132nd Season

ums 10|11
University of Michigan | Ann Arbor
 132st Season

September
ums 10|11

9-Oct 3 Susurrus Theater, Monogram

25 Sat Rosanne Cash Monogram
30 Thu La Capella Reial de Catalunya Divine Voices, Monogram
with Hesperion XXI and the
Tembembe Ensamble Continuo
Jordi Savall music director

October
7-9 Thu-Sat Paul Taylor Dance Company Dance, Monogram
9 Sat Paul Taylor Dance Company Family Performance Family
10 Sun Mariinsky Orchestra Choral Union
Valery Gergiev conductor
Denis Matsuev piano
14 Thu Takács Quartet: Schubert Concert 1 Chamber Arts, Schubertiade
21 Thu Jerusalem Quartet Chamber Arts, Monogram
23-24 Sat-Sun Sankai Juku: Hibiki: Resonance From Far Away Dance, Monogram
27 Wed Venice Baroque Orchestra Choral Union, Monogram
29 Fri Django Reinhardt’s 100th Birthday Celebration Jazz, Monogram
The Hot Club of San Francisco and
The Hot Club of Detroit

November
2 Tue ONCE.MORE Festival: The Historic Concert Chamber Arts
4 Thu The Tallis Scholars Divine Voices, Monogram
6 Sat Mariachi Vargas de Tecalitlán Monogram
10 Wed Murray Perahia piano Choral Union, Piano
18-20 Thu-Sat Stew and The Negro Problem Monogram
132nd Season

with Heidi Rodewald

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

January
14-15 Fri-Sat Laurie Anderson’s Delusion Theater, Monogram
16 Sun Renée Fleming soprano Choral Union
21-22 Fri-Sat Grupo Corpo Dance, Monogram
23 Sun Joanne Shenandoah Monogram
27 Thu Sequentia Divine Voices, Monogram
30 Sun Baby Loves Salsa Family

Cover Photo: Merce Cunningham Dance Company by Anna Finke. Pages 2-3: Renée Fleming by Andrew Eccles, Tony Allen by Bernard Benant, Grupo Corpo’s Imá by Jose Luiz Perderneiras,
Carolina Chocolate Drops, Laurie Anderson by Kevin Kennifick.
 10/11 Season Media partner

Series Index Pages

Choral Union 6-9
Theater 10-11
Chamber Arts 12-13
Dance 14-15
Jazz 16-17
Divine Voices 18-19
Family 20
Schubertiade 21
Michael’s Picks 22-23
Monogram 24-43
Global/Americas 44
Piano 45

February
1 Tue The Cleveland Orchestra Choral Union, Piano, Monogram
Franz Welser-Möst conductor
Pierre-Laurent Aimard piano
2 Wed Jazz at Lincoln Center Orchestra Jazz, Monogram
with Wynton Marsalis
4 Fri Nadja Salerno-Sonnenberg and Chamber Arts, Monogram
New Century Chamber Orchestra
10 Thu Blues at the Crossroads: Monogram
The Robert Johnson Centennial Concert
11 Fri Rafał Blechacz piano Choral Union, Piano, Monogram
12 Sat Vijay Iyer Trio and Rudresh Mahanthappa’s Apex Jazz, Monogram
13 Sun Concertante with Rafał Blechacz piano Chamber Arts, Monogram
18-19 Fri-Sat Merce Cunningham Dance Company: The Legacy Tour Dance, Monogram
20 Sun Takács Quartet: Schubert Concert 2 Schubertiade, Monogram
23 Wed Kodo Monogram

March
9 Wed Scharoun Ensemble Berlin Chamber Arts
10-13 Thu-Sun Druid and Atlantic Theater Company Theater, Monogram
10/11 ums season | www.ums.org | 734-764-2538

Martin McDonagh’s The Cripple of Inishmaan

19 Sat Detroit Symphony Orchestra/Mahler’s Symphony No. 8 Choral Union, Monogram
Leonard Slatkin conductor
24 Thu Bach Collegium Japan/ Bach’s Mass in b minor Choral Union, Divine Voices, Monogram
Masaaki Suzuki conductor
30-Apr 3 Wed-Sun Propeller Theater, Monogram
Shakespeare’s Richard III and The Comedy of Errors

April
2 Sat St. Petersburg Philharmonic Choral Union, Piano
Yuri Temirkanov conductor
Nikolai Lugansky piano
7 Thu Septeto Nacional Ignacio Piñeiro de Cuba Jazz, Monogram
8 Fri Takács Quartet: Schubert Concert 3 Schubertiade, Monogram
9 Sat Tetzlaff Quartet Chamber Arts, Monogram
16 Sat Tony Allen’s Secret Agent Monogram
23 Sat “Songs and Waltzes of Love” Choral Union, Monogram

2 | 3
 Welcome to UMS’s 2010/11 season!

Whenever we announce our new season, we always hear from

people about the performances that they are most excited
about attending.

Yet when we ask them a year later, it often turns out that their
“number one” event for the year wasn’t what they anticipated.
In fact, it was often completely unexpected — a total surprise.

That’s the beauty of the live performing arts. Just when we

think we’ve seen it all, they reach out and shake us up in
profoundly overwhelming ways, turning something that we
thought would be “nice” or “interesting” or “entertaining” into
an experience that stays with us for a lifetime.

And the Number One

Event is…???
We’ve all had those experiences — the orchestra concert that
verged on being out-of-control, providing a vivid journey
through a piece of new music, or a magical interpretation of a
“chestnut” that we’ve heard countless times before. The dance
company that presented a sense of joyful freedom, infectious
to all. The jazz ensemble that was positively on fire, making the
music come alive in new ways. A young artistic making a UMS
debut. The theater production that was so compelling that it
changed, if only for a moment, how we view the world.

As you think about the events on UMS’s 2010/11 season and

start to put together your season subscription, we hope you’ll
leave room for an unexpected “number one” — a performance
that you might not know right now but that may end up being
one of the highlights of your year. None of us knows right now
what the “number one” event will be next season — but we all
have the capacity to open ourselves to the possibilities.
Why Subscribe?
Subscribing to a UMS series can simplify
and enhance your quality of life.
Consider the following possibilities:
Personal Fulfillment
You’re committed to life-long learning and want to
invest in yourself. A subscription to the live performing
arts provides that investment, plus an opportunity
to broaden your knowledge of other cultures while
deepening your understanding of your own.
UMS can take you to a place where imagination
is thriving.
Many of us live by the calendar and discover that we
need to schedule escape to maintain balance in our
lives, whether it’s escape to a relaxing evening of beauty
or escape from the intensity of our work lives. As a UMS
subscriber, you’ll guarantee access to the concerts you
really want to see without worrying about sellouts or
lines at the ticket office.
The desire to be pushed to the edge of what you can
feel and think is constantly fulfilled by the unfiltered
immediacy of the live performing arts.
You want to support your community, which provides
an unsurpassed quality of life.
Value
As a subscriber, you get free ticket exchanges (up to 48
hours before the performance) if you find yourself unable
to attend an event on your series. Single ticket buyers pay
$6 per ticket for this privilege.
Subscribers receive discounts of up to 22% over single
ticket prices — and have access to the best seats in the
house before they go on sale to the general public. That,
combined with access to additional tickets before public
ticket sales dates, makes subscribing a terrific value.
Additionally, fixed package subscribers now receive a 10%
discount on all Monogram Series concerts (see Section 3
of the Order Form).
Relationship Building
When you subscribe with friends and family, you spend
meaningful time with people who are important to
you, and create memories together that will provide a
profound recollection to your past.
Discovery
You can take risks and encounter the unfamiliar from the
comfort of a theater seat as you learn about new cultures,
transcending the barrier of language.
You can watch how artists develop over time and
appreciate the inherent risks in the dynamic spontaneity
of live performance.
If you want to try something different or new but don’t
know where to begin, UMS can help. UMS puts together
diverse series packages that include both famous artists and
emerging groups that we believe will provide equally moving
experiences. We hope that you will use your subscription to
broaden your own appreciation of the wide scope of today’s
performing arts world.
IMPORTANT BENEFITS
for Subscribers Only!
INSTALLMENT BILLING. When you order your subscription
before Friday, June 25, you can pay in three equal install-
ments (credit card orders totaling $300+ only). You will be
charged during the week your order is received, the first
week in July, and the first week in August. Donations to UMS
that are included with your ticket order will be charged in
full on the date received.
FREE PARKING. When you order at least eight events
before Friday, June 25, you’ll be eligible for free parking
in the Power Center (Fletcher Street) structure. Be sure to
check the box on the order form if you would like to take
advantage of this opportunity.
FREE EXCHANGES. All subscribers receive free ticket
exchanges up to 48 hours before the performance. See
details on page 49.
TALK TO US! Do you have further questions or comments
about the events and artists on the 10/11 season? We have
no-cost opportunities for you to learn more:
» Members of the UMS Programming Department are
available to answer questions about the artists in the
season. Just e-mail ums1011season@umich.edu, and
a UMS staff member who has been working on the
10/11 program for over a year will contact you directly
within 24 hours to answer your questions and help you
put together a series that will maximize your personal
enjoyment of next season.
» UMS has posted playlists and videos featuring
10/11 season artists for each series on amazon.com and
YouTube. Links are available on the UMS website at
www.ums.org.
There are two types of UMS subscribers.
Fixed Package Subscribers subscribe to the packages that
we’ve created on pages 6-23 and 45 of this brochure. Fixed
packages are usually programmed by genre (e.g., chamber
music or dance) or theme (e.g., Schubertiade). If you enjoy
a particular type of event, this is probably the best option
for you. NEW THIS YEAR — fixed package subscribers also
receive 10% off any Monogram concerts now.
Monogram Subscribers create their own subscription
of at least five events from pages 24-43. You become the
programmer and curate your own season, customized to
your personal interests. If you enjoy a wide variety of arts
events, or if you like to try new, unfamiliar things, this is
probably the option you will enjoy the most. While not
all events in the 10/11 season are offered for Monogram
packages, you’ll have plenty of performances to choose
from, and you’ll be able to purchase any number of tickets
to each event — so be sure to coordinate with friends and
family!
A Note About Single Tickets: As a subscriber, you
may order tickets to any event in our season now. Non-
subscribers may purchase tickets for individual events
beginning Wednesday, August 25 (available online on
Monday, August 23). Selection will be limited to inventory
available after subscription orders and group reservations
have been processed. UMS Donors ($250+ annually) may
purchase tickets to individual events beginning Wednesday,
August 18.
Choral Union 132nd Annual Series
Mariinsky Orchestra Venice Baroque Orchestra
Valery Gergiev music director and conductor Robert McDuffie violin
Denis Matsuev piano
Wednesday, October 27 8 pm
Sunday, October 10 4 pm hill Auditorium
Hill Auditorium
The Venice Baroque Orchestra was founded in 1997
Valery Gergiev’s long association with the Mariinsky by harpsichordist Andrea Marcon and is recognized as
(formerly known as the Kirov) — including 10 previous one of Europe’s premier ensembles devoted to period
UMS concerts, most recently the five-concert cycle of instrument performance. For this UMS debut, they
Shostakovich symphonies — has raised the ensemble’s perform music of their home city — Venetian composer
profile to the point where it is now widely regarded as Antonio Vivaldi’s The Four Seasons — paired with an
one of the most dynamic and exciting ensembles on “American Four Seasons” by Philip Glass featuring violinist
the world stage today. This series-opening celebration Robert McDuffie, who has worked closely with Glass
features the fiery Russian pianist Denis Matsuev in over the years and who last appeared at UMS with the
Rachmaninoff’s third piano concerto. “His technique Jerusalem Symphony in 2008. The VBO will perform the
is phenomenal...Perhaps he is the new Horowitz.” Vivaldi on period instruments, then switch to modern-
(London Times) day instruments for the Glass composition. “The first
Program performance of [Philip Glass’s ‘American Four Seasons’]
Rachmaninoff Piano Concerto No. 3 in d minor, was so spectacularly played by the new piece’s muse,
Op. 30 (1900-01)
American violinist Robert McDuffie...that the event turned
Mahler Symphony No. 5 (1901-02)
into one of the most exciting musical evenings of the
10/11 major orchestras sponsored by
year.” (The Toronto Star)
Sponsored by the Catherine S. Arcure and Program
Herbert E. Sloan Endowment Fund. Vivaldi The Four Seasons, Op. 8 (1723)
hosted by james and nancy stanley Glass Violin Concerto No. 2: “The American Four Seasons”
and jay and mary kate zelenock.
(2009)
Additional promotional support provided by WRCJ 90.9 FM
and Detroit Jewish News. hosted by Jane and Edward Schulak.

Photos: Mariinsky Orchestra, Venice Baroque Orchestra by Harold Hoffmann, Renée Fleming by Andrew Eccles.

Murray Perahia piano
Wednesday, November 10 8 pm
hill Auditorium
Anyone who has heard one of Murray Perahia’s previous
11 UMS appearances would have to agree with the
assessment of The Los Angeles Times: “Perahia is
a marvel.” 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)
co-sponsored by Natalie MatovinoviĆ and gil omenn and
martha darling.
Additional promotional support provided by WRCJ 90.9 FM
and detroit jewish news.
Choral Union SErIes Media partner
Renée Fleming soprano
Hartmut Höll piano
Sunday, January 16  4 pm
Hill Auditorium
One of the most beloved and celebrated musical ambas-
sadors 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 their opening night gala. Her fame is such that
perfumes, desserts, and flowers have all been named
after her, but those superficial accolades pale in compar-
ison 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.
The Cleveland Orchestra
Franz Welser-Möst conductor
Pierre-Laurent Aimard piano
Tuesday, February 1 8 pm
Hill Auditorium
10/11 ums season | www.ums.org | 734-764-2538
In a season celebrating the Americas, it only makes
sense to include one of the great American orchestras
that is also admired as one of the top ensembles in the
world. Founded shortly after the end of World War I,
The Cleveland Orchestra has been guided by seven
music directors, each of whom has 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 the French pianist Pierre-
Laurent Aimard in this performance.
Program
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)
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.
Additional promotional support provided by WRCJ 90.9 FM
and detroit jewish news.
6 | 7
 Rafał Blechacz piano Mahler’s Symphony No. 8
Friday, February 11 8 pm Detroit Symphony Orchestra
hill Auditorium Ums Choral Union
U-M Chamber Choir | U-M University Choir
In October 2005, then-20-year-old Rafał Blechacz, an
U-M Orpheus Singers | MSU Children’s Choir
unassuming young man from a small town in northern
Leonard Slatkin conductor
Poland, arrived in Warsaw for the 15th International
Chopin Competition. His sensational performance Saturday, March 19 8 pm
won not only the competition, but also all four special Hill Auditorium
prizes for the polonaise, mazurka, sonata, and concerto In commemoration of the 150th anniversary of Gustav
performances — in fact, one of the judges remarked that Mahler’s birth and the 100th anniversary of his death,
he “so outclassed the remaining finalists that no second UMS is collaborating with the Detroit Symphony
prize could actually be awarded.” Blechacz was the first Orchestra, the U-M School of Music, Theatre & Dance,
Pole to win the prize since Krystian Zimerman 30 years the MSU Children’s Choir, and Michigan Opera Theatre
earlier. Notwithstanding his young age, his playing offers to present a spectacular, not-to-be-missed performance
poetry, maturity, poise and concentration, as well as a of Mahler’s monumental Symphony No. 8. The first
phenomenal and luminous technique. “How reassuring performance of this “choral symphony” featured a chorus
it is to see one so young putting poetry first…we were all of about 850, with an orchestra of 171, leading Mahler’s
on another planet.” (Financial Times) agent to dub the work “Symphony of a Thousand.” While
The Friday performance is sponsored by Mahler himself did not approve of the title, it nevertheless
remains associated with this work, which is rarely
performed due to the massive forces required to do
Additional promotional support provided by WRCJ 90.9 FM
and detroit jewish news. it justice.
Program
Mahler Symphony No. 8 (“Symphony of a Thousand”) (1907)
10/11 major orchestras Sponsored by

Photos: American premiere of Mahler’s Symphony No. 8, performed by the Philadelphia Orchestra and Leopold Stokowski, 1916; Rafa_ Blechacz by Felix Broede.

