ums 10/11 series brochure

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September 9-Oct 3 Susurrus Theater, Monogram25 Sat Rosanne Cash Monogram30 Thu La Capella Reial de Catalunya Divine Voices, Monogram with Hesperion XXI and the Tembembe Ensamble Continuo Jordi Savall music director

OctOber7-9 Thu-Sat Paul Taylor Dance Company Dance, Monogram9 Sat Paul Taylor Dance Company Family Performance Family10 Sun Mariinsky Orchestra Choral Union Valery Gergiev conductor

Denis Matsuev piano

14 Thu Takács Quartet: Schubert Concert 1 Chamber Arts, Schubertiade21 Thu Jerusalem Quartet Chamber Arts, Monogram23-24 Sat-Sun Sankai Juku: Hibiki: Resonance From Far Away Dance, Monogram27 Wed Venice Baroque Orchestra Choral Union, Monogram29 Fri Django Reinhardt’s 100th Birthday Celebration Jazz, Monogram The Hot Club of San Francisco and The Hot Club of Detroit

NOvember2 Tue ONCE.MORE Festival: The Historic Concert Chamber Arts4 Thu The Tallis Scholars Divine Voices, Monogram6 Sat Mariachi Vargas de Tecalitlán Monogram10 Wed Murray Perahia piano Choral Union, Piano18-20 Thu-Sat Stew and The Negro Problem Monogram with Heidi Rodewald

December3 Fri Carolina Chocolate Drops Monogram4-5 Sat-Sun Handel’s Messiah Monogram

JaNuary14-15 Fri-Sat Laurie Anderson’s Delusion Theater, Monogram16 Sun Renée Fleming soprano Choral Union21-22 Fri-Sat Grupo Corpo Dance, Monogram23 Sun Joanne Shenandoah Monogram27 Thu Sequentia Divine Voices, Monogram30 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.

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September 9-Oct 3 Susurrus Theater, Monogram25 Sat Rosanne Cash Monogram30 Thu La Capella Reial de Catalunya Divine Voices, Monogram with Hesperion XXI and the Tembembe Ensamble Continuo Jordi Savall music director

OctOber7-9 Thu-Sat Paul Taylor Dance Company Dance, Monogram9 Sat Paul Taylor Dance Company Family Performance Family10 Sun Mariinsky Orchestra Choral Union Valery Gergiev conductor

Denis Matsuev piano

14 Thu Takács Quartet: Schubert Concert 1 Chamber Arts, Schubertiade21 Thu Jerusalem Quartet Chamber Arts, Monogram23-24 Sat-Sun Sankai Juku: Hibiki: Resonance From Far Away Dance, Monogram27 Wed Venice Baroque Orchestra Choral Union, Monogram29 Fri Django Reinhardt’s 100th Birthday Celebration Jazz, Monogram The Hot Club of San Francisco and The Hot Club of Detroit

NOvember2 Tue ONCE.MORE Festival: The Historic Concert Chamber Arts4 Thu The Tallis Scholars Divine Voices, Monogram6 Sat Mariachi Vargas de Tecalitlán Monogram10 Wed Murray Perahia piano Choral Union, Piano18-20 Thu-Sat Stew and The Negro Problem Monogram with Heidi Rodewald

December3 Fri Carolina Chocolate Drops Monogram4-5 Sat-Sun Handel’s Messiah Monogram

JaNuary14-15 Fri-Sat Laurie Anderson’s Delusion Theater, Monogram16 Sun Renée Fleming soprano Choral Union21-22 Fri-Sat Grupo Corpo Dance, Monogram23 Sun Joanne Shenandoah Monogram27 Thu Sequentia Divine Voices, Monogram30 Sun Baby Loves Salsa Family

February1 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 Marsalis4 Fri Nadja Salerno-Sonnenberg and Chamber Arts, Monogram New Century Chamber Orchestra10 Thu Blues at the Crossroads: Monogram The Robert Johnson Centennial Concert11 Fri Rafał Blechacz piano Choral Union, Piano, Monogram12 Sat Vijay Iyer Trio and Rudresh Mahanthappa’s Apex Jazz, Monogram13 Sun Concertante with Rafał Blechacz piano Chamber Arts, Monogram18-19 Fri-Sat Merce Cunningham Dance Company: The Legacy Tour Dance, Monogram20 Sun Takács Quartet: Schubert Concert 2 Schubertiade, Monogram23 Wed Kodo Monogram

march9 Wed Scharoun Ensemble Berlin Chamber Arts10-13 Thu-Sun Druid and Atlantic Theater Company Theater, Monogram 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

april2 Sat St. Petersburg Philharmonic Choral Union, Piano Yuri Temirkanov conductor Nikolai Lugansky piano

