutes before the performance
and will return to the same location immediately after the Murray Perahia piano
performance. Round-trip cost is $10 per person. The coach Wednesday, November 10 8 pm [coach leaves at 6:30 pm]
may be cancelled 14 days prior to the performance if at least
10 people have not signed up for the service.
Renée Fleming soprano
Selected performances will also include a pre-concert lecture Sunday, January 16 4 pm [coach leaves at 2:30 pm]
on the coach during the ride to Ann Arbor.
For more information about this program and Jazz at Lincoln Center Orchestra with Wynton Marsalis
details on the departure location (which was still Wednesday, February 2 8 pm [coach leaves at 6:30 pm]
being confirmed at press time), please contact Sarah Martin McDonagh’s The Cripple of Inishmaan
Wilber at 734-763-3100. Tickets are also available Druid and Atlantic Theatre Company
through the Ticket Office at 734-764-2538. Friday, March 11 8 pm [coach leaves at 6:30 pm]

Propeller: Shakespeare’s Richard III

Saturday, April 2 2 pm [coach leaves at 12:30 pm]

Propeller: Shakespeare’s The Comedy of Errors

Saturday, April 2 7:30 pm [coach leaves at 5 pm
to allow time for dinner on your own in Ann Arbor]

St. Petersburg Philharmonic

Yuri Temirkanov conductor | Nikolai Lugansky piano
Saturday, April 2 8 pm [coach leaves at 5 pm
to allow time for dinner on your own in Ann Arbor]

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The 14th Annual UMS Choral Union
Sphinx Competition UMS’s Grammy Award-winning chorus, the UMS Choral Union, is best known
for Young Black and Latino String Players locally for its annual performances of Handel’s Messiah. The volunteer ensemble
also performs throughout southeastern Michigan each year under the direction
The Sphinx Competition showcases many of the best
of Jerry Blackstone and other guest conductors.
young Black and Latino string players in America. Each
year, 18 semi-finalists come to southeastern Michigan to To audition for this celebrated ensemble, contact 734-763-8997 or
compete for cash prizes and scholarships totaling over
$100,000. Both concerts are accompanied by the Sphinx
Symphony Orchestra, conducted by Michael Morgan. UMS Ann Arbor Performances Detroit Symphony
Presented by DTE Energy Foundation. Tickets: 734-764-2538 or Orchestra Performances
Tickets: 313-576-5111
Handel’s Messiah
Junior Division Honors Concert Ann Arbor Symphony Orchestra or
Jerry Blackstone conductor Mahler’s Symphony No. 8
Friday, February 4 12 noon
Rackham Auditorium Saturday, December 4 8 pm (“Symphony of a Thousand”)
Sunday, December 5 2 pm Detroit Symphony Orchestra
This free performance features the three Junior Division finalists Hill Auditorium Leonard Slatkin conductor
(under age 18) competing for their final placement. This concert
encourages participation by young audiences from around Mahler’s Symphony No. 8 Friday, March 18 8 pm
the state of Michigan. For tickets, contact the UMS Education (“Symphony of a Thousand”) Detroit Opera House
Department at 734-615-0122 or Detroit Symphony Orchestra Beethoven’s Symphony No. 9
Leonard Slatkin conductor
Detroit Symphony Orchestra
Senior Division Finals Concert Saturday, March 19 8 pm Leonard Slatkin conductor
Hill Auditorium
Sunday, February 6 2 pm Thursday, April 14 7:30 pm
Orchestra Hall, Detroit Friday, April 15 8 pm
This concert, which is broadcast nationally, features the three Ann Arbor Symphony Saturday, April 16 11 am* & 8:30 pm
Senior Division Laureates (ages 18-26) competing for their Orchestra Performances Orchestra Hall, Detroit
final placement and the $10,000 first prize. The Junior Division Tickets: 734-994-4801 *Young People's Concert: Best of Beethoven
Laureate also performs. or
For information on admission to the Final Concert, please visit Mahler’s Symphony No. 3 or call the Max M. Fisher Music Center Ann Arbor Symphony Orchestra
Box Office at 313-576-5111. Arie Lipsky conductor
Saturday, April 30 8 pm
Michigan theater
You Make it
Your support of UMS makes this exciting season possible. Ticket
revenues cover about half the cost of presenting world-class
performances; the other half comes from contributions