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
performances of great works of the Baroque period,
the Bach Collegium Japan comprises 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)
Program
J.S. Bach Mass in b minor, BWV 232 (1724-49)
Co-Sponsored by Robert and marina whitman and
Clayton and ann Wilhite.
Additional promotional support provided by WRCJ 90.9 FM.
Subscribe Today!
10 concerts in Hill Auditorium
www.ums.org / 734-764-2538
Main Floor $650 / $575 / $520
Mezzanine $500 / $420
Balcony $350 / $280 / $100
St. Petersburg Philharmonic
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, performing 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.”
Program
Rimsky-Korsakov Scheherazade, Op. 35 (1888)
Rachmaninoff Piano Concerto No. 2 in c minor, Op. 18 (1909)
10/11 major orchestras sponsored by
sponsored by
Sponsored in part by donald morelock.
Additional promotional support provided by WRCJ 90.9 FM
and detroit jewish news.
“Songs and Waltzes of Love”
Genia Kühmeier soprano | Bernarda Fink mezzo-soprano
Michael Schade tenor | Thomas Quasthoff bass-baritone
10/11 ums season | www.ums.org | 734-764-2538
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 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’s
composition for vocal quartet and piano, performed by an
unparalleled quartet of singers, including bass-baritone
Thomas Quasthoff, who last appeared at UMS in a Lydia
Mendelssohn Theatre recital in 2000.
Program
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)
8 | 9
theater series Media partners

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5 productions
www.ums.org / 734-764-2538

Main Floor $210 / $190 / $145

Balcony $190 / $175

International

Theater Series

Susurrus Laurie Anderson’s Delusion

Written, directed, and conceived by David Leddy
Friday, January 14 8 pm
September 9 – October 3 Saturday, January 15 8 pm
Matthaei Botanical Gardens Power Center

Susurrus is a play without actors, without a stage, and Laurie Anderson is one of America’s most renowned
with only one person in the audience — YOU. It is part — and daring — creative pioneers. Recognized
radio play, part avant-garde sonic art, part lesson in bird worldwide as a leader in the use of technology in the
dissection, and part stroll through nature. Audiences arts, Anderson is widely known for her multimedia
follow a map around the Matthaei Botanical Gardens presentations, casting herself in roles as varied as
as they listen to the recorded narrative on an iPod with visual artist, composer, poet, photographer, filmmaker,
headphones. The listener hears snippets about opera, electronics whiz, vocalist, and instrumentalist. At
memorial benches, and botany, which fit together into the heart of this new multimedia work, which was
a mournful and poignant story of love and loss that is presented for the first time at the Vancouver 2010
loosely based on Benjamin Britten and W.H. Auden’s Olympic Games, is the pleasure of language and a fear
collaboration on Britten’s opera, A Midsummer Night’s that the world is made entirely of words. Conceived
Dream. Susurrus was presented to great acclaim and as a series of short mystery plays, Delusion jump-cuts
sellout audiences at Glasgow’s Botanic Gardens in 2006 between the everyday and the mythic, evoking a world
and at the Edinburgh Fringe Festival in 2009, acclaimed filled with nuns, elves, rotting forests, ghost ships,
by both The Guardian and The Scotsman as one of the archaeologists, dead relatives, and unmanned tankers.
top arts events of the year. Times will vary, with groups Employing a series of altered voices and imaginary
of four admitted every 15 minutes. The production guests, Anderson combines her signature violin pieces,
will include about a mile of walking on defined trails. electronic puppetry, music, and visuals, with the poetic
Umbrellas provided in case of rain. language that has become her trademark to tell a
Additional promotional support provided by WEMU 89.1 FM.
complex story about longing, memory, and identity.
Additional promotional support provided by WEMU 89.1 FM,
Metro Times, and Ann Arbor’s 107one.

Photos: Propeller’s The Taming of the Shrew by Philip Tull, Druid’s The Cripple of Inishmaan by Keith Pattison, Laurie Anderson’s Delusion.
Martin McDonagh’s Shakespeare’s Richard III
The Cripple of Inishmaan and The Comedy of Errors
Druid and Atlantic Theater Company Propeller
Garry Hynes director Edward Hall director
Power Center
Thursday, March 10 8 pm
Friday, March 11 8 pm Richard III
Saturday, March 12 8 pm
Wednesday, March 30 7:30 pm
10/11 ums season | www.ums.org | 734-764-2538

Sunday, March 13 2 pm
Power Center Friday, April 1 7:30 pm
Saturday, April 2 2 pm
It’s 1934, and news is thin on the island of Inishmaan. Sunday, April 3 7:30 pm
When word arrives that a Hollywood filmmaker is coming The Comedy of Errors
to a neighboring island to shoot a movie, excitement
ripples through the sleepy community. For Billy Claven,
Thursday, March 31 7:30 pm
Saturday, April 2 7:30 pm
a crippled orphan, the film provides an opportunity to Sunday, April 3 2 pm
get away from his bleak existence. He auditions for a part
in the film and, to everyone’s surprise, gets his chance. Propeller evolved out of Edward Hall’s first Shakespeare
play for the Watermill Theater in the mid-1990s. The
The Cripple of Inishmaan is “a break-your-heart, cruelly
all-male company mimics the theater in Shakespeare’s
funny evening directed with an exhilarating ruthlessness
time, and the company mixes a rigorous approach to the
and acted with a bracing lack of sentimentality.” (The
text with a modern physical aesthetic. Hall — son of the
Guardian) The second play in Martin McDonagh’s “Aran
English theater director Sir Peter Hall — says, “I want to
Islands” trilogy, it is infused with his trademark humor, rich
rediscover Shakespeare simply by doing plays as I believe
with macabre cruelty, and teeming with eccentric island
they should be done: with great clarity, speed, and full of
characters. Ireland’s acclaimed Druid Theater Company
as much imagination in the staging as possible.” The two
makes its UMS debut with this 2008 production.
plays will be presented in repertory, with the same cast
Individual performances sponsored by members performing both plays.
linda and maurice
binkow philanthropic fund Individual performances sponsored by robert and pearson macek
and Jane and Edward Schulak.
hosted by David and phyllis herzig.
Additional promotional support provided by wemu 89.1 fm
Additional promotional support provided by ann arbor’s 107one.
and metro times.

10 | 11
Chamber arts SErIes Media partner

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www.ums.org / 734-764-2538

7 performances
(includes one Takács concert)

$256 / $220 / $166 / $124

9 performances
(includes all three Takács concerts)

$340 / $290 / $220 / $170

Chamber Arts
48th Annual Series
Schubert Cycle Concert 1 The Historic Concert
Takács Quartet ONCE.MORE Festival:
Jeffrey Kahane piano A 50th Anniversary Moment
Thursday, October 14    8 pm Tuesday, November 2 8 pm
rackham Auditorium rackham Auditorium
The always superlative Takács Quartet has become an The ONCE Group was a collection of musicians, visual
Ann Arbor favorite over the past decade, consistently artists, architects, and film-makers who, in the late 1950s
delivering performances that live well beyond the and early 1960s, created an environment in which artists
last note played in the concert hall. In the 10/11 could explore and share techniques and ideas and bring
season, they perform a three-concert cycle devoted them to the public. The organizers of the ONCE Festival
primarily to Franz Schubert’s late chamber works, with were five young composers who had all had interaction
the first performance launching the Chamber Arts with Ross Lee Finney, the U-M School of Music’s Composer-
Series. Chamber Arts subcribers may add the other in-Residence, as well as Visiting Professor Roberto Gerhard.
two concerts on to their subcription; see page 21 for Hosted by the ONCE group six times in Ann Arbor in the
program details. 1960s, the ONCE Festival had a significant impact on the
Program American arts and contemporary music scene; one of the
Schubert Quartettsatz in c minor, D. 703 (1820) enduring outcomes was the Ann Arbor Film Festival.
Schubert Piano Sonata in B-flat Major, D. 960 (1828)
D. Kellogg Soft Sleep Shall Contain You: A Meditation on To celebrate their pioneering contributions to Ann Arbor’s
Schubert’s “Death and the Maiden” (2010) ONCE Festival some 50 years ago, composers Ashley,
Schubert String Quartet in d minor, D. 810 (“Death and the
Mumma, Reynolds and Scarvada will be in attendance for
Maiden”) (1824)
a concert of historic works, selected by the composers
themselves. This special collaboration with the U-M
School of Music, Theatre & Dance will provide a look into
Jerusalem Quartet
Ann Arbor’s progressive role in the development of the
Thursday, October 21 8 pm American avant-garde. In a nod to the past, this concert will
rackham Auditorium feature 1960 ticket prices.
The Jerusalem Quartet was formed in 1993, when its Program
members were still teenagers, within the framework Roger Reynolds Mosaic for Flute and Piano (1962)
of the Young Musicians’ Group under the auspices of Robert Ashley in memoriam…Crazy Horse (symphony) (1963)
Gordon Mumma Large Size Mograph (1962)
the Jerusalem Music Centre and the America Israel
Donald Scavarda Groups for Piano (1959)
Cultural Foundation. The group returns after its highly Ashley in memoriam…Esteban Gomez (quartet) (1963)
acclaimed UMS visits in 2005 and 2007. Scavarda FilmSCORE for Two Pianists (1962)
Program Scavarda GREYS, A FilmSCORE (silent version) (1963)
Mendelssohn Quartet in e minor, Op. 44, No. 2 (1837) Scavarda/Mumma GREYS, A FilmSCORE (with sound) (1963)
Kopytman String Quartet No. 3 (1969) George Cacioppo Cassiopeia (1962)
Brahms Quartet in c minor, Op. 51, No. 1 (1873) Mumma Sinfonia (1958-60)
Scavarda Matrix for Clarinetist (1962)
sponsored by the friends of the jerusalem quartet.
Reynolds A Portrait of Vanzetti (1962-63)
Additional promotional support provided by detroit jewish news.
Additional promotional support provided by ann arbor’s 107one.

Photos: Takács Quartet by Ellen Appel, Jerusalem Quartet by Marco Borggreve, Nadja Salerno-Sonnenberg by Christian Steiner, Concertante by Michael Aheam.
Nadja Salerno-Sonnenberg violin
New Century Chamber Orchestra
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.
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” on the Choral Union Series.
Program
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.
Concertante and
Rafał Blechacz piano
Sunday, February 13 4 pm
rackham Auditorium
Comprised 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.
They are joined by the Polish pianist Rafał Blechacz,
who performs a chamber arrangement of Chopin’s
Piano Concerto No. 1.
Program
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)
Scharoun Ensemble Berlin
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 program will include Schubert’s Octet
in F Major, plus additional works to be announced.
Tetzlaff Quartet
Saturday, April 9 8 pm
10/11 ums season | www.ums.org | 734-764-2538
rackham Auditorium
The terrific German violinist Christian Tetzlaff, who most
recently appeared as soloist with the San Francisco
Symphony in 2010, brings his string quartet to Ann Arbor.
The group was founded in 1994 by Tetzlaff and his sister,
Tanja. Despite intense individual touring schedules, they
make a commitment to perform each year as a quartet,
drawing accolades from critics and casual listeners alike.
Program
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)
12 | 13
Dance series Media partners

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Main Floor $206 / $192 / $133

Balcony $206 / $165

Dance 20th Annual Series

Paul Taylor Dance Company Hibiki: Resonance from Far Away
Paul Taylor artistic director Sankai Juku
Ushio Amagatsu director, choreographer, designer
Thursday, October 7 8 pm
Friday, October 8 8 pm Saturday, October 23 8 pm
Saturday, October 9 8 pm Sunday, October 24 2 pm
Power Center Power Center
More than a half-century ago, after performing in the companies Ushio Amagatsu, the founder and artistic director
of Merce Cunningham, Martha Graham, and George Balanchine, of Sankai Juku, trained in classical as well as
Paul Taylor became the youngest member of the pantheon modern dance before he devoted his life to butoh.
that created American modern dance. Now 80, Taylor is still Butoh first appeared in Japan after World War II
acclaimed for the vibrancy, relevance, and power of his dances. and is often defined by its playful and grotesque
As prolific as ever, he continues to offer cogent observations imagery, taboo topics, and absurd environments.
on life’s complexities while tackling some of society’s thorniest Traditionally performed in white body makeup
issues. His work has largely been iconoclastic, but Taylor has with slow, hyper-controlled, mesmerizing motion,
also made some of the most purely romantic, most astonishingly butoh represents to Amagatsu a “dialogue with
athletic, and downright funniest dances ever put on a stage. gravity,” whereas most dance forms revel in the
UMS, in collaboration with the U-M Department of Dance, escape from gravity. It plays with the perception
shines a light on Paul Taylor, with a day-long residency and of time and space through slowing down the
three performances highlighting just a fraction of the more experience — the dance equivalent of haiku, only
than 130 dances he has created. “What other artist today makes much longer. The company last appeared in Ann
poetic drama of such variety and eloquence? A Taylor season Arbor in 1999 and presents Hibiki, which received
is a journey through one of the most singular and searching an Olivier Award in 2002 for “Best New Dance
imaginations of our time.” (The New York Times) Production.”
Program (Thu 10/7) funded in part by the Japan foundation through the
performing arts Japan program.
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)
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.
Funded in part by the Wallace Endowment Fund and by the national
endowment for the arts as part of american masterpieces: three
centuries of artistic genius.
Additional promotional support provided by Ann Arbor’s 107one.

Photos: Takács Quartet by Ellen Appel, Jerusalem Quartet by Marco Borggreve, Nadja Salerno-Sonnenberg by Christian Steiner, Concertante by Michael Aheam.

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 featuring
Ímã (2009) and another work to be announced. Don’t
miss this chance to experience Grupo Corpo’s “searing
sensuality elegantly under control.” (Le Monde, Paris)
The Friday performance is sponsored by
Additional promotional support provided by WEMU 89.1 Fm.
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 away in July 2009 at the age of 90, he left behind
a plan for the dissolution of his dance company and the
preservation of his works: a two-year legacy tour that
would end on December 31, 2011 with a performance
in New York City. Cunningham was undeniably a leader
of the American avant-garde throughout his 70-year
career and is considered one of the most important
choreographers of our time. With an artistic career
distinguished by constant innovation, he expanded not
only the frontiers of dance, but also of contemporary
visual and performing arts. His collaborations with
artistic innovators from every creative discipline have
yielded an unparalleled body of American dance,
music, and visual art. The program will be drawn from
the more than 150 dances that Cunningham created
during 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.
funded in part by the national endowment for the arts as part of
american masterpieces: three centuries of artistic genius.
Additional promotional support provided by Ann Arbor’s 107one.
Alvin Ailey American Dance
Theater
Judith Jamison artistic director
Thursday, March 3 7:30 pm [note start time!]
10/11 ums season | www.ums.org | 734-764-2538
Detroit Opera House
UMS is partnering with the Detroit Opera House
so that UMS dance subscribers can experience this
quintessentially American dance company. The Alvin
Ailey American Dance Theater grew from the now-
fabled performance in March 1958 at the 92nd Street
Young Men’s Hebrew Association in New York. Led by
Alvin Ailey and a group of young African-American
modern dancers, that performance forever changed
the perception of American dance. Now, some 52 years
later, the company has earned a reputation as one of the
most acclaimed international ambassadors of American
culture, promoting the uniqueness of the African-
American cultural experience and the preservation and
enrichment of the American modern dance heritage.
This performance is only available to dance subscribers; all
other tickets will be sold through the Detroit Opera House.
UMS will offer round-trip luxury coach service to Detroit for
this performance (time and pick-up location to be announced).
Please indicate on Section 5 of the Order Form if you
would like to add this transportation option to your dance
subscription.
14 | 15
Jazz series media partners

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www.ums.org / 734-764-2538

Main Floor $160 / $140 / $126

Mezzanine $140 / $112 / $60

Jazz
17th Annual Series

Django Reinhardt’s Jazz at Lincoln Center Orchestra

100th Birthday Celebration with Wynton Marsalis
The Hot Club of San Francisco
Wednesday, February 2    8 pm
The Hot Club of Detroit Hill Auditorium
Friday, October 29 8 pm Wynton Marsalis stands in a league all his own.
Michigan Theater
A creative genius, compassionate humanitarian,
The Hot Club of San Francisco is an ensemble of legendary trumpeter, masterful composer, arts
accomplished and versatile musicians celebrating advocate, tireless educator, and cultural leader, he
the music of Django Reinhardt and Stéphane inspires and uplifts people through superb jazz
Grappelli’s pioneering Quintette du Hot Club de concerts. His first trumpet came from Al Hirt at
France. Continuing this seminal French jazz tradition, age 6, though it took a few years for interest in the
a similar scene plays out as the Hot Clubs of San instrument to stick. Now, more than 40 years later, he
Francisco and Detroit present an evening of live is best known as the leader of the 15-member Jazz
Gypsy jazz with selected short silent films from the at Lincoln Center Orchestra. Despite one of the most
1930s by Charlie Bowers, James Sibley Watson, and aggressive touring schedules in the business, JLCO
Harold Shaw, courtesy of the San Francisco Silent makes each concert fresh, drawing in audiences who
Film Festival. Django Reinhardt is rightly hailed as are continually energized and amazed by the group’s
one of the greatest guitarists who ever lived, but depth of outrageous talent. “The audience was weak
many people praising his accomplishments as a from applauding and shouting and jumping up and
guitarist tend to overlook his roots in Gypsy culture down with the joy of the great music it had heard.”
and the fertile, polyglot Paris of the 1920s. Reinhardt (El Universal/The Herald)
and his companions used all these elements, along funded in part by the national endowment for the arts as part of
american masterpieces: three centuries of artistic genius.
with American jazz, to create this new music, but
Additional promotional support provided by Ann Arbor’s 107one
the Gypsy heritage seems to be the most important and michigan chronicle.
ingredient. The Hot Club of San Francisco and The
Hot Club of Detroit join together for this celebration of
Django Reinhardt’s 100th birthday.
Additional promotional support provided by Ann Arbor’s 107one.