7 Thu Septeto Nacional Ignacio Piñeiro de Cuba Jazz, Monogram8 Fri Takács Quartet: Schubert Concert 3 Schubertiade, Monogram9 Sat Tetzlaff Quartet Chamber Arts, Monogram16 Sat Tony Allen’s Secret Agent Monogram23 Sat “Songs and Waltzes of Love” Choral Union, Monogram

SerieS iNDex pageSchoral union 6-9theater 10-11chamber arts 12-13Dance 14-15Jazz 16-17Divine voices 18-19Family 20 Schubertiade 21michael’s picks 22-23monogram 24-43global/americas 44 piano 45

10/11 SEASon MEDIA PARTnER

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.

Subscribing to a UMS series can simplify and enhance your quality of life. Consider the following possibilities:

Personal FulfillmentYou’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.

ValueAs 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 BuildingWhen 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.

DiscoveryYou 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 [email protected], 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.

Why Subscribe?

132nd Annual Series

CHORAL UNIONmariinsky OrchestraValery Gergiev music director and conductor

Denis Matsuev piano

Sunday, october 10 4 pmHILL AuDIToRIuM

Valery Gergiev’s long association with the Mariinsky

(formerly known as the Kirov) — including 10 previous

UMS concerts, most recently the five-concert cycle of

Shostakovich symphonies — has raised the ensemble’s

profile to the point where it is now widely regarded as

one of the most dynamic and exciting ensembles on

the world stage today. This series-opening celebration

features the fiery Russian pianist Denis Matsuev in

Rachmaninoff’s third piano concerto. “His technique

is phenomenal...Perhaps he is the new Horowitz.”

(London Times)

PROGRAM

Rachmaninoff Piano Concerto No. 3 in d minor, Op. 30 (1900-01)

Mahler Symphony No. 5 (1901-02)

10/11 MAJoR oRCHESTRAS SPonSoRED By

SPonSoRED By the Catherine S. arCure and herbert e. Sloan endowment Fund.

HoSTED By jameS and nanCy Stanley AnD jay and mary kate zelenoCk.

ADDITIonAL PRoMoTIonAL SuPPoRT PRovIDED By wrCj 90.9 Fm AnD detroit jewiSh newS.

venice baroque OrchestraRobert McDuffie violin

Wednesday, october 27 8 pmHILL AuDIToRIuM

The Venice Baroque Orchestra was founded in 1997

by harpsichordist Andrea Marcon and is recognized as

one of Europe’s premier ensembles devoted to period

instrument performance. For this UMS debut, they

perform music of their home city — Venetian composer

Antonio Vivaldi’s The Four Seasons — paired with an

“American Four Seasons” by Philip Glass featuring violinist

Robert McDuffie, who has worked closely with Glass

over the years and who last appeared at UMS with the

Jerusalem Symphony in 2008. The VBO will perform the

Vivaldi on period instruments, then switch to modern-

day instruments for the Glass composition. “The first

performance of [Philip Glass’s ‘American Four Seasons’]

was so spectacularly played by the new piece’s muse,

American violinist Robert McDuffie...that the event turned

into one of the most exciting musical evenings of the

year.” (The Toronto Star)

PROGRAM

Vivaldi The Four Seasons, Op. 8 (1723)

Glass Violin Concerto No. 2: “The American Four Seasons” (2009)

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 pmHILL 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.


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CHoRAL unIon SERIES MEDIA PARTnER

CHORAL UNION

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 OrchestraFranz Welser-Möst conductorPierre-Laurent aimard piano

Tuesday, February 1 8 pmHILL AuDIToRIuM

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)


FunDED In PART By THE national endowment For the artS AS PART oF american masterpieces: three centuries of artistic genius.


rafał blechacz piano

Friday, February 11 8 PMHILL 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

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)

THE FRIDAy PERFoRMAnCE IS SPonSoRED By


Mahler’s Symphony No. 8 Detroit Symphony OrchestraUMS Choral Union U-M Chamber Choir | U-M University ChoirU-M orpheus Singers | MSU Children’s ChoirLeonard Slatkin conductor

Saturday, March 19 8 PMHILL AuDIToRIuM

In commemoration of the 150th anniversary of Gustav

Mahler’s birth and the 100th anniversary of his death,

UMS is collaborating with the Detroit Symphony

Orchestra, the U-M School of Music, Theatre & Dance,

the MSU Children’s Choir, and Michigan Opera Theatre

to present a spectacular, not-to-be-missed performance

of Mahler’s monumental Symphony No. 8. The first

performance of this “choral symphony” featured a chorus

of about 850, with an orchestra of 171, leading Mahler’s

agent to dub the work “Symphony of a Thousand.” While

Mahler himself did not approve of the title, it nevertheless

remains associated with this work, which is rarely

performed due to the massive forces required to do

it justice.