On The Road
given by individuals, corporations, government agencies,
foundations, and the University of Michigan. You can support
UMS by sponsoring a concert or youth performance, making a
gift to the annual fund or endowment fund, or attending the On
the Road with UMS auction on Saturday, September 11. A Fundraiser for UMS Education Programs
Your gift, when combined with many others, brings the very best Saturday, September 11 6:30 pm
in music, dance, and theater to our community. North Campus Research Complex
(2800 Plymouth Road, Ann Arbor)
UMS provides priority to donors in purchasing tickets to individual
performances. The fall single ticket brochure is mailed to donors The University Musical Society Advisory Committee invites you to “On the
first, and donors of $250 or more are able to purchase tickets one Road with UMS,” a fun-filled evening of silent and live auctions, delicious
week before tickets go on sale to the general public. In addition, food, music, and merriment. Proceeds from the evening benefit UMS’s
UMS donors enjoy: education programs, which reach up to 20,000 adults and children each
year through a diverse mix of initiatives and educational events. Last year’s
 Discounted tickets to select performances auction netted more than $56,000 for these programs.
 Acknowledgment in UMS program books
and donor listings ($250 or more) Fabulous silent and live auction items include cultural and culinary
getaways, cabaret dinners, kids cooking “boot camps,” and a vacation to
 Online acknowledgment for all donors Costa Rica. The auction, which will be held at the former Pfizer complex
 Advance notice of performances and advance on North Campus, includes a sit-down dinner held in conjunction with
purchasing privileges the live auction.
 Invitations to special events For reservations, contact the UMS Development Office at 734-764-8489.
A preview list of auction items will be available online at in
late August.

$100 per person, advanced registration required.

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People Are Talking

We know that part of the fun of seeing a live performance is being able to talk
about it with others. That’s why UMS has launched — a
new online gathering place for conversation about arts and culture.
Since was launched in February 2010, audience members
have left over 400 comments (and counting!) about their UMS experiences.
Visitors have engaged with other community members, UMS staff, and artists,
including Béla Fleck, The Bad Plus, and Hubbard Street Dance Chicago.
The UMS Lobby will continue to grow during the 10/11 season, expanding the
UMS experience by combining online and live components in everything that
UMS does [and giving you a behind-the-scenes look at UMS!]. How can you join the conversation?
is a virtual lobby, accessible year-round, offering multiple streams of activity
to engage anyone interested in arts and culture, or in UMS specifically. On the
site you’ll find: Visit PEOPLE ARE TALKING on Whether
you like to peruse the comments of others or actively
 A multimedia blog with background and educational information on participate in developing new conversations, the UMS
UMS performances, guest blogs by UMS artists, follow-up from artists that Lobby is a place to meet.
have been presented by UMS in the past, UMS staff “scouting reports” on
possible artists for future seasons, other arts links, and much more.
search for University Musical Society and
 A digitized historical archive that includes access to UMS’s extraor- U40 – University Musical Society
dinary 131-year history, including the opportunity to submit your own
comments, memories, and observations about events that you’ve
attended. Follow UMS on twitter @UMSNews
 Stories from patrons and others about the impact UMS has had in our
community — in essence, a “living archive” that will grow with time and View videos on our YouTube channel
supplement the historical archive.
 Conversation areas that include feeds from our facebook, twitter, and
other networks, providing a place both to listen and to be heard.
Receive e-mail news by signing up at
 Extend what is possible Itzhak Perlman meets with violin students during his
Ann Arbor concert, September 2009.