Photos: Alvin Ailey’s Revelations by Andrew Eccles, Sankai Juku, Paul Taylor’s Piazzolla Caldera by Paul Goode.
Vijay Iyer Trio
Vijay Iyer piano
Stephan Crump bass | Marcus Gilmore drums
Apex
Rudresh Mahanthappa and
Bunky Green alto saxophone
featuring 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 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 of 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
as #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 alto saxophonist Rudresh Mahanthappa’s Apex.
Mahanthappa, who appeared with Danilo Perez in April
2010, is one of the most innovative young musicians and
composers in jazz today. He incorporates the culture of
his Indian ancestry and fuses myriad influences to create
a truly groundbreaking artistic vision.
Septeto Nacional
Ignacio Piñeiro de Cuba
Thursday, April 7 8 pm
Hill Auditorium
Septeto Nacional Ignacio Piñeiro de Cuba has been the
greatest and first champion of the traditional sound of
10/11 ums season | www.ums.org | 734-764-2538
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 the era.
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” from Cuba, but they know how to
throw a dance party! Septeto Nacional recently played in
the US for the first time since 1933.
Additional promotional support provided by michigan chronicle.
16 | 17
DIVINE VOICES Media PaRTNER

Subscribe Today!
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Main Floor/Reserved $172

Mezz/General Admission $132

Divine Voices
Series

The Route to the New World: The Tallis Scholars

From Spain to Mexico Peter Phillips director
La Capella Reial de Catalunya Thursday, November 4 8 pm
with Hesperion XXI and St. Francis of Assisi Catholic Church
Tembembe Ensamble Continuo The Tallis Scholars were founded in 1973 by Peter
Jordi Savall music director Phillips, who remains their director nearly 40 years later.
Through recordings and concert performances, they
Thursday, September 30 8 pm
St. Francis of Assisi Catholic Church have established themselves as the leading advocates of
Renaissance sacred music throughout the world. Named
“The term ‘early-music superstar’ is surely an after the composer Thomas Tallis, the ensemble is
oxymoron. But in the most understated of repertory, on widely recognized for the purity and clarity of its sound,
the most subdued of instruments, and in the most self- which beautifully serves the Renaissance repertoire,
effacing way, Jordi Savall comes close to being one.” allowing every detail of the musical lines to be heard.
(The New York Times) Jordi Savall is an exceptional For this return appearance, The Tallis Scholars juxtapose
figure in today’s music world. For more than 30 works of Renaissance England, including Allegri’s
years, he has been devoted to the rediscovery and exquisite Miserere, with the contemporary Estonian
performance of neglected musical treasures as soloist composer Arvo Pärt, whose minimalist style finds
and director of three ensembles, two of which join inspiration in Gregorian chant.
forces with Mexico’s Tembembe Ensamble Continuo
Program
for this concert. For the past 15 years, Tembembe Pärt Sieben Magnificat-Antiphonen
Ensamble Continuo has explored the relationship Palestrina Magnificat for Double Choir
between Mexican Baroque music and traditional Latin Tallis Miserere nostril
American instruments. This concert will trace the Allegri Miserere
Praetorius Magnificat II
movement of music from Spain to the New World, Byrd Miserere Mei
bringing together ensembles from Spain and Mexico, Miserere mihi, Domine
and fusing Hispanic baroque and guitar music with Palestrina Nunc Dimittis for Double Choir
contemporary jarocho and huasteco traditions. Pärt Nunc Dimittis
Magnificat
sponsored by carl and charlene herstein.

Photos: Three clerics singing from a rotulus, from British Library, Arundel MS 83, f. 63v. (Howard Psalter, East Anglia, 13c), Tembembe Ensamble,
“Un ángel reconforta a San Francisco con música” from the Museo de San Francisco de Santiago de Chile.
Voices from the Island Sanctuary:
Paris (1170-1230)
Sequentia
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 vocal music from Notre Dame de Paris
providing the impetus for this program. 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 power wielded by the French king.
Within this “city within a city” was the high altar, where
the best young male vocalists in Europe were heard on
important feast days and 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.
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 instru-
ment performances of great works of the Baroque
10/11 ums season | www.ums.org | 734-764-2538
period, the Bach Collegium Japan comprises 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.
Program
J.S. Bach Mass in b minor, BWV 232 (1724-49)
Co-Sponsored by Robert and marina whitman and
Clayton and ann Wilhite.
Additional promotional support provided by WGTE 91.3 FM.
18 | 19
 Subscribe Today!
www.ums.org / 734-764-2538

Adults $30
Children $15
Plus opportunity to add
Kodo performance

Family Series
Fun Today…Memories Forever Baby Loves Salsa
There’s a whole giant world beyond your backyard, Sunday, January 30 1 pm & 4 pm
and you want your children to discover it. It’s a world Lydia Mendelssohn Theatre
rich in possibilities for adventure and discovery — Just as Dan Zanes has revolutionized kids’ music, José
a world that UMS puts within reach. Conde — leader of the New York-based band Ola Fresca
— takes the Afro-Cuban form of salsa and turns it into
These one-hour family performances, shared with
something that kids and parents both love. Don’t be misled
your loved ones, become treasured memories that last
by the band’s name — kids who have outgrown their
a lifetime. You’ll see the excitement on your children’s
diapers are sure to enjoy this band’s dizzying range of
faces now — and years from now, they’ll thank you, for
Afro-Latin styles.
instilling in them a love for the performing arts.
Media Partner WEMU 89.1 FM.
UMS’s 10/11 Family Series includes American dancers
and salsa singers. Events are appropriate for children Optional Add-On Performance!
ages 4-10, but children of all ages are welcome
to attend.
Kodo Drummers of Japan
Wednesday, February 23 11 am
Hill Auditorium

Paul Taylor Dance Company This exuberant, yet highly disciplined, group trains at
Paul Taylor artistic director an island in Japan, where they hone their incredible
physical and musical skills. This special performance
Saturday, October 9 1 pm
Power Center has been scheduled during the Ann Arbor Public
Schools’ winter break, providing a mid-week outlet
Quite simply, Paul Taylor makes dances that people love.
to release some pent-up energy. An unforgettable
He has made some of the most astonishingly athletic
experience!
and downright funniest dance pieces ever put on stage.
This performance features his new work, Also Playing,
a Vaudeville revue with acts ranging from an Apache
dance to a tap-dancing horse and a toreador whose
sissy bulls are frightened of her. The afternoon will also
include a “chance to dance,” where children learn some
of the company’s dance moves in a pre-concert hands- the UMS 10/11 Family series is sponsored by
on — or shall we say feet-on? — workshop.

Photo: Paul Taylor’s Also Playing by Tom Caravaglia.

 Subscribe Today!
www.ums.org / 734-764-2538

$135 / $117 / $90 / $66

Schubertiade Series
The always superlative Takács Quartet has become an Ann Arbor favorite over the
past decade, consistently delivering performances 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. 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.”

Takács Quartet Takács Quartet

10/11 ums season | www.ums.org | 734-764-2538

Jeffrey Kahane piano

Sunday, February 20 4 pm
Thursday, October 14 8 pm Rackham Auditorium
Rackham Auditorium Program
Program Schubert String Quartet in B-flat Major, D. 112 (1814)
Schubert Quartettsatz in c minor, D. 703 (1820) Schubert String Quartet in a minor, D. 804 (“Rosamunde”) (1824)
Schubert Piano Sonata in B-flat Major, D. 960 (1828) Schubert String Quartet in G Major, D. 887 (1826)
D. 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 Takács Quartet
Maiden”) (1824) Jeffrey Kahane piano
Media Partner WGTE 91.3 FM. Paul Katz cello
John Feeney double bass
Friday, April 8 8 pm
Rackham Auditorium
Program
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.

20 | 21
Photos: Franz Schubert, Takács Quartet by Ellen Appel.
 Michael’s Picks
Michael Kondziolka is UMS’s Director of Programming. We asked him to select
events in the 10/11 season that he’s particularly excited to see — and to tell us
why, in his own words.

Susurrus The List

Written, directed, and conceived by David Leddy
September 9 – October 3 Saturday, September 25 8 pm
Matthaei Botanical Gardens
What is theater? I would imagine that this question
will be asked over and over by all those who attend
David Leddy’s Susurrus this fall. And I can assure
you that if you are thrown into a state of confusion
about your own personal definition of “going to the
theater,” David Leddy will feel that he has done his
job. The experience includes all the hallmarks of what
one expects when one goes to the theater — actors,
a story, lighting, music, a stage set — but delivered
in a way that is unconventional and decidedly active
(whoever said you couldn’t go to the theater and
reach your weekly pedometer goal at the same
time?). In the end, you are your own protagonist and
director. A map, a bird, an iPod Shuffle, a 350-acre
botanical garden, a raindrop, an oak tree, an herb
knot — welcome to Susurrus.
Rosanne Cash
Hill Auditorium
What one generation holds dear, the next ignores…or
so it can seem, at times. I was reminded of this notion,
which lives at the heart of Rosanne Cash’s The List.
Her father, country icon Johnny Cash, came to realize
that the next generation — including his daughter,
Rosanne —didn’t really know the basics when it came
to the history of American country music and set out
to document the 100 most important country songs
he wanted her to be sure to know. In essence, he was
writing down the canon, in the form of “a list.” Rosanne
is now sharing that knowledge with us, in the form of
her wildly popular recording and a very special live
concert on stage in Hill Auditorium. Since listening to
the recording, I have not only enjoyed her versions,
but have also gone back and listened to the originals.
What an experience — an incredible gift that Johnny
shared with Rosanne, and that she now passes on to
us. Can anyone say “listening party?”

Photo: Merce Cunningham and John Cage on stage at Hill Auditorium performing How to Pass, Kick, Fall, and Run, 1971.

Hibiki: Resonance from Far Away
Sankai Juku
Ushio Amagatsu director, choreographer,
and designer
Saturday, October 23 8 pm [opening night!]
Power Center
About 20 years ago, I walked into Ann Arbor’s Michigan
Theater for a performance by a group I had never
heard of. They were called Sankai Juku. It changed my
life. I had never seen anything like it…and it unleashed
a personal interest in all things Japanese: design,
performance, pop culture, food, fiction. It is hard for
me to believe that I can clearly draw a line from that
moment during my early years in Ann Arbor to this
past December 2009. I was standing in the lobby of
Tokyo’s Setagaya Public Theater (finally, my first trip
to Japan!) conversing with Ushio Amagatsu-san, the
artistic director of Sankai Juku, whom I simply happened
upon at a performance by Romeo Castellucci’s theater
company from Italy. A conversation about our mutual
shared excitement about his company’s return to
Michigan quickly ensued. My gratitude to him for his
continued presence in our community was, in perfect
Japanese fashion, quickly reciprocated: “Thank you for
your ongoing support of our work, Kondziolka-san.”
Renée Fleming soprano
Sunday, January 16  4 pm
Hill Auditorium
1993 marked the beginning of Ann Arbor audiences’
relationship with America’s sweetheart of the opera
world, when Renée Fleming debuted with James Levine
and the MET Opera Orchestra at the 100th May Festival.
Since that time, I have always thought of her as the
“un-diva”. At once so glamorous, so beautiful and oh,
so talented…but also, so accessible, so kind, so funny
and self-deprecating. I will never forget her tree-town
concert Daphne, where she literally turns into a tree at
the end. But it was her first Ann Arbor recital that stands
out. In 1999, she deployed one of the most potent of
weapons in the diva arsenal: the intermission gown
change. The stage door opened to begin the recital’s
second half. ”Ooooohhhh…..aaahhhhh…murmur,
murmur, murmur,” went the audience. And then she
joked about her new frock. The diva spell was broken
and we loved her all the more for being one of us. Or
maybe not.
Subscribe Today!
www.ums.org / 734-764-2538
Main Floor $240 / $230 / $180
Balcony $230 / $200
Rafał Blechacz piano
Friday, February 11 8 pm
hill Auditorium
I remember vividly when UMS committed itself in
1995 to a two-season-long survey of the complete
solo piano works of Chopin performed by Garrick
Ohlsson. The conversation centered around whether
Ohlsson would have “enough soul” to do the six recitals
justice. Enough soul…the right soul…any soul…a Polish
soul? I am happy to report that Ohlsson’s concerts
were memorable for all the right reasons. They did
get me to thinking about this question of the Polish
soul embedded in Chopin. There are few places in
the world where audiences for classical music are
more rabidly serious than Poland, and within this
heightened context there is one composer that reigns
supreme: Fryderyk Franciszek Chopin. As I have
polled Poles about what makes Chopin Polish, the
most interesting response has been that “he made us
Polish”. The force of his art was so great that he forged
a national identity for Poland around his music…he
wrote, in essence, the first soundtrack to the film called
Poland. That love and reverence for what Chopin did
for Poland maybe comes through in the hands of a
Polish pianist differently. And that is why, to celebrate
the bicentennial of Chopin’s birth, we thought it only
appropriate to engage a POLISH pianist — the dazzling
Rafał Blechacz. [Full disclosure: I am half Polish!]
The Legacy Tour
Merce Cunningham
Dance Company
10/11 ums season | www.ums.org | 734-764-2538
Friday, February 18 8 pm [opening night!]
Power Center
I suppose I shouldn’t admit this, but it took me a long
time to respond to Merce’s work. I had to work at
it and, thankfully, I did. Out of the cool abstraction
of his stage picture emerged a profound beauty,
humanity, and commitment to pure creativity that,
rather surprisingly, packed a potent emotional wallop.
I think that I crossed over as an acolyte into Merce-
land during a performance of Scenario — a completely
white stage environment, harsh fluorescent lighting
and incredible costumes by Rei Kawakubo of Comme
des Garçons that contorted and recreated completely
new body forms on stage. WOW. I can still see the
images in my mind’s eye. It makes me cherish all the
more the photo from our very own UMS archive of
Merce dancing on Ann Arbor’s Hill Auditorium stage
in a performance with his long-term creative and life
partner John Cage. We miss you, Merce!!
22 | 23
Monogram Series
Many people who enjoy attending the live performing
arts want UMS to select the events on their series.
Others like the creative act of curating their own
series. Some subscribers select artists whose work
they already know and enjoy; others select artists
they don’t know, as a way of discovering new talent.
Many subscribers choose one event each month to
guarantee that they will spend time with friends and
family.
With the Monogram Series, you create your own
performing arts series, remixing the events on our
season to fit your lifestyle and personal preferences.
Choose at least five events from the pages that
follow, and you’ll receive 10% off the regular ticket
prices — while gaining access to the best seats in the
house. And if you subscribe to any of the “fixed series”
packages listed in this brochure, you’ll also receive 10%
off any number of Monogram events now.
Subscribe before Friday, June 25, and you may
take advantage of our interest-free installment billing
option (minimum order $300), as well as free parking
(minimum order of eight events).
And when you purchase a Monogram Series, you’ll
also have the opportunity to purchase tickets to some
of the most anticipated events in our season, months
before they go on sale to the general public.
Now there’s an offer you can’t refuse.
Photos: Susurrus, Rosanne Cash by Deborah Feingold.
Susurrus
Written, directed, and conceived by David Leddy
September 9 – October 3
Matthaei Botanical Gardens
Susurrus is a play without actors, without a stage,
and with only one person in the audience — YOU.
It is part radio play, part avant-garde sonic art, part
lesson in bird dissection, and part stroll through
nature. Audiences follow a map around the Matthaei
Botanical Gardens as they listen to the recorded
narrative on an iPod with headphones. 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 loosely based
on Benjamin Britten and W.H. Auden’s collaboration
on Britten’s opera, A Midsummer Night’s Dream.
Susurrus was first presented to great acclaim and
sellout audiences at Glasgow’s Botanic Gardens in
2006 and at the Edinburgh Fringe Festival in 2009,
acclaimed by both The Guardian and The Scotsman
as one of the top arts events of the year. Times will
vary, with groups of four admitted every 15 minutes.
The production will include about a mile of walking
on defined trails. Umbrellas provided in case of rain.
MEDIa partners michigan radio 91.7 FM, between the lines, 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 concerned by the number of 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 that syllabus
and 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. With The List, Rosanne Cash
embraces her heritage and sings these songs that have
shaped who she is as an artist.
sponsored by
hosted by thomas b. mcmullen company
and Jane and Edward Schulak.
MEDIa partners wEMU 89.1 FM, METRO TIMES, and Ann arbor’s 107one.
Choose
at least
Five Events
from
Pages 24-43
and
Save 10%!
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
10/11 ums season | www.ums.org | 734-764-2538
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, Tembembe 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.
24 | 25
Monogram Series
Paul Taylor Dance Company
Paul Taylor artistic director
Thursday, October 7 8 pm
Friday, October 8 8 pm
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 approaching 80 — an age when
most artists’ best work is behind them — 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. His work has largely been
iconoclastic, but 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,
Photos: Susurrus, Rosanne Cash by Deborah Feingold.
with a day-long residency and three performances
highlighting just a fraction of the more than 130 dances
he has created, including the beloved Esplanade and
a reconstruction of Orbs, his 1966 masterpiece. “What
other artist today makes poetic drama of such variety
and eloquence? A Taylor season is a journey through
one of the most singular and searching imaginations of
our time.” (The New York Times)
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)
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.
Funded in part by the Wallace endowment fund and by the national
endowment for the arts as part of american masterpieces: three
centuries of artistic genius.
MEDIa partners metro Times, between the lines,
and ann arbor’s 107one