PROGRAM

Mahler Symphony No. 8 (“Symphony of a Thousand”) (1907)


Photos: American premiere of Mahler’s Symphony no. 8, performed by the Philadelphia orchestra and Leopold Stokowski, 1916; Rafa_ Blechacz by Felix Broede.

Subscribe Today!10 ConCERTS In HILL AuDIToRIuMWWW.uMS.oRG / 734-764-2538

Main Floor $650 / $575 / $520Mezzanine $500 / $420Balcony $350 / $280 / $100

Bach’s Mass in b minorbach collegium JapanMasaaki 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.

St. petersburg philharmonicYuri Temirkanov conductor nikolai Lugansky piano

Saturday, April 2 8 PMHILL 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)


SPonSoRED By

SPonSoRED In PART By donald moreloCk.


“Songs and Waltzes of love”Genia Kühmeier soprano | Bernarda Fink mezzo-soprano

Michael Schade tenor | Thomas Quasthoff bass-baritone

Malcolm Martineau piano | Justus Zeyen piano

Saturday, April 23 8 PMHILL 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)

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SusurrusWritten, 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 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.

ADDITIonAL PRoMoTIonAL SuPPoRT PRovIDED By wemu 89.1 Fm.

laurie anderson’s DelusionFriday, January 14 8 pmSaturday, 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 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.

ADDITIonAL PRoMoTIonAL SuPPoRT PRovIDED By wemu 89.1 Fm, metro timeS, AnD ann arbor’S 107one.

Subscribe Today!5 PRoDuCTIonS

WWW.uMS.oRG / 734-764-2538

Main Floor $210 / $190 / $145Balcony $190 / $175

THEATER SERIES MEDIA PARTnERS

THEATER Series

International

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 The Cripple of Inishmaan Druid and atlantic theater companyGarry Hynes director

Thursday, March 10 8 pm Friday, March 11 8 pm Saturday, March 12 8 pm Sunday, March 13 2 pmPoWER CEnTER

It’s 1934, and news is thin on the island of Inishmaan.

When word arrives that a Hollywood filmmaker is coming

to a neighboring island to shoot a movie, excitement

ripples through the sleepy community. For Billy Claven,

a crippled orphan, the film provides an opportunity to

get away from his bleak existence. He auditions for a part

in the film and, to everyone’s surprise, gets his chance.

The Cripple of Inishmaan is “a break-your-heart, cruelly

funny evening directed with an exhilarating ruthlessness

and acted with a bracing lack of sentimentality.” (The

Guardian) The second play in Martin McDonagh’s “Aran

Islands” trilogy, it is infused with his trademark humor, rich

with macabre cruelty, and teeming with eccentric island

characters. Ireland’s acclaimed Druid Theater Company

makes its UMS debut with this 2008 production.

InDIvIDuAL PERFoRMAnCES SPonSoRED By linda and mauriCe binkow philanthropiC Fund

HoSTED By david and phylliS herzig.

ADDITIonAL PRoMoTIonAL SuPPoRT PRovIDED By ann arbor’S 107one.

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Shakespeare’s Richard III and The Comedy of errorspropelleredward Hall directorPoWER CEnTER

Richard III

Wednesday, March 30 7:30 pmFriday, April 1 7:30 pm Saturday, April 2 2 pmSunday, April 3 7:30 pm

The Comedy of errors

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

Propeller evolved out of Edward Hall’s first Shakespeare

play for the Watermill Theater in the mid-1990s. The

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 — son of the

English theater director Sir Peter 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.” The two

plays will be presented in repertory, with the same cast

members performing both plays.

InDIvIDuAL PERFoRMAnCES SPonSoRED By robert and pearSon maCekAnD jane and edward SChulak.

ADDITIonAL PRoMoTIonAL SuPPoRT PRovIDED By wemu 89.1 Fm AnD metro timeS.

Schubert Cycle Concert 1 takács QuartetJeffrey Kahane piano

Thursday, october 14 8 pmRACKHAM AuDIToRIuM

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 devoted

primarily to Franz Schubert’s late chamber works, with

the first performance launching the Chamber Arts

Series. Chamber Arts subcribers may add the other

two concerts on to their subcription; see page 21 for

program details.

PROGRAM

Schubert Quartettsatz in c minor, D. 703 (1820)

Schubert Piano Sonata in B-flat Major, D. 960 (1828)

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 Maiden”) (1824)

Jerusalem QuartetThursday, october 21 8 pmRACKHAM AuDIToRIuM

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.