 Connect with your

community  Stories and Storytellers... Each season at UMS
tells a unique story, and the 10/11 season in particular
 Risk, fail, learn, try provides some unique narratives that connect with our
again, succeed performances. Join us as we explore the stories of the
UMS season through a variety of programs.
 Engage with Featured events
innovative ideas  What is Theater? An in-garden discussion with
Susurrus director David Leddy. Saturday, Septem-
 Explore your own
ber 11, 10 am, Matthaei Botanical Gardens.
creativity  Performance artist Laurie Anderson at the Penny
Stamps Distinguished Visitors Series. Thursday,
January 13, 5:10 pm, Michigan Theater.
10/11 Season Programmatic Themes and Highlights:  Americas and Americans... The 10/11 season features artists and
art forms from the broadest possible definition of “America.” This begs
 Play and Creativity... Where is the space for play in our daily lives? the question, “Who is America?”, and why are some of these artists or
What role does play have in the creative and artistic process? How does art forms considered uniquely American? A series of programs will
play affect child development? What can medicine, business, and other explore these questions and pose others about American identity in
professional sectors learn from play? the performing arts.
Featured events Featured events
 Speakers and workshop leaders Stephen Nachmanovitch, author  American Roots/American Routes 101. Exploring the origins of
of Free Play, and Natasha Tsakos, motion and visual artist, in the several musical genres — country, bluegrass/string band, jazz,
first week of December 2010. and blues — prior to various "Americas" performances on the
 Opportunities for UMS audiences to play and experiment with UMS season.
their own creative expression on keyboards played with hands  ONCE. MORE. A 50th anniversary exploration of the ONCE
and feet. In the lobby prior to events featuring the piano Festival. Symposium on Wednesday, November 3, 9 am – 4 pm,
(Mariinsky Orchestra, Takács Quartet, and Murray Perahia). Rackham Amphitheater.

For further details on all of these programs, please see

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Education Program Supporters
Reflects gifts received during the 09/10 fiscal year.

The Andrew W. Mellon Foundation

University of Michigan

Arts at Michigan
Arts Midwest’s Performing Arts Fund
The Dan Cameron Family Foundation/Alan and Swanna Saltiel
CFI Group
Community Foundation for Southeast Michigan
Doris Duke Charitable Foundation Endowment Fund
DTE Energy Foundation
The Esperance Family Foundation
Jo-Anna and David Featherman
Forest Health Services
JazzNet Endowment
W.K. Kellogg Foundation
John S. and James L. Knight Foundation
Masco Corporation Foundation
Michigan Council for Arts and Cultural Affairs
National Dance Project of the New England Foundation for the Arts
National Endowment for the Arts
Prudence and Amnon Rosenthal K-12 Education Endowment Fund
TCF Bank
UMS Advisory Committee
Students at Cass Tech High School in Detroit work with members of the Bill T. Jones/Arnie Zane Dance Company.
University of Michigan Credit Union
University of Michigan Health System
U-M Office of the Senior Vice Provost for Academic Affairs
U-M Office of the Vice President for Research
Wallace Endowment Fund