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. The group returns after its
highly acclaimed UMS visits in 2005 and 2007. “Musical
electricity may be unfathomable, but one thing is for sure
— they have it.” (The Strad)
Program
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.
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at least
Five Events
from
Pages 24-43
and
Save 10%!
Hibiki: Resonance from Far Away
Sankai Juku
Ushio Amagatsu director, choreographer, and designer
Saturday, October 23 8 pm
Sunday, October 24 2 pm
Power Center
10/11 ums season | www.ums.org | 734-764-2538
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 much 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.
They present Hibiki: Resonance From Far Away, which
received a 2002 Olivier Award for “Best New Dance
Production.”
funded in part by the Japan foundation through the
performing arts Japan program.
MEDIa partnerS Metro Times and between the lines.
26 | 27
Monogram Series

Venice Baroque Orchestra Django Reinhardt’s

Robert McDuffie violin 100th Birthday Celebration
Wednesday, October 27 8 pm The Hot Club of San Francisco
hill Auditorium The Hot Club of Detroit
The Venice Baroque Orchestra was founded in 1997 Friday, October 29 8 pm
by harpsichordist Andrea Marcon and is recognized as Michigan Theater
one of Europe’s premier ensembles devoted to period The Hot Club of San Francisco is an ensemble of
instrument performance. For this UMS debut, they accomplished and versatile musicians celebrating the
perform music of their home city — Venetian composer music of Django Reinhardt and Stéphane Grappelli’s
Antonio Vivaldi’s The Four Seasons — paired with an pioneering Quintette du Hot Club de France. Continuing
“American Four Seasons” by Philip Glass featuring this seminal French jazz tradition, a similar scene plays
violinist Robert McDuffie, who has worked closely with out as the Hot Clubs of San Francisco and Detroit
Glass over the years and who last appeared with the present an evening of live Gypsy jazz with selected
Jerusalem Symphony in 2008. The VBO will perform the short silent films from the 1930s by Charlie Bowers,
Vivaldi on period instruments, then switch to modern- James Sibley Watson, and Harold Shaw, courtesy of the
day instruments for the Glass composition. “The first San Francisco Silent Film Festival. Django Reinhardt is
performance of [Philip Glass’s ‘American Four Seasons’] rightly hailed as one of the greatest guitarists who ever
was so spectacularly played by the new piece’s muse, lived, but many people praising his accomplishments
American violinist Robert McDuffie...that the event as a guitarist tend to overlook his roots in Gypsy culture
turned into one of the most exciting musical evenings and the fertile, polyglot Paris of the 1920s. Reinhardt
of the year.” (The Toronto Star) and his companions used all these elements, along with
Program American jazz, to create this new music, but the Gypsy
Vivaldi The Four Seasons, Op. 8 (1723)
heritage seems to be the most important ingredient. The
Glass Violin Concerto No. 2: “The American Four Seasons”
(2009) Hot Club of San Francisco and The Hot Club of Detroit
join together for this celebration of Django Reinhardt’s
Hosted by Jane and Edward Schulak.
Media partner WGTE 91.3 FM.
100th birthday.
Media partners wemu 89.1 fm, metro times, and ann Arbor’s 107one.

Photos: Hot Club of San Francisco by Stuart Brinin, Venice Baroque Orchestra by Harold Hoffmann, Mariachi Vargas de Tecalitlán.

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 recognized for the purity and clarity
of its sound, which beautifully serves the Renaissance
repertoire, allowing every detail of the musical 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.
Program
Pärt Sieben Magnificat-Antiphonen
Palestrina Magnificat for Double Choir
Tallis Miserere nostril
Allegri Miserere
Praetorius Magnificat II
Byrd Miserere Mei
Miserere mihi, Domine
Palestrina Nunc Dimittis for Double Choir
Pärt Nunc Dimittis
Magnificat
Media partner wRCJ 90.9 fm.
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and
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Mariachi Vargas de Tecalitlán
Saturday, November 6 8 pm
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
10/11 ums season | www.ums.org | 734-764-2538
basically invented the modern mariachi, and five
generations later, are still playing today. The group
spent its formative years defining their sound and
experimenting with different instrumental lineups.
Today the group is comprised of 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 Rondstadt’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” (the greatest mariachi in the world), Mariachi
Vargas are the masters at melding the old world style
of mariachi music with new innovative pieces.
Media partners wemu 89.1 fm and metro times.
28 | 29
Monogram Series

Stew and The Negro Problem Carolina Chocolate Drops

with Heidi Rodewald Friday, December 3 8 pm
Thursday, November 18 8 pm Michigan Theater
Friday, November 19 8 pm
“Tradition is a guide, not a jailer. We play in an older
Saturday, November 20 7:30 pm & 10:30 pm
performance venue to be announced tradition but we are modern musicians,” says Justin
Robinson, a member of the popular bluegrass band, the
“Stew’s endlessly inventive music draws on rock, gospel,
Carolina Chocolate Drops. The group’s name is a tip
soul, and blues…A winning tribute to the diversity of
of the hat to the Tennessee Chocolate Drops, who lit
the black musical experience.” (Hollywood Reporter)
up the music scene in the 1930s. Inspired by old-time
Songwriter Stew’s career took an unexpected turn in 2006.
fiddler Joe Thompson, at whose home they jammed
After a successful career fronting his critically acclaimed
every Thursday night during the summer and fall of
band, The Negro Problem, Stew transformed his life
2005, the CCD starting playing anywhere people would
story into the rock musical Passing Strange. The show,
listen — town squares, farmers’ markets, and ultimately
co-composed with Heidi Rodewald, earned him the 2008
festivals and concert halls, where their foot-tapping
Tony Award for “Best Book of a Musical” and attracted the
music linked the deep tradition of the past with “dirt-
attention of Spike Lee, who produced the film version,
floor-dance electricity.” (Rolling Stone) Their sellout
which premiered at the 2009 Sundance Film Festival and
shows at The Ark last year reinforced how far they’ve
airs on PBS’s “Great Performances.” Compared in the same
come in a very short time. “This striking North Carolina
breath with Kurt Weill, Burt Bacharach, and Jackie Gleason,
trio brings a modern sizzle to the legacy of classic
Stew’s concerts are coveted for their literate precision, sly
African American stringbands…sparking an electrifying
humor, and deep emotional resonance, hovering between
ruckus.” (Spin)
the divergent worlds of rock and theater. “Something
hipper for the hipper…Stew is a very genial and lovable sponsored by

guide through the common travails of life. Like a lot of fine

writers and musicians, he has the ability to layer reflexive
funded in part by the national endowment for the arts as part
self-doubt into his music and lyrics…very witty, very of american masterpieces: Three centuries of artistic genius.

smart.” (The Chicago Tribune) Media partnerS WEMU 89.1 FM, metro times, michigan chronicle
and ann arbor’s 107one.
sponsored by michael allemang and janis bobrin.
Media partners ann arbor’s 107one and michigan chronicle.

Photos: Stew and Heidi Rodewald by Jeff Fasano, Carolina Chocolate Drops, Laurie Anderson self-portrait.

Handel’s Messiah
Ann Arbor Symphony Orchestra
and UMS Choral Union
Jerry Blackstone conductor
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 holi-
day 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 audi-
ences 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.
Sponsored by the Carl and Isabelle Brauer Fund.
media partners michigan radio 91.7 fm and ann arbor’s 107one.
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Laurie Anderson’s Delusion
Friday, January 14 8 pm
Saturday, January 15 8 pm
Power Center
Laurie Anderson is one of America’s most renowned —
and daring — creative pioneers. Recognized worldwide as
a leader in the use of technology in the arts, Anderson is
10/11 ums season | www.ums.org | 734-764-2538
widely known for her multimedia presentations, casting
herself in roles as varied as visual artist, composer, poet,
photographer, filmmaker, electronics whiz, vocalist, and
instrumentalist. 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,
metro times, wemu 89.1 fm, and ann arbor’s 107one.
30 | 31
Monogram Series

Grupo Corpo Joanne Shenandoah

Paulo Pederneiras artistic director
Rodrigo Pederneiras choreographer Sunday, January 23 4 pm
lydia mendelssohn theatre
Friday, January 21 8 pm
Saturday, January 22 8 pm One of today’s most revered Native American singers
Power Center and songwriters, Joanne Shenandoah is a Wolf Clan
member of the Iroqois Confederacy, Oneida Nation whose
This electrifying Brazilian dance company captivates
Native name, Deguiya whah-wa, means “she sings.” The
with stunning, sexy physicality, dynamic ability, and rich
singer/songwriter has performed with such legendary
visual flair. Grupo Corpo (literally “Body Group”) creates
entertainers as Kris Kristofferson and Willie Nelson and has
a vibrant and seamless blend of ballet’s grace, modern
won more Native American Music Awards (Nammies) than
dance’s verve, and the hip-swiveling exuberance of
any other artist. The daughter of two talented musicians
Carnival sambas and their Afro-Brazilian roots. Founded
(her father, a jazz guitarist, played with Duke Ellington),
in 1975, Grupo Corpo returns to Ann Arbor — the
Shenandoah was an architectural systems engineer before
company appeared in 2002 as part of UMS’s focus on
forging her successful career as a musician. “From my
Brazilian artists — with two performances featuring
office window I saw a tree being cut down and knew
Ímã (2009) and another work to be announced. Don’t
that I, too, had been uprooted and needed to follow my
miss this chance to experience Grupo Corpo’s “searing
natural gift,” she says. Shenandoah’s original compositions,
sensuality elegantly under control.” (Le Monde, Paris)
combined with a striking voice, enable her to embellish
The Friday performance is sponsored by the ancient songs of the Iroquois using a blend of
traditional and contemporary instrumentation.
media partners between the lines, metro times, and wemu 89.1 fm. media partner WEMU 89.1 FM.

Photos: Grupo Corpo’s Imá by Jose Luiz Perderneiras, The Cleveland Orchestra, Joanne Shenandoah.

Voices from the Island Sanctuary:
Paris (1170-1230)
Sequentia
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 vocal music from
Notre Dame de Paris providing the impetus for this program.
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 Ile 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 power wielded by the
French king. Within this “city within a city” was the high altar,
where the best young male vocalists in Europe were heard
on important feast days and 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.
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The Cleveland Orchestra
Franz Welser-Möst conductor
Pierre-Laurent Aimard piano
Tuesday, February 1 8 pm
Hill Auditorium
In a season celebrating the Americas, it only makes sense
10/11 ums season | www.ums.org | 734-764-2538
to include one of the great American orchestras that is
also admired as one of the top ensembles in the world.
Founded shortly after the end of World War I, the
Cleveland Orchestra has been guided by seven music
directors, each of whom has 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 the French pianist Pierre-Laurent
Aimard in this performance.
Program
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)
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.
32 | 33
Monogram Series
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, JALCO 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.
Photos: Wynton Marsalis by Frank Stewart, David “Honeyboy” Edwards by JoeRosen. Nadja Salerno-Sonnenberg by Christian Steiner
Nadja Salerno-Sonnenberg violin
New Century Chamber Orchestra
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, begin-
ning 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 comple-
ments the Vivaldi and Philip Glass “Four Seasons” on the
Choral Union Series.
Program
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.