PROGRAM

Mendelssohn Quartet in e minor, Op. 44, No. 2 (1837)

Kopytman String Quartet No. 3 (1969)

Brahms Quartet in c minor, Op. 51, No. 1 (1873)

SPonSoRED By the FriendS oF the jeruSalem quartet.

ADDITIonAL PRoMoTIonAL SuPPoRT PRovIDED By detroit jewiSh newS.

The Historic ConcertONce.mOre Festival: a 50th anniversary moment

Tuesday, november 2 8 pmRACKHAM AuDIToRIuM

The ONCE Group was a collection of musicians, visual

artists, architects, and film-makers who, in the late 1950s

and early 1960s, created an environment in which artists

could explore and share techniques and ideas and bring

them to the public. The organizers of the ONCE Festival

were five young composers who had all had interaction

with Ross Lee Finney, the U-M School of Music’s Composer-

in-Residence, as well as Visiting Professor Roberto Gerhard.

Hosted by the ONCE group six times in Ann Arbor in the

1960s, the ONCE Festival had a significant impact on the

American arts and contemporary music scene; one of the

enduring outcomes was the Ann Arbor Film Festival.

To celebrate their pioneering contributions to Ann Arbor’s

ONCE Festival some 50 years ago, composers Ashley,

Mumma, Reynolds and Scarvada will be in attendance for

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

Ann Arbor’s progressive role in the development of the

American avant-garde. In a nod to the past, this concert will

feature 1960 ticket prices.

PROGRAM

Roger Reynolds Mosaic for Flute and Piano (1962)Robert Ashley in memoriam…Crazy Horse (symphony) (1963)Gordon Mumma Large Size Mograph (1962)Donald Scavarda Groups for Piano (1959)Ashley in memoriam…Esteban Gomez (quartet) (1963)Scavarda FilmSCORE for Two Pianists (1962)Scavarda GREYS, A FilmSCORE (silent version) (1963)Scavarda/Mumma GREYS, A FilmSCORE (with sound) (1963)George Cacioppo Cassiopeia (1962)Mumma Sinfonia (1958-60)Scavarda Matrix for Clarinetist (1962)Reynolds A Portrait of Vanzetti (1962-63)


48th Annual Series

Subscribe Today!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

CHAMBER ARTS SERIES MEDIA PARTnER

Photos: Takács Quartet by Ellen Appel, Jerusalem Quartet by Marco Borggreve, nadja Salerno-Sonnenberg by Christian Steiner, Concertante by Michael Aheam.

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Scharoun ensemble berlinMusicians of the Berlin Philharmonic

Wednesday, March 9 8 pmRACKHAM 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 QuartetSaturday, April 9 8 pmRACKHAM 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)

Nadja Salerno-Sonnenberg violin New century chamber Orchestra

Friday, February 4 8 pmRACKHAM 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)


concertante and rafał blechacz piano

Sunday, February 13 4 pmRACKHAM 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)

CHAMBER ARTS

paul taylor Dance companyPaul Taylor artistic director

Thursday, october 7 8 pmFriday, october 8 8 pmSaturday, october 9 8 pm PoWER CEnTER

More than a half-century ago, after performing in the companies

of Merce Cunningham, Martha Graham, and George Balanchine,

Paul Taylor became the youngest member of the pantheon

that created American modern dance. Now 80, Taylor is still

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. His work has largely been iconoclastic, but Taylor has

also made some of the most purely romantic, most astonishingly

athletic, and downright funniest dances ever put on a stage.

UMS, in collaboration with the U-M Department of Dance,

shines a light on Paul Taylor, with a day-long residency and

three performances highlighting just a fraction of the more

than 130 dances he has created. “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.


Hibiki: Resonance from Far away Sankai JukuUshio amagatsu director, choreographer, designer

Saturday, october 23 8 pm Sunday, october 24 2 pmPoWER CEnTER

Ushio Amagatsu, the founder and artistic director

of Sankai Juku, trained in classical as well as

modern dance before he devoted his life to butoh.

Butoh first appeared in Japan after World War II

and is often defined by its playful and grotesque

imagery, taboo topics, and absurd environments.

Traditionally performed in white body makeup

with slow, hyper-controlled, mesmerizing motion,

butoh represents to Amagatsu a “dialogue with

gravity,” whereas most dance forms revel in the

escape from gravity. It plays with the perception

of time and space through slowing down the

experience — the dance equivalent of haiku, only

much longer. The company last appeared in Ann

Arbor in 1999 and presents Hibiki, which received

an Olivier Award in 2002 for “Best New Dance

Production.”