10 Things To Know About UMS
1. Officially we are the University Musical Society, but we are more 4. UMS is investing in the future through its commitment
often known as UMS. The name dates back to 1879 but isn’t completely to student participation in arts events. Each year, UMS offers
reflective of the organization today. We are affiliated with the University of discounted tickets to university and high school students for regular
Michigan, but UMS is a separate, independent 501(c)(3) organization with UMS performances through a variety of programs. In a typical year,
its own board of directors. About 20 years ago, UMS expanded its musical more than 17,000 student tickets are sold, representing over 21%
programming scope to include dance and theater. The long and short of of the audience at UMS events. Through these discount programs,
it is that UMS welcomes everyone to enjoy the transformative power of students save over $325,000 each season. In addition to the many
the live performing arts. students who attend our events, we work closely with a group of
about 35 students each year who develop skills in arts management
2. UMS ranks among the top performing arts presenters in the through jobs and internships in all departments of UMS, as well as a
United States. UMS stands in good company, frequently partnering volunteer student committee.
on international tours with Carnegie Hall, Lincoln Center, the Kennedy
Center, Brooklyn Academy of Music, the Barbican, Théâtre du Châtelet, 5. Ticket revenues cover only half of our total costs. We rely on
and leading university presenters. Few communities of the size of Ann generous support from individual donors, corporations, foundations,
Arbor can support this breadth of programming, making our community government grants, and the University of Michigan to continue to
a hub for international performing arts tours. bring the finest performing artists in the world to Michigan. We know
that people choose to donate for any number of reasons: engaging
3. UMS is closely aligned with the University of Michigan. Our more deeply in the arts, networking with others, and providing
education department has worked with 70 academic units and 200 memorable arts experiences for children are just a few of the
individual U-M faculty members in recent seasons. Through these frequently stated motivations. We’re grateful to all of our generous
collaborations, we present contextual programming that enriches donors!
audience engagement with the performances on our stages. In addition,
the University of Michigan provides annual support through the Officers 6. The UMS Education Program makes a big impact on the
of the President and Provost, the University of Michigan Health System, entire region. Since 2000, UMS has served 345 schools and nearly
the Office of the Vice President for Research, and other units that support 100,000 students through our popular youth education program,
specific work. We are extraordinarily grateful and appreciative of this which includes live performances, in-class visits, teacher workshops,
collaborative and mutually beneficial relationship. and more. UMS recognizes outstanding programs with the DTE
Energy Foundation Educator of the Year and School of the Year
Awards. The UMS Education Program is made possible by