Blues at the Crossroads:
The Robert Johnson
Centennial Concert
featuring 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 back to Robert Johnson
(1911-1938), among the most famous of 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 includes David “Honeyboy” Edwards,
who at 94 is the only living person to have played with
Robert Johnson before his untimely death at age 27 —
believed to have been caused by poisoning from a bottle of
whiskey that was laced with strychnine.
sponsored by
Media partners wemu 89.1 fm, metro times, michigan chronicle,
and ann Arbor’s 107one.
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Rafał Blechacz piano
Friday, February 11 8 pm
hill Auditorium
In October 2005, the 20-year-old Rafał Blechacz, an
unassuming young man from a small town in northern
Poland, arrived in Warsaw for the 15th International
10/11 ums season | www.ums.org | 734-764-2538
Chopin Competition. His sensational performance
won not only the 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)
sponsored by
Media partners wgte 91.3 Fm, wrcj 90.9 fm, and detroit jewish news.
34 | 35
Monogram Series
Vijay Iyer Trio and
Rudresh Mahanthappa’s Apex
Saturday, February 12 8 pm
Power Center
This double bill brings together two of today’s most
interesting jazz practitioners 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 of 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 as #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 alto saxophonist Rudresh
Mahanthappa’s Apex. Mahanthappa, who appeared with
Danilo Perez in April 2010, is one of the most innovative
young musicians and composers in jazz today. He has
incorporated the culture of his Indian ancestry and
fuses myriad influences to create a truly groundbreaking
artistic vision.
media partners wemu 89.1 fm and metro times.
Photos: Concertante by Michael Aheam, Merce Cunningham Dance Company by Anna Finke.
Concertante and
Rafał Blechacz piano
Sunday, February 13 4 pm
rackham Auditorium
Comprised 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 performs in recital on the Choral Union
Series two nights earlier, for a chamber arrangement
of Chopin’s 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.
Program
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.
 Choose
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The Legacy Tour

Merce Cunningham
Dance Company
Friday, February 18 8 pm
Saturday, February 19 8 pm
Power Center
10/11 ums season | www.ums.org | 734-764-2538

When the always forward-thinking Merce Cunningham passed away Program

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

36 | 37
Monogram Series

Series
Schubert Cycle Concert 2 Kodo
Takács Quartet Wednesday, February 23 8 pm
Sunday, February 20 4 pm hill Auditorium
Rackham Auditorium
“Superlatives don’t really exist to convey the primal power
The Takács Quartet, a long-time Ann Arbor favorite, and bravura beauty of Kodo…Throughout, the devil of
brings three concerts to Rackham Auditorium this year, it is the combination of the discipline of a surgeon’s
with Schubert at the heart of all of them. Schubert scalpel with the primitive, muscular endurance of a
wrote 15 string quartets over his short lifetime, and over cavalry charge. The speed and dexterity are as impressive
the course of the three concerts, the Takács presents as the physical tenacity is breathtaking.” (Chicago
five of them, along with stwo of his exquisite quintets Tribune) In ancient Japan, the taiko drum was a symbol
(performed at the April 8 concert). of the rural community, and it is said that the limits of
Program the village were defined not by geography, but by the
Schubert String Quartet in B-flat Major, D. 112 (1814) furthest distance from which the taiko could be heard.
Schubert String Quartet in a minor, D. 804 With its “One Earth” tour, Kodo brings the sound of the
(“Rosamunde”) (1824)
taiko to people around the globe, transcending barriers
Schubert String Quartet in G Major, D. 887 (1826)
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,” according to 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.

Photos: Kodo by Taro Nishita, Takács Quartet by Ellen Appel, Druid’s The Cripple of Inishmaan by Keith Pattison.
 Choose
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from
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and
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Martin McDonagh’s Mahler’s Symphony No. 8

The Cripple of Inishmaan Detroit Symphony Orchestra
Druid and Ums Choral Union
Atlantic Theater Company U-M Chamber Choir | U-M University Choir
Garry Hynes director U-M Orpheus Singers | MSU Children’s Choir
Leonard Slatkin conductor
Thursday, March 10 8 pm
Friday, March 11 8 pm Saturday, March 19 8 pm
Saturday, March 12 8 pm Hill Auditorium
Sunday, March 13 2 pm
10/11 ums season | www.ums.org | 734-764-2538

Power Center In commemoration of the 150th anniversary of Gustav

Mahler’s birth and the 100th anniversary of his death,
It’s 1934, and news is thin on the island of Inishmaan. When
UMS is collaborating with the Detroit Symphony
word arrives that a Hollywood filmmaker is coming to a
Orchestra, the U-M School of Music, Theatre & Dance,
neighboring island to shoot a movie, excitement ripples
the MSU Children’s Choir, and Michigan Opera Theatre
through the sleepy community. For Billy Claven, a crippled
to present a spectacular, not-to-be-missed performance
orphan, the film provides an opportunity to get away from
of Mahler’s monumental Symphony No. 8. The first
his bleak existence. He auditions for a part in the film and,
performance of this “choral symphony” featured a chorus
to everyone’s surprise, gets his chance. The Cripple of
of about 850, with an orchestra of 171, leading Mahler’s
Inishmaan is “a break-your-heart, cruelly funny evening
agent to dub the work “Symphony of a Thousand.”
directed with an exhilarating ruthlessness and acted with
While Mahler himself did not approve of the title, it
a bracing lack of sentimentality.” (The Guardian) The
nevertheless remains associated with this work, which
second play in Martin McDonagh’s “Aran Islands” trilogy,
is rarely performed due to the massive forces required
it is infused with his trademark humor, rich with macabre
to do it justice.
cruelty, and teeming with eccentric island characters from
Program
Billy’s “Aunt Kate,” who talks to stones to gossip monger
Mahler Symphony No. 8 (“Symphony of a Thousand”) (1907)
“JohnnyPateenMike,” who attempts to get his elderly
mother to drink herself to death. A UMS debut! 10/11 major orchestras Sponsored by

media partner wgte 91.3 fm.

individual performances sponsored by
linda and maurice binkow
philanthropic fund
Hosted by David and Phyllis Herzig.
media partners michigan radio 91.7 fm, between the lines,
And ann arbor’s 107one.

38 | 39
Monogram Series

Bach Collegium Japan Shakespeare’s Richard III

Masaaki Suzuki conductor and The Comedy of Errors
Thursday, March 24 8 pm Propeller
Hill Auditorium Edward Hall director

Founded in 1990 by Masaaki Suzuki with the aim of
introducing Japanese audiences to period instrument
performances of great works of the Baroque period,
the Bach Collegium Japan comprises 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)
Edward Hall — son of the English theater director Sir Peter
Hall —brings his theater company Propeller to Ann Arbor
for the first time with two Shakespeare plays: Richard
III and The Comedy of Errors. Propeller evolved out of
Hall’s first Shakespeare play for the Watermill Theater
in the mid-1990s. His all-male company mimics the
theater in Shakespeare’s time, and the company mixes
a rigorous approach to the text with a modern physical
aesthetic. Hall says, “I want to rediscover Shakespeare
simply by doing plays as I believe they should be done:
with great clarity, speed, and full of as much imagination
in the staging as possible. I don’t want to make the plays
‘accessible,’ as this implies that they need ‘dumbing down’
in order to be understood, which they don’t.” The two
plays will be presented in repertory, with the same cast
members performing both plays.

Program
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.

Photos: Propeller’s A Midsummer Night’s Dream by Nobby Clarke, Septeto Nacional Ignacio Piñeiro de Cuba.

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
Power Center
The Comedy of Errors
Thursday, March 31 7:30 pm
Saturday, April 2 7:30 pm
Sunday, April 3 2 pm
Power Center
Individual performances sponsored by robert and
pearson macek and Jane and Edward Schulak.
media partners michigan radio 91.7 fm, between the lines,
wemu 89.1 fm, and metro times.
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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 and first champion of the traditional sound of
10/11 ums season | www.ums.org | 734-764-2538
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 the era.
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” from Cuba, but they know how to
throw a dance party! Septeto Nacional recently played in
the US for the first time since 1933.
media partners wemu 89.1 fm, michigan chronicle, and metro times.
40 | 41
Monogram Series
Schubert Cycle Concert 3
Takács Quartet
Jeffrey Kahane piano
Paul Katz cello
John Feeney double bass
Friday, April 8 8 pm
Rackham Auditorium
The Takács Quartet, a long-time Ann Arbor favorite,
brings three concerts to Rackham Auditorium this year,
with Schubert at the heart of all of them. This concert
features Schubert quintets, with pianist Jeffrey Kahane
and bass player John Feeney joining the group for the
beloved “Trout” Quintet. Former Cleveland Quartet cellist
Paul Katz is featured in Schubert’s Cello Quintet.
Program
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.
Photos: Tetzlaff Quartet by Alexandra Vosding, Tony Allen by Bernard Benant.
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, brings his string quartet to Ann Arbor. The
group was founded in 1994 by Tetzlaff and his sister,
Tanja, along with two musicians with a shared devotion
to chamber music 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.
Program
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)
media partner Wgte 91.3 fm.

Tony Allen’s Secret Agent
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. Kuti is largely
considered 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)
media partners Wemu 89.1 fm, michigan chronicle
and ann arbor’s 107one.
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“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
10/11 ums season | www.ums.org | 734-764-2538
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 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’s composition for
vocal quartet and piano, performed by an unparalleled
quartet of singers, including bass-baritone Thomas
Quasthoff, who last appeared at UMS in a Lydia
Mendelssohn Theatre recital in 2000.
Program
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.
42 | 43
 UMS Global Focus:
Our global focus this season is all of us — the Americas, Americans,
and the artistic traditions and institutions that populate our land mass.
Americas & Americans Whenever one builds a season-long thread devoted to a geographic
region — in this case, two continents — one is immediately confronted by
the impossibility of truly capturing the complexity, diversity, and depth
of its peoples and traditions. But try we must. This season’s global focus
includes both traditional and contemporary work in music, dance and
theater from Latin America and South America — Mexico, Brazil, Argentina,
Cuba — as well as multiple expressions of North American performance
including jazz, blues, bluegrass, country, orchestral, and experimental
music; modern dance; Native song; original theatrical work; youth and
family performances; and scholarly and community discussion about what
it means to be Americans and how that meaning is represented in our arts
and creativity. Maybe most importantly, this global focus showcases both
the artistic forms and the American artists and institutions within which
these traditions live.

Most of these performances can be packaged as part of a Monogram Series;

more information is available on pages 24-43.
Rosanne Cash Sat Sep 25
Tembembe Ensamble Continuo/The Route Thu Sep 30
to the New World: From Spain to Mexico

Paul Taylor Dance Company Thu-Sat Oct 7-9

Venice Baroque Orchestra/Philip Glass’s Wed Oct 27
“American Four Seasons”

ONCE.MORE Festival: The Historic Concert Tue Nov 2

Mariachi Vargas de Tecalitlán Sat Nov 6
Stew and The Negro Problem Thu-Sat Nov 18-20
with Heidi Rodewald

Carolina Chocolate Drops Fri Dec 3

Laurie Anderson’s Delusion Fri-Sat Jan 14-15

Renée Fleming soprano Sun Jan 16
Grupo Corpo Fri-Sat Jan 21-22
Joanne Shenandoah Sun Jan 23
Baby Loves Salsa (family performance) Sun Jan 30

The Cleveland Orchestra Tue Feb 1

Jazz at Lincoln Center Orchestra Wed Feb 2
and Wynton Marsalis
New Century Chamber Orchestra/Astor Fri Feb 4
Piazzolla’s “Four Seasons of Buenos Aires”
Blues at the Crossroads: Thu Feb 10
The Robert Johnson Centennial
Vijay Iyer Trio and Sat Feb 12
Rudresh Mahanthappa’s Apex
Merce Cunningham Dance Company: Fri-Sat Feb 18-19
The Legacy Tour

Detroit Symphony Orchestra Sat Mar 19

Mahler’s Symphony No. 8

Septeto Nacional Ignacio Piñeiro de Cuba Thu Apr 7

Piano series media partners

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www.ums.org / 734-764-2538

Main Floor $310 / $275

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Piano Series
Mariinsky Orchestra
Valery Gergiev music director and conductor
Denis Matsuev piano
Sunday, October 10 4 pm
Hill Auditorium
Since his stunning victory at the 11th International
Tchaikovsky Competition in Moscow in 1998, Denis Matsuev
has received worldwide acclaim for his rare combination of
technical virtuosity and deep musicality. “His technique is
phenomenal: blistering passagework, steely chords. Perhaps
he is the new Horowitz.”(London Times) Matsuev performs
Rachmaninoff’s Third Piano Concerto.
Sponsored by the Catherine S. Arcure and Herbert E. Sloan
Endowment Fund.
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 competition, but also all four special
prizes for the polonaise, mazurka, sonata, and concerto
performance — in fact, one of the judges remarked that
he “so outclassed the remaining finalists that no second
prize could actually be awarded.”
Sponsored by

Hosted by jim and nancy stanley and jay and mary kate zelenock.

Murray Perahia piano St. Petersburg Philharmonic

Yuri Temirkanov conductor
10/11 ums season | www.ums.org | 734-764-2538

Wednesday, November 10 8 pm Nikolai Lugansky piano

hill Auditorium
Saturday, April 2 8 pm
Anyone who has heard one of Murray Perahia’s previous Hill Auditorium
11 UMS appearances would have to agree with the
The Piano Series opens with Rachmaninoff Piano
assessment of The Los Angeles Times: “Perahia is a marvel.”
Concerto No. 3 performed by the 1998 Tchaikovsky
In the more than 35 years he has been performing on the
Piano Competition winner and closes with
concert stage, he has become one of the most cherished
Rachmaninoff Piano Concerto No. 2 performed by the
pianists of our time.
1994 Tchaikovsky Piano Competition winner. Nikolai
co-Sponsored in part by Natalie MatovinoviĆ
and gil omenn and martha darling. Lugansky makes his UMS debut with this popular piece.
sponsored by

The Cleveland Orchestra Sponsored in part by donald morelock.

Franz Welser-Möst conductor
Pierre-Laurent Aimard piano
Tuesday, February 1 8 pm
Hill Auditorium

Widely acclaimed as a key figure in the music of our time

the mariinsky orchestra, the cleveland orchestra,
and as a uniquely significant interpreter of piano repertoire and the st. petersburg philharmonic are sponsored by

from every age, Pierre-Laurent Aimard returns to Ann Arbor

after his 2002 appearance with the Orchestre de Paris to
perform Schumann’s Piano Concerto in a minor.

Photo: Murray Perahia by Nana Watanabe.

44 | 45
 At UMS, we try to make sure that the events on our season offer a
chance to experience something new, to look at the world through
a different lens, or even to change our very lives. To that end, we
offer another way to think about the events on our season — a way
that transcends the genre-based groupings of the fixed series offered
Another Perspective
throughout this brochure. While these groupings are not offered
as specific series options, they are intended to provide you with an
alternative way of viewing our season and may be helpful to you as
you build your personal series for the 10/11 season.