FuNDED IN PART BY THE japan Foundation THRouGH THE perForming artS japan PRoGRAM.



20th Annual Series

DAnCE SERIES MEDIA PARTnERS

DANCE

Photos: Takács Quartet by Ellen Appel, Jerusalem Quartet by Marco Borggreve, nadja Salerno-Sonnenberg by Christian Steiner, Concertante by Michael Aheam.

The Legacy Tour merce cunningham Dance company

Friday, February 18 8 pm Saturday, February 19 8 pmPoWER 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.



alvin ailey american Dance theaterJudith Jamison artistic director

Thursday, March 3 7:30 pm [note start time!]

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.

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grupo corpoPaulo Pederneiras artistic director Rodrigo Pederneiras choreographer

Friday, January 21 8 pm Saturday, January 22 8 pmPoWER 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.

Django Reinhardt’s 100th Birthday Celebration the hot club of San Franciscothe hot club of Detroit

Friday, october 29 8 pmMICHIGAn THEATER

The Hot Club of San Francisco is an ensemble of

accomplished and versatile musicians celebrating

the music of Django Reinhardt and Stéphane

Grappelli’s pioneering Quintette du Hot Club de

France. Continuing this seminal French jazz tradition,

a similar scene plays out as the Hot Clubs of San

Francisco and Detroit present an evening of live

Gypsy jazz with selected short silent films from the

1930s by Charlie Bowers, James Sibley Watson, and

Harold Shaw, courtesy of the San Francisco Silent

Film Festival. Django Reinhardt is rightly hailed as

one of the greatest guitarists who ever lived, but

many people praising his accomplishments as a

guitarist tend to overlook his roots in Gypsy culture

and the fertile, polyglot Paris of the 1920s. Reinhardt

and his companions used all these elements, along

with American jazz, to create this new music, but

the Gypsy heritage seems to be the most important

ingredient. The Hot Club of San Francisco and The

Hot Club of Detroit join together for this celebration of

Django Reinhardt’s 100th birthday.


Jazz at lincoln center Orchestra with Wynton marsalis

Wednesday, February 2 8 pmHILL AuDIToRIuM

Wynton Marsalis stands in a league all his own.

A creative genius, compassionate humanitarian,

legendary trumpeter, masterful composer, arts

advocate, tireless educator, and cultural leader, he

inspires and uplifts people through superb jazz

concerts. His first trumpet came from Al Hirt at

age 6, though it took a few years for interest in the

instrument to stick. Now, more than 40 years later, he

is best known as the leader of the 15-member Jazz

at Lincoln Center Orchestra. Despite one of the most

aggressive touring schedules in the business, JLCO

makes each concert fresh, drawing in audiences who

are continually energized and amazed by the group’s

depth of outrageous talent. “The audience was weak

from applauding and shouting and jumping up and

down with the joy of the great music it had heard.”

(El Universal/The Herald)


ADDITIonAL PRoMoTIonAL SuPPoRT PRovIDED By ann arbor’S 107one AnD miChigan ChroniCle.


Main Floor $160 / $140 / $126 Mezzanine $140 / $112 / $60

JAzz SERIES MEDIA PARTnERS

JAzz17th Annual Series

Photos: Alvin Ailey’s Revelations by Andrew Eccles, Sankai Juku, Paul Taylor’s Piazzolla Caldera by Paul Goode.

vijay iyer trioVijay Iyer pianoStephan Crump bass | Marcus Gilmore drums apexRudresh Mahanthappa and Bunky Green alto saxophonefeaturing Craig Taborn pianoFrançois Moutin bass | Damion Reid drums

Saturday, February 12 8 pmPoWER 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 pmHILL AuDIToRIuM

Septeto Nacional Ignacio Piñeiro de Cuba has been the

greatest and first champion of the traditional sound of

the Cuban son for more than 80 years. The ensemble

performs some of the most treasured and well-known

Cuban songs in the tradition of Ignacio Piñeiro Martínez,

the legendary founder of the Septeto’s first incarnation in

1927 and one of the most important composers of son

music. The group’s exceptional musicianship is firmly

rooted in the musical explosion of Cuban son that took

place during the 1920s and 1930s, evoking the nostalgic

elegance of the dancing ballrooms and clubs of 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.

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The Route to the New World: From Spain to Mexicola capella reial de catalunya with hesperion xxi and tembembe ensamble continuo Jordi Savall music director

Thursday, September 30 8 pmST. 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) Jordi Savall is an exceptional

figure in today’s music world. For more than 30

years, he 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.

the tallis ScholarsPeter Phillips director

Thursday, november 4 8 pmST. FRAnCIS oF ASSISI CATHoLIC CHuRCH

The Tallis Scholars were founded in 1973 by Peter

Phillips, who remains their director nearly 40 years later.