60 | 61 | 734-764-2538
Ford Motor Company Fund and Community Services and dozens of
generous donors who help make our education programs accessible to
various communities throughout our region.

7. Volunteers are central to everything we do. A 500-person usher

corps, a 180-voice chorus, a 90-member Advisory Committee, a
34-member Board of Directors, student interns, a Teacher Advisory
Committee, and countless others help us with strategic planning, special
event planning, project-based assistance, backstage support, promoting
performances, and putting up posters around town. We simply couldn’t
do business without the support of volunteers, who collectively offer over
45,000 hours each year volunteering for UMS programs.

8. UMS is committed to nurturing and developing artists. Over the

past 20 years, UMS has committed funds to help keep creativity alive and
well, with commissions of 25 new musical works, and funding to support
the creation of new dance and theater productions. In all, more than 50
Family Workshop before The Suzanne Farrell Ballet Family Performance, October 2009
new works or productions have been supported by UMS, and many of
these works have been seen in Ann Arbor. We believe that to create a
healthy artistic ecology, we need to become patrons of the arts as well as
programmers, giving artists the resources to imagine and create.
10. UMS plays an active role in southeastern Michigan’s
9. UMS has been recognized by leading national foundations for its revitalization efforts. With arts and culture as a key
distinctive programming. The Doris Duke Charitable Foundation, the driver of quality of life, and thus a prime motivator for
Mellon Foundation and the Wallace Foundation have all awarded major companies recruiting new talent, UMS is often a major
gifts to UMS, recognizing our distinctive artistic programming and widely- draw for potential newcomers to the area. To that end, UMS
emulated education and community engagement programs. Two of representatives serve on regional economic development
these gifts include significant endowment support, which keeps on giving task forces, taking a strong stance for the value of arts and
through annual allocations that continue to fund these programs. culture to the region’s future.
Info for Families
Family-Friendly UMS Events UMS Kids Club &
All Ages Teen Ticket Program
Paul Taylor Dance Company
Family Performance Designed to nurture and create the next generation of
Baby Loves Salsa performing artists and arts lovers, the UMS Kids Club
allows students in grades 3-12 to purchase tickets to
Ages 9 and up (4th grade) any UMS concert at significantly discounted prices,
Paul Taylor Dance Company subject to availability.
Mariachi Vargas de Tecalitlán
Kodo The UMS Kids Club has expanded this year from
classical music concerts to encompass the entire
Ages 12 and up (middle school) UMS season! Two weeks before the performance date
Rosanne Cash (opening night of a multiple-performance run), parents
Venice Baroque Orchestra can purchase up to two kids’ tickets for $10 each
Murray Perahia
with the purchase of an adult ticket for $20. Seating is
Carolina Chocolate Drops
Grupo Corpo subject to availability and box office discretion. UMS will
Joanne Shenandoah reserve a limited number of seats for each performance
Jazz at Lincoln Center Orchestra (opening night for multiple-performance runs) — even
with Wynton Marsalis those that sell out!
St. Petersburg Philharmonic
Septeto Nacional de Ignacio Piñeiro de Cuba Based on feedback, UMS has also changed the age
requirement for participation in the UMS Kids Club. Kids
Ages 14 and up (high school) who are in grades 3-12 are eligible for this program.
Mariinsky Orchestra
There’s no membership fee, and no need to register
Takács Quartet Schubert Concerts
Django Reinhardt 100th Birthday Celebration in advance. However, if you’d like to receive periodic
Stew & The Negro Problem reminders about upcoming UMS events, join UMS
Laurie Anderson’s Delusion E-News and check the box for UMS Kids Club.
New Century Chamber Orchestra
While the UMS Kids Club program is designed for
Vijay Iyer Trio and Rudresh Mahanthappa’s Apex
Druid and Atlantic Theater Company: families to attend together, we also understand that Kids dancing onstage at the Cyro Baptista Family Performance
Martin McDonagh’s The Cripple of Inishmaan sometimes teens want to get away from their parents in March 2010 by Eleonora Alberto
Propeller: Shakespeare’s Richard III and for a bit. Students over age 14 are welcome to
The Comedy of Errors purchase rush tickets to most UMS events for $15
Tony Allen’s Afrobeat Tour at the performance, subject to availability. Just flash
NT Live High-Definition Broadcasts your student ID at the Ticket Office, and they’ll set
you up!