Expect the Unexpected

Susurrus Sep 9-Oct 3
Sankai Juku: Hibiki: Resonance from Far Away Sat-Sun Oct 23-24
Laurie Anderson’s Delusion Fri-Sat Jan 14-15
Merce Cunningham Dance Company Fri-Sat Feb 18-19
Druid and Atlantic Theater Company: Thu-Sun Mar 10-13
The Cripple of Inishmaan

Global Beat: Citizens of the World

Jordi Savall and La Capella Reial/ Thu Sep 30
Tembembe Ensamble
Hot Club of San Francisco and Hot Club Fri Oct 29
of Detroit/Django Reinhardt’s 100th Birthday
Mariachi Vargas de Tecalitlán Sat Nov 6
Baby Loves Salsa Sun Jan 30
Kodo Wed Feb 23
Septeto Nacional Ignacio Piñeiro de Cuba Thu Apr 7
Tony Allen’s Secret Agent Sat Apr 16

Revolutionary Spirit
Paul Taylor Dance Company Oct 7-9
ONCE.MORE Historic Concert Tue Nov 2
Stew and The Negro Problem Thu-Sat Nov 18-20
with Heidi Rodewald
Laurie Anderson’s Delusion Fri-Sat Jan 14-15
Merce Cunningham Dance Company Fri-Sat Feb 18-19

Blockbuster
Rosanne Cash Sat Sep 25
Mariinsky Orchestra/Gergiev/Matsuev Sun Oct 10
Carolina Chocolate Drops Fri Dec 3
Renée Fleming Sun Jan 16
Jazz at Lincoln Center Orchestra Wed Feb 2
with Wynton Marsalis
Kodo Wed Feb 23
Detroit Symphony Orchestra Sat Mar 19
Mahler’s Symphony No. 8
Propeller: Wed-Sun Mar 30-Apr 3
Richard III and The Comedy of Errors
St. Petersburg Philharmonic Sat Apr 2
Temirkanov/Lugansky

Comfort Music
Mariinsky Orchestra/Gergiev/Matsuev Sun Oct 10
Takács Quartet: Schubert Concert 1 Thu Oct 14
Jerusalem Quartet Thu Oct 21
Venice Baroque Orchestra Wed Oct 27
Murray Perahia Wed Nov 10
Nadja Salerno-Sonnenberg and Fri Feb 4
New Century Chamber Orchestra
Rafał Blechacz Fri Feb 11
Takács Quartet: Schubert Concert 2 Sun Feb 20
Scharoun Ensemble Wed Mar 9
Bach Collegium Japan/Bach’s Mass in b minor Thu Mar 24
St. Petersburg Philharmonic/Temirkanov/Lugansky Sat Apr 2
Takács Quartet: Schubert Concert 3 Fri Apr 8
Tetzlaff Quartet Sat Apr 9
“Songs and Waltzes of Love” Sat Apr 23

Photos: Paul Taylor’s Esplanade by Lois Greenfield, Jordi Savall by Vico Chamala, Robert Johnson.
Spiritual Expressions
The Tallis Scholars Thu Nov 4
Handel’s Messiah Sat-Sun Dec 4-5
Sequentia Thu Jan 27
Bach Collegium Japan/Bach’s Mass in b minor Thu Mar 24

Roots Music
Rosanne Cash Sat Sep 25
Carolina Chocolate Drops Fri Dec 3
Blues at the Crossroads/Robert Johnson Centennial Thu Feb 10

3 Concerts/16 Seasons (A Look at the “Four Seasons”)

Paul Taylor Dance Company Fri Oct 8
(presenting “Orbs”, set to Beethoven string quartets
and featuring four movements based on seasonal cycles
of spring, summer, winter, and fall)
Venice Baroque Orchestra Wed Oct 27
10/11 ums season | www.ums.org | 734-764-2538

Vivaldi’s Four Seasons & Philip Glass‘s

“American Four Seasons”)
Nadja Salerno-Sonnenberg and Fri Feb 4
New Century Chamber Orchestra
(Astor Piazzolla’s “Four Seasons of Buenos Aires”)

Anniversaries
What’s an artistic season that doesn’t focus on anniversaries
of some sort? We offer this somewhat tongue-in-cheek thread
that highlights some of the memorable anniversaries being
commemorated this season.
Mariinsky Orchestra Sun Oct 10
(150th anniversary of Mahler’s birth)
Hot Club of San Francisco and Hot Club of Detroit Fri Oct 29
(100th anniversary of Django Reinhardt’s birth)
ONCE.MORE Festival Tue Nov 2
(50th anniversary of Ann Arbor’s ONCE Festival)
The Cleveland Orchestra Tue Feb 1
(200th anniversary of Schumann’s birth)
Blues at the Crossroads Thu Feb 10
(100th anniversary of Robert Johnson’s birth)
Rafał Blechacz Fri Feb 11 & Sun Feb 13
(200th anniversary of Chopin’s birth)
Detroit Symphony/Mahler’s Symphony No. 8 Sat Mar 19
(100th anniversary of Mahler’s death)

46 | 47
www.ums.org/education
UMS education programs provide engaging experiences with arts, culture, and
creativity for the entire southeastern Michigan community. As part of UMS’s mission
and core values, we are committed to sustaining these efforts for generations to come.
Youth, Teen, and Family Program
734-615-0122 umsyouth@umich.edu
Each year, the UMS Youth Education Program serves
up to 25,000 schoolchildren, parents, and educators
in southeastern Michigan, giving many students their
first opportunities to experience the live performing
arts. UMS is proud to have the largest series of diverse,
artistically-driven youth performances in the state. The
performances, extensive teacher training and curriculum
development, a yearly teen-driven performance (Breakin’
Curfew), and specially designated family performances
comprise the award-winning program, designated as
a “Best Practice” in 2004 by ArtServe Michigan and the
Dana Foundation.
The UMS Youth Education Program is enhanced by
official partnerships with the Ann Arbor Public Schools,
Washtenaw Intermediate School District, the Kennedy
Center Partners in Education Program, Neutral Zone, and
many other area youth and family organizations.
The Youth Education Program is sponsored by
the Esperance Family Foundation.
Photo: Kennedy Center workshop with Erik Stern at Amerman Elementary School.
Adult & Community Engagement
734-615-4077 umsed@umich.edu
The UMS Adult Education and Community Engagement
Program reaches diverse audiences through a wide
variety of educational programs. Over 100 unique
regional, local, and university-based partnerships each
season have helped UMS launch initiatives for Arab
American, African, Mexican/Latino, Asian, and African
American, student, young professional, Detroit-based,
and many other audiences.
UMS is proud of its educational and residency programs,
created for the community to engage more deeply in
the arts. Through artist interviews, panel discussions,
symposiums, social receptions, workshops, and informal
dialogues, UMS creates a rich assortment of value-
added programs. Over 100 events each season inspire
creativity, enhance knowledge, promote connections
with friends and family, and inform each audience
member’s individual experience with the arts.
 You Make It Happen
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 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 at the University of
Michigan’s North Campus Research Complex (the old
10/11 ums season | www.ums.org | 734-764-2538

Pfizer site) on Saturday, September 11.

Your gift, when combined with many others, brings the
very best in music, dance, and theater to our community.
UMS provides priority to donors in purchasing tickets to
individual performances. The fall single ticket brochure
is mailed to donors first, and donors of $250 or more are
able to purchase tickets one week before tickets go on
sale to the general public. In addition, UMS donors enjoy:
 Discounted tickets to select performances
 Acknowledgement in UMS program books
and donor listings ($250 or more)
 Advance notice of performances and advance
purchasing privileges
 Invitations to special events

48 | 49
Photos: Jill Anderson, Ken Fischer, and Deborah Meadows; Louise Townley and Lisa Townley at Ford Honors Program 2010.
 10 Things to Know About UMS

1. Officially we are the University Musical

ABOUT UMS

Society, but we are more often known as UMS.

The name dates back to 1879 but isn’t necessarily
completely reflective of the organization today. We are
affiliated with the University of Michigan, but UMS is a
separate, independent 501(c)(3) organization with its own
board of directors. About 20 years ago, UMS expanded its
musical programming scope to include significant dance
and theater. The long and short of it is that UMS welcomes
everyone to enjoy the transformative power
of the live performing arts.

2. UMS ranks among the top performing arts

presenters in the United States. UMS stands in good
company, frequently partnering on international tours
with Carnegie Hall, Lincoln Center, the Kennedy Center,
Brooklyn Academy of Music, the Barbican, Théâtre
du Châtelet, and leading university presenters. Few
communities of the size of Ann Arbor can support this
breadth of programming, making our community a hub
for international performing arts tours.

3. UMS is closely aligned with the University of

Michigan. Our education department has worked with
70 academic units and 200 individual U-M faculty members
in recent seasons. Through these collaborations, we
present contextual programming that enriches audience
engagement with the performances on our stages. In
addition, the University of Michigan provides annual
support through the officers of the President and Provost,
the University of Michigan Health System, the Office of
the Vice President for Research, and other units that
support specific work. We are extraordinarily grateful
and appreciative of this collaborative and mutually
beneficial relationship.

4. UMS is investing in the future through its

commitment to student participation in arts events.
Each year, UMS offers discounted tickets to university
and high school students for regular UMS performances
through a variety of programs. In a typical year, more than
17,000 student tickets are sold, representing over 21% of
the audience at UMS events. Through these discount
programs, students save over $325,000 each season. In
addition to the many students who attend our events, we
work closely with a group of about 35 students each year
who develop skills in arts management through jobs and
internships in all departments of UMS, as well as a volunteer
student committee.

Photos: Family Workshop before The Suzanne Farrell Ballet Family Performance, Kids dancing onstage at Cyro Baptista Family Performance.
5. Ticket revenues cover only half of our total costs.
We rely on generous support from individual donors,
corporations, foundations, government grants, and
the University of Michigan to continue to bring the
finest performing artists in the world to Michigan. We
know that people choose to donate for any number of
reasons: engaging more deeply in the arts, networking
with others, and providing memorable arts experiences
for children are just a few of the frequently stated
motivations. We’re grateful to all of our generous donors!
6. The UMS education program makes a big impact
on the region. Since 2000, UMS has served 345 schools
and nearly 100,000 students through our popular youth
education program, which includes live performances,
in-class visits, teacher workshops, 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 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 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, by giving artists the resources to
imagine and create.
9. UMS has been recognized by leading national
foundations for its distinctive programming.
The Doris Duke Charitable Foundation, the Mellon
10/11 ums season | www.ums.org | 734-764-2538
Foundation and the Wallace Foundation have
all awarded major gifts to UMS, recognizing our
distinctive artistic programming and widely-emulated
education and community engagement programs.
Two of these gifts include significant endowment
support, which keeps on giving through annual
allocations that continue to support these programs.
10. UMS plays an active role in southeastern
Michigan’s revitalization efforts. With arts and
culture as a key driver of quality of life, and thus a
prime motivator for companies recruiting new talent,
UMS is often a major draw for potential newcomers
to the area. To that end, UMS representatives serve
on regional economic development task forces, taking
a strong stance for the value of arts and culture to the
region’s future.
50 | 51
 Seat Maps
Detailed seat maps are available on our website at www.ums.org/tickets/seat_maps.asp

Hill Auditorium
825 North University Avenue

Map 1 - Orchestras Map 2 - Classical Recitals & Jazz/World Map 3 - Main Floor & Mezzanine Only

BALCONY BALCONY MEZZANINE

Sec Sec 19 Sec Sec Sec 19 Sec

Sec 18 20 Sec Sec 18 20 Sec
17 21 17 21 Sec 7 Sec 8 Sec 9 Sec 10
Sec 6
Sec Sec Sec Sec Sec Sec Sec Sec
Sec 12 13 14 15 Sec Sec 12 13 14 15 Sec
11 16 11 16 MAIN FLOOR
MEZZANINE MEZZANINE

Sec 2 Sec 3 Sec 4

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

MAIN FLOOR MAIN FLOOR Sec 2 Sec 3

Sec 4

STAGE

Sec 2 Sec 3 Sec 4 Sec 2 Sec 3 Sec 4

Sec 1 Sec 5 Sec 1 Sec 5 Hill Auditorium (H3)
Mariachi Vargas de Tecalitlán Sat Nov 6
Sec 3 Sec 3 Blues at the Crossroads Thu Feb 10
Sec 2 Sec 4 Sec 2 Sec 4 Septeto Nacional Ignacio Thu Apr 7
Piñeiro de Cuba
STAGE STAGE
Tony Allen’s Secret Agent Sat Apr 16

Hill Auditorium (H1) Hill Auditorium (H2)

Mariinsky Orchestra/Gergiev Sun Oct 10
Handel’s Messiah Sat-Sun Dec 4-5
Cleveland Orchestra/Welser-Möst Tue Feb 1
Detroit Symphony Orchestra/ Sat Mar 19
Mahler 8
Bach Collegium Japan Thu Mar 24
St. Petersburg Philharmonic/ Sat Apr 2
Temirkanov
Rosanne Cash Sat Sep 25
Venice Baroque Orchestra Wed Oct 27
Murray Perahia Wed Nov 10
Renée Fleming Sun Jan 16
Wynton Marsalis/Jazz at Wed Feb 2
Lincoln Center Orchestra
Rafał Blechacz Fri Feb 11
Kodo Wed Feb 23
“Songs and Waltzes of Love” Sat Apr 23

Michigan Theater
603 East Liberty Street
General Admission Venues
BALCONY
St. Francis of Assisi (SF)
2250 East Stadium Boulevard
Jordi Savall/La Capella Reial Thu Sep 30
The Tallis Scholars Thu Nov 4
Sequentia Thu Jan 27
Matthaei Botanical Gardens
1800 North Dixboro Road
Susurrus Sep 9-Oct 3
MAIN FLOOR
Venue TBD
Stew and The Negro Problem Thu-Sat Nov 18-20
with Heidi Rodewald

Pricing
Pricing scheme
A
applies to all venues.

Price Level Gold

Price Level (A)

Price Level (B)

STAGE
Price Level (C)
Michigan Theater (MT)
Price Level (D) Hot Clubs of San Francisco & Fri Oct 29
Detroit/Django Reinhardt Birthday
Price Level (E) Carolina Chocolate Drops Fri Dec 3
 Rackham Auditorium
915 East Washington Street

Sec 6
Sec 7 Sec 5
Important Notes from the
Sec 8
MAIN FLOOR
Sec 4 Ticket Office
Sec 2
Sec 3 Sec 1 Please Make Sure We Have Your E-Mail Address on File!
UMS regularly sends updated concert-related parking and late seating
STAGE
information via e-mail a few days before the event. Please be sure
Rackham Auditorium (R) that the Ticket Office has your correct e-mail address on file.
Takács Quartet Schubert Concert 1 Thu Oct 14
Jerusalem String Quartet Thu Oct 21 Ticket Exchanges
ONCE.MORE Historic Concert Tue Nov 2 Subscribers may exchange tickets free of charge up to 48 hours
Nadja Salerno-Sonnenberg/ Fri Feb 4 before the performance. Non-subscribers may exchange tickets for
New Century Chamber Orch a $6 per ticket exchange fee. Exchanged tickets must be received by
Concertante/Rafał Blechacz Sun Feb 13 the Ticket Office (by mail or in person) at least 48 hours prior to the
Takács Quartet Schubert Concert 2 Sun Feb 20 performance. The value of the ticket(s) may be applied to another
Scharoun Ensemble Wed Mar 9 performance or will be held as UMS Credit until the end of the
Takács Quartet Schubert Concert 3 Fri Apr 8 season. You may also fax a photocopy of your torn tickets to
Tetzlaff String Quartet Sat Apr 9 734-647-1171. UMS Credit must be redeemed by April 23, 2011.
For information about exchanging tickets within 48 hours of the
performance, please call the Ticket Office.
Power Center
121 Fletcher Street Ticket Donations/Unused Tickets
Unused tickets may be donated to UMS for a tax-deductible
contribution until the published start time of the concert. Unused
BALCONY tickets that are returned after the performance are not eligible for
UMS Credit or for a tax-deductible contribution.
Sec 8
Sec 7 Sec 9
Ticket Mailing vs. Ticket Pick-Up
c 6 MAIN FLOOR Your subscription tickets will be mailed in mid-August, before tickets
Se

Se
c1

to individual performances go on sale to the general public. Any

0

Sec 3
Sec 2 Sec 4
Sec 1 Sec 5
STAGE
Power Center (P)
Paul Taylor Dance Company Thu-Sat Oct 7-9
Sankai Juku Sat-Sun Oct 23-24
Laurie Anderson’s Delusion Fri-Sat Jan 14-15
Grupo Corpo Fri-Sat Jan 21-22
Vijay Iyer/Rudresh Mahanthappa Sat Feb 12
Merce Cunningham Dance Co. Fri-Sat Feb 18-19
Druid/Cripple of Inishmaan Thu-Sun Mar 10-13
Propeller/Comedy of Errors Wed-Sun Mar 30-Apr 3
and Richard III
ticket orders received fewer than 10 days prior to the performance
will be held at will-call, which opens in the performance venue 90
minutes prior to the published start time.
Lost or Misplaced Tickets
Call the Ticket Office at 734-764-2538 to have duplicate tickets
waiting for you at will-call. Duplicate tickets cannot be mailed.
Refund Policy
Due to the nature of the performing arts, programs and artists are
subject to change. If an artist cancels an appearance, UMS will make
every effort to substitute that performance with a comparable artist.
Refunds will only be offered if a substitute cannot be found, or in the
event of a date change. Handling fees are not refundable.
Access for People with Disabilities
All UMS venues are accessible for people with disabilities.
Call 734-764-2538 for more information.

Start Time & Latecomers

10/11 ums season | www.ums.org | 734-764-2538

UMS makes every effort to begin concerts at the published start

time. Latecomers will be asked to wait in the lobby and seated by
Lydia Mendelssohn Theatre ushers at a predetermined time in the program. The late seating
break is determined by the artists and will generally occur during a
911 North University Avenue suitable break in the program, designed to cause as little disruption as
possible. Please allow extra time to park and find your seats.
BALCONY
Parking/Parking Tips
Detailed directions and parking information will be mailed
with your tickets and are also available at www.ums.org/parking.