Through recordings and concert performances, 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-AntiphonenPalestrina Magnificat for Double ChoirTallis Miserere nostrilAllegri MisererePraetorius Magnificat IIByrd Miserere Mei Miserere mihi, DominePalestrina Nunc Dimittis for Double ChoirPärt Nunc Dimittis Magnificat


Main Floor/Reserved $172 Mezz/General Admission $132

DIvInE voICES MEDIA PARTnER

DIVINE VOICESSeries

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)SequentiaBenjamin Bagby director

Thursday, January 27 8 pmST. 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.

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Bach’s Mass in b minor bach collegium JapanMasaaki Suzuki conductor

Thursday, March 24 8 pmHILL AuDIToRIuM


introducing Japanese audiences to period instru-

ment 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.

PROGRAM

J.S. Bach Mass in b minor, BWV 232 (1724-49)


ADDITIonAL PRoMoTIonAL SuPPoRT PRovIDED By wgte 91.3 Fm.

Fun today…memories Forever There’s a whole giant world beyond your backyard,

and you want your children to discover it. It’s a world

rich in possibilities for adventure and discovery —

a world that UMS puts within reach.

These one-hour family performances, shared with

your loved ones, become treasured memories that last

a lifetime. You’ll see the excitement on your children’s

faces now — and years from now, they’ll thank you, for

instilling in them a love for the performing arts.

UMS’s 10/11 Family Series includes American dancers

and salsa singers. Events are appropriate for children

ages 4-10, but children of all ages are welcome

to attend.

baby loves Salsa

Sunday, January 30 1 pm & 4 pm LyDIA MEnDELSSoHn THEATRE

Just as Dan Zanes has revolutionized kids’ music, José Conde — leader of the New York-based band Ola Fresca — takes the Afro-Cuban form of salsa and turns it into something that kids and parents both love. Don’t be misled by the band’s name — kids who have outgrown their diapers are sure to enjoy this band’s dizzying range of Afro-Latin styles.

MEDIA PARTnER wemu 89.1 Fm.

Optional Add-On Performance!Kodo Drummers of Japan

Wednesday, February 23 11 am HILL AuDIToRIuM

This exuberant, yet highly disciplined, group trains at

an island in Japan, where they hone their incredible

physical and musical skills. This special performance

has been scheduled during the Ann Arbor Public

Schools’ winter break, providing a mid-week outlet

to release some pent-up energy. An unforgettable

experience!


Saturday, october 9 1 pm PoWER CEnTER

Quite simply, Paul Taylor makes dances that people love.

He has made some of the most astonishingly athletic

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-

on — or shall we say feet-on? — workshop.

FAMILY Series


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

THE uMS 10/11 FAMILy SERIES IS SPonSoRED By

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

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takács QuartetSunday, February 20 4 pmRACKHAM AuDIToRIuM

PROGRAM

Schubert String Quartet in B-flat Major, D. 112 (1814)

Schubert String Quartet in a minor, D. 804 (“Rosamunde”) (1824)

Schubert String Quartet in G Major, D. 887 (1826)

takács QuartetJeffrey Kahane pianoPaul Katz celloJohn Feeney double bass

Friday, April 8 8 pmRACKHAM 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.

takács QuartetJeffrey Kahane piano

Thursday, october 14 8 pmRACKHAM AuDIToRIuM

PROGRAM

Schubert Quartettsatz in c minor, D. 703 (1820)

Schubert Piano Sonata in B-flat Major, D. 960 (1828)

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 Maiden”) (1824)

MEDIA PARTnER wgte 91.3 Fm.

SCHUBERTIADE Series


$135 / $117 / $90 / $66

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.”

Photos: Franz Schubert, Takács Quartet by Ellen Appel.



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.

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.

MICHAEL’S PICKS

The List rosanne cash

Saturday, September 25 8 pm 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.

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Hibiki: Resonance from Far Away Sankai JukuUshio 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.


Friday, February 11 8 pmHILL 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!]


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!!





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.

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.

MONOGRAM Series

Photos: Susurrus, Rosanne Cash by Deborah Feingold.

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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.

The Route to the new World: From Spain to Mexicola capella reial de catalunya with hesperion xxi and tembembe ensamble continuo Jordi Savall music director

Thursday, September 30 8 pmST. 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.

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MONOGRAM Series


Thursday, october 7 8 pmFriday, october 8 8 pmSaturday, 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,

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

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Photos: Susurrus, Rosanne Cash by Deborah Feingold.