62 | 63 | 734-764-2538
TICKETS & INFO Parking/Parking Tips
Detailed directions and parking information will
be mailed with your tickets and are also available at
Please Make Sure We Have Your Refunds To reduce the likelihood of congestion, we suggest
E-Mail Address on File! Due to the nature of the performing arts, programs and artists
that you consider accessing the Power Center
UMS regularly sends relevant, updated concert-related are subject to change. Refunds are given only in the case
structure from the Palmer Drive entrance. There’s a
parking and late seating information via e-mail a couple of of event cancellation or date change. Handling fees are not
light at the intersection of Palmer and Washtenaw,
days before the event. Please be sure that the Ticket Office refundable.
making it easier to access the structure. You’ll save
has your correct e-mail address on file. time both entering and exiting the structure and
Will-Call/Ticket Pick-Up
All ticket orders received fewer than 10 days prior to the avoid sitting in traffic.
Ticket Exchanges
Subscribers may exchange tickets free-of-charge up until performance will be held at Will-Call, which opens in the UMS also recommends parking at the off-
48 hours prior to the performance. Non-subscribers may performance venue 90 minutes prior to the published campus Liberty Square structure (entrance off of
exchange tickets for a $6 per ticket exchange fee. Exchanged start time. Washington Street, between Division and State),
tickets must be received by the Ticket Office (by mail or about a two-block walk from most performance
in person) at least 48 hours prior to the performance. The
Access for Persons with Disabilities venues. $2 after 3 pm weekdays and all day
All UMS venues are accessible for persons with disabilities. Saturday/Sunday.
value of the tickets may be applied to another performance
Call 734-764-2538 for more information.
or will be held as UMS Credit until the end of the season.
You may also fax a copy of your torn tickets to 734-647-1171. Children and Families
Start Time & Latecomers
Lost or misplaced tickets cannot be exchanged. UMS Credit UMS makes every effort to begin concerts at the published Children under the age of three will only be
must be redeemed by April 23, 2011. time. Most of our events take place in the heart of central admitted to designated UMS Family Performances.
campus, which has limited parking and may have several This season’s Family Performances include the Paul
UMS will also accept ticket exchanges within 48 hours of
events occurring simultaneously in different theaters. Taylor Dance Company (Sat, Oct 9 at 1 pm) and
the performance for a $10 per ticket exchange fee (applies
Please allow plenty of extra time to park and find your seats. Baby Loves Salsa (Sun, Jan 30 at 1 pm & 4 pm). For
to both subscribers and single ticket buyers). Tickets must
these performances, please call the Ticket Office
be exchanged at least one hour before the published Latecomers will be asked to wait in the lobby until seated if you are bringing a child under the age of two.
performance time. Tickets received less than one hour by ushers. Most lobbies have been outfitted with monitors Children under two will be admitted at no charge
before the performance will be returned as a tax-deductible and/or speakers so that latecomers will not miss the perfor-
contribution. but do need to be assigned a seat due to fire
mance entirely.
marshall capacity limitations.
Ticket Donations/Unused Tickets The late seating break is determined by the artists and
All children attending UMS performances must
Unused tickets may be donated to UMS for a tax- generally occurs during a suitable repertory break in the
be able to sit quietly in their own seats without
deductible contribution until the published start time of program. This could be as late as intermission or, for classical
disturbing other patrons. Children unable to do
the performance. Unused tickets that are returned after music concerts, after the first piece (not after individual
so, along with the adult accompanying them, may
the performance begins are not eligible for UMS Credit movements). UMS makes every effort to alert patrons in
be asked by an usher to leave the auditorium.
or for a tax-deductible contribution. advance when we know that there will be no late seating.
Please use discretion when choosing to bring a
UMS works closely with the artists to allow a more flexible child. Remember, for regular UMS performances,
Lost or Misplaced Tickets late seating policy for family performances. everyone must have a ticket, regardless of age.
Call the Ticket Office at 734-764-2538 to have duplicate
tickets waiting for you at Will-Call. Duplicate tickets Notices about start times and late seating will be sent via For more information about the family-friendliness
cannot be mailed. e-mail. Please make sure that the UMS Ticket Office has of specific UMS performances, please call the Ticket
your e-mail address on file. Office at 734-764-2538.
Seat Maps
Hill Auditorium Michigan Theater
825 North University Avenue 603 East Liberty Street

Map 2 Map 3
Map 1 - Orchestras Classical Recitals & Jazz/World Main Floor & Mezzanine Only
Sec Sec 19 Sec Sec Sec 19 Sec
Sec 18 20 Sec Sec Sec
17 21 18 20
17 21 Sec 8
Sec 7 Sec 9 Sec 10
Sec Sec Sec Sec Sec Sec Sec 6
Sec 13 14 15 Sec Sec Sec Sec
12 16 Sec 12 13 14 15