Children and Families

ORCHESTRA
Children under the age of three will only be admitted to special
UMS Family Performances. All children attending regular UMS
performances must be able to sit quietly in their own seats without
disturbing other patrons, or they may be asked to leave the
auditorium. Please use discretion when choosing to bring a child
and remember that everyone must have a ticket, regardless of age.
See page 20 for information about this year’s UMS Family Series.
Information about other family-friendly UMS performances will be
Balcony Balcony
Overhang Overhang available later this summer.

STAGE

Lydia Mendelssohn Theatre (LMT)

Joanne Shenandoah Sun Jan 23
Baby Loves Salsa Sun Jan 30

52 | 53
Phone
With Visa, MasterCard,
Discover, or American Express
734-764-2538
Outside the 734 area code
and within Michigan, call
toll-free 800-221-1229.
Internet
www.ums.org
In Person Mail
Please visit the Ticket Office on UMS Ticket Office
the north end of the Michigan Burton Memorial Tower
League building (911 North 881 North University Avenue
University Avenue). The Ticket Ann Arbor, MI 48109-1011
Office also sells tickets for all
U-M School of Music, Theatre Summer Hours
10 am to 5 pm Mon-Fri
& Dance productions and the
Closed Sat and Sun.
Ann Arbor Summer Festival.
Extended hours resume after Labor Day.
Fax
734-647-1171

How to Order
There is an $8 service charge for all subscription orders.

Subscription Tickets/Seating Priority Refunds

Subscription tickets will be mailed in mid-August. Due to the nature of the performing arts, programs and
artists are subject to change. If an artist cancels an ap-
Donors pearance, UMS will make every effort to substitute that
Donors of at least $2,500 annually receive the highest performance with a comparable artist. Refunds will only be
priority seating based on level of giving for fixed series and offered if a substitute cannot be found, or in the event of a
Monogram packages. Donations may be included with your date change. Handling fees are not refundable.
ticket order. Ticket orders must be received by Friday, June
4 to be eligible for seating priority. Within each subscription Group Sales Office
category listed below, annual donations of $500 or more Bring your friends and save! When you bring a group of
receive special consideration for seating. 10 or more to a UMS event, you’ll save 15-25% off the
regular ticket price for most performances. For more
Fixed Series information, contact UMS Group Sales at 734-763-3100
Fixed series subscribers (for packages listed on pages 6-23 or umsgroupsales@umich.edu.
and page 45 of this brochure) receive priority before Mono-
UMS accepts group reservations beginning Wednesday,
gram Series subscribers and individual event
August 11, two weeks before individual events go on sale
purchasers. Subscriptions will be filled by series, in
to the general public. Plan early to guarantee access to
the order received.
great seats!
Monogram Series
Monogram subscribers (those who choose at least five
events from pages 24-43 of this brochure) will receive
priority before individual event purchasers. Subscriptions
will be filled in the order received and must be received by
Friday, August 20.

Don’t Miss These Important Dates!

Wed May 5 Priority Period Begins for Renewing
Subscribers and UMS Donors
Mon May 10 Subscription Packages Available to

Fri June 4
General Public
Deadline for U-M Payroll Deduction
Join Us
Seating Priority Deadline for Donors
and Renewing Subscribers
In the Lobby!
Fri June 25 Deadline for Installment Billing While UMS doesn’t present concerts during the summer,
and Free Parking Options you can still join us in the Lobby – the virtual Lobby, that is!
Visit www.umsLOBBY.org throughout the summer to read
Wed Aug 11 Group Sales Reservations Open
our multimedia blog, visit the archives (including a new
Wed Aug 18 Donor Single Ticket Day
living archive that will feature remembrances of concerts
(for donors of $250+)
past), and conversation areas where you can offer up your
Fri Aug 20 Last Day to Order Monogram Series observations and opinions and read those of others. Our
Mon Aug 23 Internet Sales Begin regular website, www.ums.org, will remain an information
Wed Aug 25 Single Ticket Day – all tickets to hub; the Lobby website is a place where you can engage
individual events on sale by phone more fully with all that UMS does, gaining access to the
and in person behind-the-scenes activities that keep us humming.
Fri Sep 3 Last Day to Order UMS Theater Series
Fri Sep 24 Last Day to Order All Other UMS Series
 132nd UMS Season

Order Form
Have Questions? We’re Happy to Help!
Mail Call the UMS Ticket Office at 734-764-2538
UMS Ticket Office Outside the 734 area code and within Michigan, call toll-free 800-221-1229
Burton Memorial Tower
881 North University Avenue Checklist
Ann Arbor, MI 48109-1011
Please double check that you have completed the following before you mail in your order. Have you:
■ Included daytime and evening phone numbers and e-mail addresses (to be used in case of
Order Form Tips to Help UMS concert cancellation or ticketing problem)?
Subscribers
We’ve worked hard to make ordering tickets ■ Signed and enclosed your check, or signed the credit card line in “Payment Information”?
to the many events in the 10/11 season as ■ If you have ordered the Dance, Theater, or Family Series, have you circled your preferred
easy as possible, but with literally thousands performance(s) on the order form for events with more than one performance?
of possible combinations, we realize that it
can be difficult. With that in mind, please ■ Filled out and included the entire order form (all six sides)? Please do not cut the order form
consider these tips that will help you before sending.
make your decisions for the 10/11 season,
whether you are new to UMS or have been Mailing Information
subscribing for years: UMS Account Number (if known, can be found on the mail panel of this brochure above your name)
1. Look through the entire brochure and
make a list of the events you are
interested in seeing.
2. If you generally like events that are
thematically linked (e.g., jazz, chamber Last Name First Name
music), you will probably be most
interested in the fixed packages listed in
Section 1 of the order form. Anyone who Address
purchases a fixed package may purchase
any number of Monogram Series events
now and still receive priority seating over City State Zip
single ticket buyers. The 10% Monogram
event discount is available to all fixed Day Phone
package subscribers.
Evening Phone
3. If you prefer a variety of events, you
will probably be most interested in the
Monogram Series in Section 3. When you
purchase at least 5 events, you may take E-Mail Address (for up-to-date info on parking, start times, intermissions, program changes, etc.)
10% off the total price and still receive
priority seating over single ticket buyers. Tickets will be mailed to the address provided above in early to mid-August. If you would
You may purchase a different number of like your tickets sent to a different address or held for pick-up at the League Ticket Office, please
tickets to each event, so feel free to invite see the "important seating info" section on the next page.
friends to join you for any or all of the
performances in your series!
FOR OFFICE USE ONLY Ticket Total: Members Total:
4. When you purchase a fixed package
OR a Monogram Series, you may also
purchase tickets to any individual Family, Payment Information
Choral Union, and Chamber Arts events
now (see Sections 2 and 4 of the order ■ My payment is by U-M Payroll Deduction (order must be received by Friday, June 4). I
form). These tickets may be purchased understand I will be billed in four installments, once monthly in June, July, August, and
for yourself or for your friends and family. September. Donations will be deducted in monthly installments beginning in July 2010.
Most of these performances are not NOTE: Payroll Deduction requests must be mailed, faxed, or dropped off at the Michigan
included on the Monogram Series, so League Ticket Office. Payroll Deduction requests will not be accepted by phone.
you can guarantee your seats for these
U-M Employee ID Number Signature Authorizing Payroll Deduction
concerts and plan your entire season of
UMS events at once! Please note that
there are no discounts for these events,
unless they are purchased as part of _______________________
another series.
My Payment is by ■ Check, payable to UMS ■ Visa ■ MasterCard
5. Please be sure to fill out all six pages _ ■ American Express ■ Discover
of the order form before you send it in.
You may also call the Ticket Office for ■ I want to take advantage of installment billing (credit card orders totaling $300 or
assistance if you have questions about more only). Please bill my credit card in three equal installments: the week the order is
which package makes the most sense received in the UMS Ticket Office, the first week of July, and the first week of August.
for you. Don’t forget to include your Installment billing requests must be received by Friday, June 25.
pre-paid parking passes to avoid hassles
on the night of the performance, and to Account Number (Do not include hyphens, dashes or spaces)
make your tax-deductible contribution to
UMS.

Expiration Date Signature of cardholder

_________________________________________
» Please continue
 132nd UMS Season

Order Form
Have Questions? We’re Happy to Help!
Call the UMS Ticket Office at 734-764-2538
Outside the 734 area code and within Michigan, call toll-free 800-221-1229

Important Seating Info — Please Fill This Out!

A. If the seat section you selected is not available for any event that you have purchased, would you prefer
(please check all that apply):

■ Change my seats to the next highest price section

■ Change my seats to the next lowest price section
■ If available, move me to a different performance of the same event and keep the same price section
(note any exceptions below)
■ Call me at the daytime number listed on page 1 of this order form
■ E-mail me at the address listed on page 1 of this order form
Please Note: If you do not check a box, you will automatically be moved to the next lowest price section, and
the cost difference will be converted to UMS Credit, which may be utilized at any time during the 10/11 season.
A UMS Credit receipt will be printed with your tickets and mailed in August. If the venue that you have selected
has several levels (e.g., main floor and balcony), UMS will keep your seats on the level that you requested and
move to you to the next lowest price section, unless you indicate otherwise here:

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

_______________________________________________________________________________________________________
C. I would like my tickets mailed to:
■ The address on the front of this form
■ Please hold my tickets at the League Ticket Office for me to pick up prior to my first performance.
■ My summer address (please list address and dates below)

_______________________________________________________________________________________________________

How to Order Tickets Don’t Miss These Important Dates!

Phone
With Visa, MasterCard, Discover,
or American Express
734-764-2538
Outside the 734 area code and
within Michigan, call toll-free
800-221-1229.
Internet
www.ums.org
In Person
Please visit the Ticket Office on the
north end of the Michigan League
building (911 North University
Avenue).
The Ticket Office also sells tickets
for all U-M School of Music, Theatre
& Dance productions and the Ann
Arbor Summer Festival.
There is an $8 service charge for all
subscription orders.
Fax
734-647-1171
Hours
10 am to 5 pm Monday-Friday
Closed Saturdays and Sundays.
Extended hours resume
after Labor Day.
Mail
UMS Ticket Office
Burton Memorial Tower
881 North University Avenue
Ann Arbor, MI 48109-1011
Wed May 5 Priority Period Begins for Renewing Subscribers
and UMS Donors
Mon May 10 Subscription Packages Available to General Public
Fri June 4 Deadline for U-M Payroll Deduction
Seating Priority Deadline for Donors and
Renewing Subscribers
Fri June 25 Deadline for Installment Billing and
Free Parking Options
Wed Aug 11 Group Sales Reservations Open
Wed Aug 18 Donor Single Ticket Day (for donors of at least $250)
Fri Aug 20 Last Day to Order Monogram Series
Mon Aug 23 Internet Sales Begin
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
Subscription requests are filled in the order in which they are
received. Order early to guarantee the best seats before tickets go
on sale to the general public.
UMS Donors are given seating priority when orders are received
by Friday, June 4.
Reminder: Tickets will be mailed in mid-August. Please be
sure that you have indicated above if you would like tickets
to be sent to a different address or held at the Ticket Office
for pick-up.
 PLEASE NOTE: Consult the venue seating maps on pages 52-53 of this brochure as you make your selection.
Seating sections are the same as last season.

1. Fixed Series Packages Orders must be received by Friday, September 24, 2010 (Friday, September 3 for the Theater Series).
Main Floor Mezzanine Balcony

Series (# of concerts) No. of Packages Gold Main A B A B B C E Total

Choral Union Series (10) _______ 650 575 520 500 420 350 280 100 ________
Piano Series (5) _______ n/a 310 275 275 230 185 155 50 ________

Main Floor Mezzanine

Series (# of concerts) No. of Packages Gold Main A B A B E Total

Jazz Series (4) _______ 160 140 126 140 112 60 ________

No. of Packages Gold Main Gold Balc A B C D E Total

Chamber Arts Series (7) _______ * * 256 220 166 124 * ________
Chamber Arts with addl
Takács/Schubert (9) _______ * * 340 290 220 170 * ________
Schubertiade Series (3) ______ * * 135 117 90 66 * ________
Dance Series (5) ______ 206 206 192 165 133 * * ________
Please circle preferred performance:
Paul Taylor Dance Co Thu 10/7 at 8 Fri 10/8 at 8 Sat 10/9 at 8
Sankai Juku/Hibiki Sat 10/23 at 8 Sun 10/24 at 2
Grupo Corpo Fri 1/21 at 8 Sat 1/22 at 8
Merce Cunningham Legacy Tour Fri 2/18 at 8 Sat 2/19 at 8

Divine Voices (4) __________ 172 reserved ___________ 132 general admission
Michael’s Picks (6) _______ 240 230 230 200 180 * * ________
Theater Series (5) _______ 210 190 190 175 145 * * ________
Please circle preferred performance:
Susurrus (rank top three choices for entrance time, please note any dates to avoid in margins or on separate sheet)
_ ______ Weds-Fri 3:30-4:45 _ ______ Sat/Sun 11-1 _______ Sat/Sun 3:30-4:45
_ ______ Weds-Fri 5:00-5:45 _ ______ Sat/Sun 1:15-3:15 _______ Sat/Sun 5:00-5:45
Laurie Anderson/Delusion Fri 1/14 at 8 Sat 1/15 at 8
Druid/Cripple of Inishmaan Thu 3/10 at 8 Sat 3/11 at 8 Sat 3/12 at 8 Sun 3/13 at 2
Propeller/Richard III Wed 3/30 at 7:30 Fri 4/1 at 7:30 Sat 4/2 at 2 Sun 4/3 at 7:30
Propeller/Comedy of Errors Thu 3/31 at 7:30 Sat 4/2 at 7:30 Sun 4/3 at 2

1. Fixed Series Package Sub-Total $ _________

2. Family Series Orders must be received by Friday, September 24, 2010

Subscribers to any series may purchase tickets to any Family Performances now.
If you wish to bring children under age 2, please call our Ticket Office at 734-764-2538 to make appropriate arrangements.

Family Series (2) _______ 30 adults _________ 15 children _________

Please circle preferred performance:
Baby Loves Salsa Sun 1/30 at 1pm Sun 1/30 at 4pm

Add-on: Kodo* Wed 2/23, 11am, H2 ___________ 16 adults ____________ 8 children _________

If you are a subscriber to another series and wish to purchase individual family performances, please complete this section.