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Jerusalem QuartetThursday, october 21 8 pmRACKHAM 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.

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Hibiki: Resonance from Far Away Sankai JukuUshio amagatsu director, choreographer, and designer

Saturday, october 23 8 pm Sunday, october 24 2 pmPoWER CEnTER

Ushio Amagatsu, the founder and artistic director of

Sankai Juku, trained in classical as well as modern dance

before he devoted his life to butoh. Butoh first appeared

in Japan after World War II and is often defined by its

playful and grotesque imagery, taboo topics, and absurd

environments. Traditionally performed in white body

makeup with slow, hyper-controlled, mesmerizing

motion, butoh represents to Amagatsu a “dialogue

with gravity,” whereas most dance forms revel in the

escape from gravity. It plays with the perception of

time and space through slowing down the experience

— the dance equivalent of haiku, only 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.

Django Reinhardt’s 100th Birthday Celebration the hot club of San Franciscothe hot club of Detroit

Friday, october 29 8 pmMICHIGAn THEATER

The Hot Club of San Francisco is an ensemble of

accomplished and versatile musicians celebrating the

music of Django Reinhardt and Stéphane Grappelli’s

pioneering Quintette du Hot Club de France. Continuing

this seminal French jazz tradition, a similar scene plays

out as the Hot Clubs of San Francisco and Detroit

present an evening of live Gypsy jazz with selected

short silent films from the 1930s by Charlie Bowers,

James Sibley Watson, and Harold Shaw, courtesy of the

San Francisco Silent Film Festival. Django Reinhardt is

rightly hailed as one of the greatest guitarists who ever

lived, but many people praising his accomplishments

as a guitarist tend to overlook his roots in Gypsy culture

and the fertile, polyglot Paris of the 1920s. Reinhardt

and his companions used all these elements, along with

American jazz, to create this new music, but the Gypsy

heritage seems to be the most important ingredient. The

Hot Club of San Francisco and The Hot Club of Detroit

join together for this celebration of Django Reinhardt’s

100th birthday.

MEDIA PARTnERS wemu 89.1 Fm, metro timeS, AnD ann arbor’S 107one.

venice baroque OrchestraRobert McDuffie violin

Wednesday, october 27 8 pmHILL AuDIToRIuM

The Venice Baroque Orchestra was founded in 1997

by harpsichordist Andrea Marcon and is recognized as

one of Europe’s premier ensembles devoted to period

instrument performance. For this UMS debut, they

perform music of their home city — Venetian composer

Antonio Vivaldi’s The Four Seasons — paired with an

“American Four Seasons” by Philip Glass featuring

violinist Robert McDuffie, who has worked closely with

Glass over the years and who last appeared with the

Jerusalem Symphony in 2008. The VBO will perform the

Vivaldi on period instruments, then switch to modern-

day instruments for the Glass composition. “The first

performance of [Philip Glass’s ‘American Four Seasons’]

was so spectacularly played by the new piece’s muse,

American violinist Robert McDuffie...that the event

turned into one of the most exciting musical evenings

of the year.” (The Toronto Star)

PROGRAM

Vivaldi The Four Seasons, Op. 8 (1723)

Glass Violin Concerto No. 2: “The American Four Seasons” (2009)

HoSTED By jane and edward SChulak.


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Photos: Hot Club of San Francisco by Stuart Brinin, venice Baroque orchestra by Harold Hoffmann, Mariachi vargas de Tecalitlán.

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the tallis ScholarsPeter Phillips director

Thursday, november 4 8 pmST. 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-AntiphonenPalestrina Magnificat for Double ChoirTallis Miserere nostrilAllegri MisererePraetorius Magnificat IIByrd Miserere Mei Miserere mihi, DominePalestrina Nunc Dimittis for Double ChoirPärt Nunc Dimittis Magnificat


mariachi vargas de tecalitlánSaturday, november 6 8 pmHILL AuDIToRIuM

With a history that dates back to the late 1890s, the

Mariachi Vargas de Tecalitlán was founded in a small

city near Jalisco by Don Gaspar Vargas. This band

basically invented the modern mariachi, and 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.

carolina chocolate DropsFriday, December 3 8 pmMICHIGAn THEATER

“Tradition is a guide, not a jailer. We play in an older

tradition but we are modern musicians,” says Justin

Robinson, a member of the popular bluegrass band, the

Carolina Chocolate Drops. The group’s name is a tip

of the hat to the Tennessee Chocolate Drops, who lit

up the music scene in the 1930s. Inspired by old-time

fiddler Joe Thompson, at whose home they jammed

every Thursday night during the summer and fall of

2005, the CCD starting playing anywhere people would

listen — town squares, farmers’ markets, and ultimately

festivals and concert halls, where their foot-tapping

music linked the deep tradition of the past with “dirt-

floor-dance electricity.” (Rolling Stone) Their sellout

shows at The Ark last year reinforced how far they’ve

come in a very short time. “This striking North Carolina

trio brings a modern sizzle to the legacy of classic

African American stringbands…sparking an electrifying

ruckus.” (Spin)

SPonSoRED By


MEDIA PARTnERS wemu 89.1 Fm, metro timeS, miChigan ChroniCle AnD ann arbor’S 107one.