Sec 8 Sec 9 Sec 2 Sec 3 Sec 4 MAIN FLOOR

Sec 7 Sec 10 Sec 8 Sec 1 Sec 5
Sec 6 Sec 6
Sec 7 Sec 9 Sec 10


Sec 2 Sec 3
Sec 4

Sec 2 Sec 3 Sec 4 Sec 2 Sec 3 Sec 4
Sec 1 Sec 5 Sec 1 Sec 5 A
Hill Auditorium (H3)
Sec 3 Mariachi Vargas de Tecalitlán Fri Nov 5
Sec 2 Sec 4 Sec 2 Sec 3 Assi El Helani Sat Nov 6
Sec 4
Blues at the Crossroads Thu Feb 10
STAGE STAGE Septeto Nacional Ignacio Thu Apr 7
Piñeiro de Cuba
Tony Allen’s Afrobeat Tour Sat Apr 16
Hill Auditorium (H1)
Mariinsky Orchestra/Gergiev Sun Oct 10 Hill Auditorium (H2) STAGE
Handel’s Messiah Sat-Sun Dec 4-5 Rosanne Cash Sat Sep 25
Cleveland Orchestra/ Tue Feb 1 Venice Baroque Orchestra Wed Oct 27
Murray Perahia Wed Nov 10 Michigan Theater (MT)
Welser-Möst Hot Clubs of San Francisco & Fri Oct 29
Detroit Symphony Orchestra/ Sat Mar 19 Renée Fleming Sun Jan 16
Wynton Marsalis/Jazz at Wed Feb 2 Detroit/Django Reinhardt Birthday
Mahler 8 NT Live: A Disappearing Number Sun Oct 31
Bach Collegium Japan Thu Mar 24 Lincoln Center Orchestra
Rafał Blechacz Fri Feb 11 Carolina Chocolate Drops Fri Dec 3
St. Petersburg Philharmonic/ Sat Apr 2 NT Live: Hamlet Sun Jan 2
Temirkanov Kodo Wed Feb 23
“Songs and Waltzes of Love” Sat Apr 23 NT Live: FELA! Sun Jan 30
NT Live: Frankenstein Wed Apr 6
NT Live: The Cherry Orchard Date TBA

64 | 65 | 734-764-2538
Power Center Rackham Auditorium Lydia Mendelssohn Theatre
121 Fletcher Street 915 East Washington Street 911 North University Avenue

Sec 6
Sec 8 Sec 7 Sec 5
Sec 7 Sec 9
c MAIN FLOOR Sec 8 Sec 4


Sec 2

Sec 3 Sec 3 Sec 1
Sec 2 Sec 4 STAGE

Sec 1 Sec 5 Rackham Auditorium (R)

Takács Quartet Schubert Concert 1 Thu Oct 14
Jerusalem String Quartet Thu Oct 21
ONCE NOW Thu Nov 4 Balcony Balcony
STAGE Overhang Overhang
Nadja Salerno-Sonnenberg/ Fri Feb 4
Power Center (P) New Century Chamber Orch
Paul Taylor Dance Company Thu-Sat Oct 7-9 Concertante/Rafał Blechacz Sun Feb 13
Sankai Juku Sat-Sun Oct 23-24 Takács Quartet Schubert Concert 2 Sun Feb 20
Laurie Anderson’s Delusion Fri-Sat Jan 14-15 Scharoun Ensemble Wed Mar 9
Grupo Corpo Fri-Sat Jan 21-22 Takács Quartet Schubert Concert 3 Fri Apr 8
Vijay Iyer/Rudresh Mahanthappa Sat Feb 12 Tetzlaff Quartet Sat Apr 9 Lydia Mendelssohn Theatre (LMT)
Merce Cunningham Dance Co. Fri-Sat Feb 18-19 Joanne Shenandoah Sun Jan 23
Druid/Cripple of Inishmaan Thu-Sun Mar 10-13 Baby Loves Salsa Sun Jan 30
Propeller/Comedy of Errors Wed-Sun Mar 30-Apr 3
and Richard III

General Admission Venues Price Level Gold

St. Francis of Assisi (SF) Matthaei Botanical Gardens Price Level A

2250 East Stadium Boulevard 1800 North Dixboro Road Pricing
La Capella Reial de Catalunya Thu Sep 30 Price Level B
Susurrus Sep 9-Oct 3 Pricing scheme
The Tallis Scholars Thu Nov 4
applies to all venues.
Sequentia Thu Jan 27 TBA Price Level C

Stew & The Negro Problem Nov 18-20

Price Level D

Price Level E
All Tickets On Sale Beginning Wednesday, August 25 at 10 am!
Donors of $250+ may order tickets by phone beginning Wednesday, August 18 at 10 am.
Internet Sales begin on Monday, August 23 at 10 am at