Paul Taylor Dance Sat 10/9, 1 pm, P _ ___________ 16 adults _ _________ 8 children ________
Baby Loves Salsa Sun 1/30, LMT ________ 16 adults __________ 8 children ________
Please circle preferred performance:
Sun 1/30 at 1pm Sun 1/30 at 4pm

Kodo* _ ________ 16 adults ___________ 8 children ____________

*Please note: this daytime performance is during the Ann Arbor Public Schools winter break 2. Family Series Sub-Total $ _________
 3. Monogram Series Orders must be received by Friday, August 20, 2010
Choose 5 or more events from this listing, and take 10% off! Subscribers to any of the Fixed Series Packages listed in Sections 1 or 2 of the Order Form
may order any number of individual Monogram events now and receive the 10% discount.
Where an asterisk (*) is marked, seats are not available A Mezz/
No. of Gold
in this price section for venue listed. A Main B Main B Mezz B Balc C D E Total
Tickets Main Gold Balc

______ 30 general admission ________

Susurrus Sep 9-Oct 3
Rank top three choices for entrance time, please note any dates to avoid below

_ ______ Weds-Fri 3:30-4:45 _______ Sat/Sun 11-1 _ _____ Sat/Sun 3:30-4:45

SEP

_ ______ Weds-Fri 5:00-5:45 _______ Sat/Sun 1:15-3:15 _ _____ Sat/Sun 5:00-5:45

Rosanne Cash Sat 9/25, 8pm, H2 _____ 54 46 40 44 38 32 24 20 10 ________

Jordi Savall/Tembembe Ensamble Thu 9/30, 8pm, SF _____ 45 reserved _________ 35 general admission ________
Paul Taylor Dance Thu 10/7, 8pm, P _____ 46 42 * 42 * 38 32 24 18 ________
Paul Taylor Dance Fri 10/8, 8pm, P _____ 46 42 * 42 * 38 32 24 18 ________
Paul Taylor Dance Sat 10/9, 8pm, P _____ 46 42 * 42 * 38 32 24 18 ________
_____ * 42 36 * * * 28 20 * ________
OCT

Jerusalem String Quartet Thu 10/21, 8pm, R

Sankai Juku/Hibiki Sat 10/23, 8pm, P _____ 42 38 * 38 * 34 28 22 18 ________
Sankai Juku/Hibiki Sun 10/24, 2pm, P ____ 42 38 * 38 * 34 28 22 18 ________
Venice Baroque Orch Wed 10/27, 8pm, H1 ____ n/a 54 48 48 38 32 26 18 10 ________
Hot Clubs of San Fran & Detroit Fri 10/29, 8pm, MT ____ 40 34 * 40 * 32 24 18 * ________
The Tallis Scholars Thu 11/4, 8pm, SF ____ 45 reserved _________ 35 general admission ________
Mariachi Vargas de Tecalitlán Sat 11/6, 8pm, H3 ____ 42 36 30 32 24 * * * 10 ________
____ 45 general admission ________
NOV

Stew and The Negro Problem Thu 11/18, 8pm, tbd

Stew and The Negro Problem Fri 11/19, 8pm, tbd ____ 45 general admission ________
Stew and The Negro Problem Sat 11/20, 7:30pm, tbd ____ 45 general admission ________
Stew and The Negro Problem Sat 11/20, 10:30pm,tbd ____ 45 general admission ________
Carolina Chocolate Drops Fri 12/3, 8pm, MT ____ 42 38 * 42 * 32 24 18 * ________
DEC

Handel’s Messiah Sat 12/4, 8pm, H1 ____ 32 26 22 26 22 20 16 12 10 ________

Handel’s Messiah Sun 12/5, 2pm, H1 ____ 32 26 22 26 22 20 16 12 10 ________
Laurie Anderson/Delusion Fri 1/14, 8pm, P ____ 52 46 * 46 * 42 34 24 18 ________
Laurie Anderson/Delusion Sat 1/15, 8pm, P ____ 52 46 * 46 * 42 34 24 18 ________
Grupo Corpo ____ 42 38 * 38 * 34 28 22 18 ________
JAN

Fri 1/21, 8pm, P

Grupo Corpo Sat 1/22, 8pm, P ____ 42 38 * 38 * 34 28 22 18 ________
Joanne Shenandoah Sun 1/23, 4pm, LMT ____ * 35 25 35 25 * * * * ________
Sequentia Thu 1/27, 8pm, SF ____ 45 reserved _________ 35 general admission ________
Cleveland Orch/Möst/Aimard Tue 2/1, 8pm, H1 ____ n/a 68 60 60 50 40 34 20 10 ________
Wynton Marsalis/JLCO Wed 2/2, 8pm, H2 ____ 54 46 40 44 38 32 24 20 10 ________
Nadja/New Century Chamber Fri 2/4, 8pm, R ____ * 48 42 * * * 32 24 * ________
Blues at the Crossroads Thu 2/10, 8pm, H3 ____ 46 42 38 40 30 * * * 10 ________
Rafał Blechacz Fri 2/11, 8pm, H2 ____ n/a 44 36 38 32 26 22 18 10 ________
FEB

Iyer/Mahanthappa Sat 2/12, 8pm, P ____ 42 38 * 38 * 34 26 20 16 ________

Concertante/Blechacz Sun 2/13, 4pm, R ____ * 42 36 * * * 28 20 * ________
Merce Cunningham Dance Fri 2/18, 8pm, P ____ 54 50 * 50 * 46 36 26 20 ________
Merce Cunningham Dance Sat 2/19, 8pm, P ____ 54 50 * 50 * 46 36 26 20 ________
Takács Quartet/Schubert 2 Sun 2/20, 4pm, R ____ * 48 42 * * * 32 24 * ________
Kodo Wed 2/23, 8pm, H2 ____ 54 50 44 48 42 36 28 22 10 ________
Druid/Inishmaan Thu 3/10, 8pm, P ____ 52 46 * 46 * 42 34 24 18 ________
Druid/Inishmaan Fri 3/11, 8pm, P ____ 56 50 * 50 * 46 36 26 20 ________
Druid/Inishmaan Sat 3/12, 8pm, P ____ 56 50 * 50 * 46 36 26 20 ________
MAR

Druid/Inishmaan Sun 3/13, 2pm, P ____ 52 46 * 46 * 42 34 24 18 ________

Detroit Symph/Mahler 8 Sat 3/19, 8pm, H1 ____ n/a 68 60 60 50 40 34 20 10 ________
Bach Collegium Japan Thu 3/24, 8pm, H1 ____ n/a 58 50 50 40 34 28 18 10 ________
Propeller/Richard III Wed 3/30, 7:30pm, P ____ 56 50 * 50 * 46 36 26 20 ________
Propeller/Comedy Thu 3/31, 7:30pm, P ____ 56 50 * 50 * 46 36 26 20 ________
Propeller/Richard III Fri 4/1, 7:30pm, P ____ 60 54 * 54 * 46 36 26 20 ________
Propeller/Richard III Sat 4/2, 2pm, P ____ 56 50 * 50 * 46 36 26 20 ________
Propeller/Comedy Sat 4/2, 7:30pm, P ____ 60 54 * 54 * 46 36 26 20 ________
Propeller/Comedy Sun 4/3, 2pm, P ____ 56 50 * 50 * 46 36 26 20 ________
Propeller/Richard III ____ 56 50 * 50 * 46 36 26 20 ________
APR

Sun 4/3, 7:30pm, P

Septeto Nacional Thu 4/7, 8pm, H3 ____ 42 36 30 32 24 * * * 10 ________
Takács/Schubert 3 Fri 4/8, 8pm, R ____ * 48 42 * * * 32 24 * ________
Tetzlaff String Quartet Sat 4/9, 8pm, R ____ * 42 36 * * * 28 20 * ________
Tony Allen’s Secret Agent Sat 4/16, 8pm, H3 ____ 46 42 38 40 30 * * * 10 ________
Songs and Waltzes of Love Sat 4/23, 8pm, H2 ____ n/a 44 36 38 32 26 22 18 10 ________

Monogram Series Sub-Total $ ________

Less 10% (must purchase at least 5 events from Section 3 or any Series in Section 1 or 2) ________
3. Monogram Series Total (please do not round your total) _ ______
4. Choral Union/Chamber Arts Events
SUBSCRIBER BENEFIT! Subscribers to any series may order tickets to all Choral Union and Chamber Arts events now. Seating priority will be given to UMS
Donors. We’re sorry, we are unable to offer discounts to these concerts unless they are purchased as part of an entire Choral Union or Chamber Arts
Series, or as part of a Monogram Series where applicable (concerts also listed on Monogram are referenced with an asterisk).
No. of Gold A Mezz /
Tickets Main A Main B Main Gold Balc B Mezz B Balc C D E Total

Mariinsky Orch/
Sun 10/10, 4pm, H1
Gergiev/Matsuev _______ 80 72 66 66 56 44 36 26 10 ________
Takács/Schubert 1 Thu 10/14, 8pm, R _______ * 48 42 * * * 32 24 * ________
Jerusalem SQ* Thu 10/21, 8pm, R _______ * 42 36 * * * 28 20 * ________
Venice Baroque Orch* Wed 10/27, 8pm, H2 _______ 60 54 48 48 38 32 26 18 10 ________
ONCE.MORE Tue 11/2, 8pm, R _______ * 2 2 * * * 2 2 * ________
Murray Perahia Wed 11/10, 8pm, H2 _______ 75 68 60 60 50 40 34 20 10 ________
Renée Fleming Sun 1/16, 4pm, H2 _______ 65 60 56 56 46 36 30 20 10 ________
Cleveland Orch/
Tue 2/1, 8pm, H1
Möst/Aimard* _______ 75 68 60 60 50 40 34 20 10 ________
Salerno-Sonnenberg/
Fri 2/4, 8pm, R
New Century Chamber* _______ * 48 42 * * * 32 24 * ________
Rafał Blechacz* Fri 2/11, 8pm, H2 _______ 50 44 36 38 32 26 22 18 10 ________
Concertante/Blechacz* Sun 2/13, 4pm, R _______ 42 36 * * * 28 20 * ________
Takács /Schubert 2* Sun 2/20, 4pm, R _______ * 48 42 * * * 32 24 * ________
Scharoun Ensemble Wed 3/9, 8pm, R _______ * 48 42 * * * 32 24 * ________
DSO/Mahler 8* Sat 3/19, 8pm, H1 _______ 75 68 60 60 50 40 34 20 10 ________
Bach Collegium Japan* Thu 3/24, 8pm, H1 _______ 65 58 50 50 40 34 28 18 10 ________
St. Petersburg Phil/
Sat 4/2, 8pm, H1
Temirkanov/Lugansky _______ 80 72 66 66 56 44 36 26 10 ________
Takács/Schubert 3* Fri 4/8, 8pm, R _______ * 48 42 * * * 32 24 * ________
Tetzlaff SQ* Sat 4/9, 8pm, R _______ * 42 36 * * * 28 20 * ________
Songs &Waltzes of Love* Sat 4/23, 8pm, H2 _______ 50 44 36 38 32 26 22 18 10 ________
4. Choral Union/Chamber Arts Sub-Total $ ______

5. Parking & Transportation

Pre-Paid Event Parking Passes may be purchased in advance for $5 each for the Thayer and Fletcher Street parking structures, just a short
walk from most concert venues in Ann Arbor. Vouchers may be redeemed for parking beginning two hours before the event and expire at
the end of the 10/11 season. Each parking pass is good for one use only. Parking is not guaranteed with vouchers, so please arrive early to
allow enough time to park.
Pre-Paid Parking Passes_ _____ @ $5
Round-trip transportation to Detroit/Ailey* (Thu 3/3) _______ @ $10 5. Parking Sub-Total $__________
*see page 15 for details
■ SUBSCRIBER BENEFIT: I subscribed to eight or more events prior to June 25, 2010 and would like free parking in the Power
Center (Fletcher Street) structure on UMS concert nights. Please send special vouchers with my tickets.

6. Support UMS Totals
Don’t Forget! Ticket prices cover only 46% of our costs. 1. Fixed Series Package Sub-Total
Please help UMS maintain its standard of excellence with your
tax-deductible donation. See page 49 for details. 2. Family Series Sub-Total

Giving Levels 3. Monogram Series Total (do not round)

Presenters Circle Friends
Director $100,000 or more Benefactor $500-$999 4. Choral Union/Chamber Arts Sub-Total
Soloist $50,000-$99,999 Associate $250-$499
Maestro $20,000-$49,999 Advocate $100-$249 5. Parking/Transportation Sub-Total
Virtuoso $10,000-$19,999 Friend $1-$99
Concertmaster $7,500-$9,999 6. Postage/Handling $8.00
Producer $5,000-$7,499
Leader $3,500-$4,999 7. Total 1-6
Principal $2,500-$3,499
Patron $1,000-$2,499 8. Tax-Deductible Contribution to UMS
If you are a donor, please print your name(s) as you would like it to 9. Grand Total (Lines 7 + 8)
appear in the program book listing, or check here ■ to remain anony-
mous. Donors of $250 or more will be listed in the program book. Did you double-check your order? Please review the checklist on the
mailing/payment page to be sure that you haven’t forgotten anything.
___________________________________________________________
Important Notes
from the Ticket Office
Subscription Tickets/Seating Priority
Subscription tickets will be mailed in mid-August.
Donors
Donors of at least $2,500 annually receive the highest priority seating
based on level of giving for fixed series and Monogram packages.
Donations may be included with your ticket order. Ticket orders must be
received by Friday, June 4 to be eligible for seating priority. Within each
subscription category listed below, annual donations of $500 or more
receive special consideration for seating.
Fixed Series
Renewing and fixed series subscribers (for packages listed on pages 6-23
and page 45 of this brochure) receive priority before Monogram Series
subscribers and individual event purchasers. Subscriptions will be filled by
series, in the order received.
Monogram Series
Monogram subscribers (those who choose at least five events from
pages 24-43 of this brochure) will receive priority before individual event
purchasers. Subscriptions will be filled in the order received and must be
received by Friday, August 20.

Please Note
Please Make Sure We Have Your E-Mail Address on File!
UMS regularly sends updated concert-related parking and late seating
information via e-mail a few days before the event. Please be sure that the
Ticket Office has your correct e-mail address on file.
Subscription Ticket Exchanges
Subscribers may exchange tickets free of charge. Exchanged tickets must
be received by the Ticket Office (by mail or in person) at least 48 hours
prior to the performance. The value of the ticket(s) may be applied to
another performance or will be held as UMS Credit until the end of the
season. You may fax a photocopy of your torn tickets to 734-647-1171.
UMS Credit must be redeemed by April 23, 2011. For information about
exchanging tickets within 48 hours of the performance, please call the
Ticket Office.
The UMS Ticket Office will accept subscription ticket exchanges after
tickets are mailed in August.
Ticket Donations/Unused Tickets
Unused tickets may be donated to UMS for a tax-deductible contribution
up until the published start time of the performance. Unused tickets that
are returned after the performance are not eligible for UMS Credit or for a
tax-deductible contribution.
Refunds
Due to the nature of the performing arts, programs and artists are subject
to change. If an artist cancels an appearance, UMS will make every effort
to substitute that performance with a comparable artist. Refunds will only
be offered if a substitute cannot be found, or in the event of a date change.
Handling fees are not refundable.
Access for People with Disabilities
All UMS venues are accessible for people with disabilities.
Call 734-764-2538 for more information.
 Season Media Partner

Special thanks to the following supporters: Media Partners

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.
Doris Duke Charitable Foundation Endowment Fund. Special project support
for several components of the 2010/11 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 program.
The Andrew W. Mellon Foundation. Special project support for several
components of the 10/11 season is provided by The Andrew W. Mellon Foundation.
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.
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.

Education Program Supporters

Reflects gifts received from July 1, 2008 – November 1, 2009.
Credits
Michigan Council for Arts and Cultural Affairs
University of Michigan

Anonymous
Arts at Michigan
Arts Midwest’s Performing Arts Fund
Association of Performing Arts Presenters
Bank of Ann Arbor
The Dan Cameron Family Foundation/Alan and Swanna Saltiel
Community Foundation for Southeast Michigan
10/11 ums season | www.ums.org | 734-764-2538

Doris Duke Charitable Foundation

Doris Duke Foundation for Islamic Art
DTE Energy Foundation
David and Phyllis Herzig Endowment Fund
The Esperance Family Foundation
Honigman Miller Schwartz and Cohn LLP
JazzNet Endowment
W.K. Kellogg Foundation
Masco Corporation Foundation
Miller, Canfield, Paddock and Stone, P.L.C.
THE MOSAIC FOUNDATION (of R. and P. Heydon) UMS is a member of the University of
Michigan Public Goods Council and
The Mosaic Foundation [Washington, DC] the Cultural Alliance of Southeastern
National Dance Project of the New England Foundation for the Arts Michigan.
National Endowment for the Arts
Prudence and Amnon Rosenthal K-12 Education Endowment Fund
Rick and Sue Snyder
TCF Bank
UMS Advisory Committee The University of Michigan is an
Equal Opportunity Employer and pro-
University of Michigan Credit Union vides programs and services without
regard to race, sex, color, religion,
University of Michigan Health System sexual orientation, gender identity,
U-M Office of the Senior Vice Provost for Academic Affairs national origin, or disability.
U-M Office of the Vice President for Research
Wallace Endowment Fund

54 | 55
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881 North University Avenue Organization
Ann Arbor, MI 48109-1011 US Postage
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Ann Arbor, MI
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Connecting Audiences and Artists in

Uncommon and Engaging Experiences

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