How to Order
Phone Mail Group Sales Office
With Visa, MasterCard, UMS Ticket Office Bring your friends and save! When you bring a group of 10 or more to
Discover, or American Express Burton Memorial Tower a UMS event, you’ll save 15-25% off the regular ticket price for most
734-764-2538 881 North University Avenue performances. For more information, contact UMS Group Sales at
Outside the 734 area code Ann Arbor, MI 48109-1011 734-763-3100 or
and within Michigan, call
UMS accepts group reservations beginning Wednesday, August 11,
toll-free 800-221-1229. Hours two weeks before individual events go on sale to the general public.
Beginning Tue, Sep 7:
Internet Plan early to guarantee access to great seats!
Mon-Fri: 9 am to 5 pm
Sat: 10 am to 1 pm
In Person Before Tue, Sep 7:
Please visit the Ticket Office on the Mon-Fri: 10 am to 5 pm
north end of the Michigan League
building (911 North University Avenue). Student Tickets Don’t Miss These Important Dates!
The Ticket Office also sells tickets for all UMS has several programs offering
Wed Aug 18 Donor Single Ticket Day
U-M School of Music, Theatre & Dance discounted tickets to high school and (for donors of $250+)
productions and the Ann Arbor college students in accredited degree
programs. For information, Fri Aug 20 Last Day to Order Monogram Series
Summer Festival.
visit Mon Aug 23 Internet Sales Begin
734-647-1171 Wed Aug 25 Single Ticket Day – all tickets to
individual events on sale by phone
and in person
Fri Sep 3 Last Day to Order UMS Theater Series
Fri Sep 24 Last Day to Order All Other UMS Series

66 | 67 | 734-764-2538
Season Media Partner

Media Partners
Special thanks to the following supporters:
Arts at Michigan. Arts at Michigan provides programs and services that enable students to integrate arts and culture
into their undergraduate experience at the University of Michigan.
Arts Midwest’s Performing Arts Fund. The Paul Taylor Dance Company and Mariachi Vargas de Tecalitlán are
funded in part by the Performing Arts 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.
Community Foundation for Southeast Michigan. Special project support for Mahler's Symphony No. 8 is provided
by the Community Foundation for Southeast Michigan through a grant to UMS in partnership with the Detroit
Symphony Orchestra and Michigan Opera Theatre.
Doris Duke Charitable Foundation Endowment Fund. Special project support for several components of the 10/11
UMS season is provided by the Doris Duke Charitable Foundation Endowment Fund, established with a challenge grant
from the Leading College and University Presenters Program at the Doris Duke Charitable Foundation.
Japan Foundation. Sankai Juku is funded in part by the Japan Foundation through its Performing Arts JAPAN
The Andrew W. Mellon Foundation. Special project support for classical music offerings, as well as commissioning UMS is a member of the University of Michi-
and associated residency activities, is provided by The Andrew W. Mellon Foundation as part of a multi-year grant to gan Public Goods Council and the Cultural
Alliance of Southeastern Michigan.
National Endowment for the Arts. Special project support for several components of the 10/11 season is provided by
the National Endowment for the Arts through its American Masterpieces: Three Centuries of Artistic Genius program.
University of Michigan. The University of Michigan provides special project support for many activities in the 10/11 The University of Michigan is an Equal
season through the U-M/UMS Partnership Program. Additional support is provided by the University of Michigan Health Opportunity Employer and provides
System, the U-M Office of the Vice President for Research, the U-M Office of the Senior Vice Provost for Academic programs and services without regard
to race, sex, color, religion, sexual
Affairs, and many other individual academic units. orientation, gender identity, national
origin, or disability.
Wallace Endowment Fund. The Paul Taylor Dance Company is funded in part by the Wallace Endowment Fund,
established with a challenge grant from the Wallace Foundation to build public participation in arts programs.

Back Cover Photos: Rosanne Cash by Deborah Feingold, Concertante by Michael Aheam
US Postage
Burton Memorial Tower Ann Arbor, MI
881 North University Avenue Permit No. 27

Ann Arbor, MI 48109-1011

Uncommon and Engaging Experiences
Connecting Audiences and Artists in

All Tickets On
Sale Wednesday,
Postmaster: Please deliver between August 13-20.
August 25 —
see additional
details inside!

Graphic Design: Margot Campos

Publication Date: August 2010