Stew and the Negro problem with Heidi Rodewald

Thursday, november 18 8 pmFriday, november 19 8 pmSaturday, november 20 7:30 pm & 10:30 pm PERFoRMAnCE vEnuE To BE AnnounCED

“Stew’s endlessly inventive music draws on rock, gospel,

soul, and blues…A winning tribute to the diversity of

the black musical experience.” (Hollywood Reporter)

Songwriter Stew’s career took an unexpected turn in 2006.

After a successful career fronting his critically acclaimed

band, The Negro Problem, Stew transformed his life

story into the rock musical Passing Strange. The show,

co-composed with Heidi Rodewald, earned him the 2008

Tony Award for “Best Book of a Musical” and attracted the

attention of Spike Lee, who produced the film version,

which premiered at the 2009 Sundance Film Festival and

airs on PBS’s “Great Performances.” Compared in the same

breath with Kurt Weill, Burt Bacharach, and Jackie Gleason,

Stew’s concerts are coveted for their literate precision, sly

humor, and deep emotional resonance, hovering between

the divergent worlds of rock and theater. “Something

hipper for the hipper…Stew is a very genial and lovable

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

writers and musicians, he has the ability to layer reflexive

self-doubt into his music and lyrics…very witty, very

smart.” (The Chicago Tribune)

SPonSoRED By miChael allemang and janiS bobrin.

MEDIA PARTnERS ann arbor’S 107one AnD miChigan ChroniCle.

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Photos: Stew and Heidi Rodewald by Jeff Fasano, Carolina Chocolate Drops, Laurie Anderson self-portrait.

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handel’s messiahann arbor Symphony orchestra and UMS Choral UnionJerry Blackstone conductor

Saturday, December 4 8 pmSunday, December 5 2 pmHILL 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.

laurie anderson’s DelusionFriday, January 14 8 pm Saturday, January 15 8 pmPoWER 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

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.

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Joanne ShenandoahSunday, January 23 4 pmLyDIA MEnDELSSoHn THEATRE

One of today’s most revered Native American singers

and songwriters, Joanne Shenandoah is a Wolf Clan

member of the Iroqois Confederacy, Oneida Nation whose

Native name, Deguiya whah-wa, means “she sings.” The

singer/songwriter has performed with such legendary

entertainers as Kris Kristofferson and Willie Nelson and has

won more Native American Music Awards (Nammies) than

any other artist. The daughter of two talented musicians

(her father, a jazz guitarist, played with Duke Ellington),

Shenandoah was an architectural systems engineer before

forging her successful career as a musician. “From my

office window I saw a tree being cut down and knew

that I, too, had been uprooted and needed to follow my

natural gift,” she says. Shenandoah’s original compositions,

combined with a striking voice, enable her to embellish

the ancient songs of the Iroquois using a blend of

traditional and contemporary instrumentation.

MEDIA PARTnER wemu 89.1 Fm.

grupo corpoPaulo Pederneiras artistic director Rodrigo Pederneiras choreographer

Friday, January 21 8 pm Saturday, January 22 8 pmPoWER 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

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Photos: Grupo Corpo’s Imá by Jose Luiz Perderneiras, The Cleveland orchestra, Joanne Shenandoah.

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Voices from the Island Sanctuary: Paris (1170-1230)SequentiaBenjamin Bagby director

Thursday, January 27 8 pmST. 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.




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)



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Nadja Salerno-Sonnenberg violin New century chamber Orchestra

Friday, February 4 8 pmRACKHAM 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)



Jazz at lincoln center Orchestra with Wynton marsalis


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)


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Photos: Wynton Marsalis by Frank Stewart, David “Honeyboy” Edwards by JoeRosen. nadja Salerno-Sonnenberg by Christian Steiner

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blues at the crossroads: the robert Johnson centennial concert featuring Big Head Todd & The MonstersDavid “Honeyboy” edwards | Hubert Sumlin Cedric Burnside | Lightnin’ Malcolm

Thursday, February 10 8 pmHILL 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.

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In October 2005, the 20-year-old Rafał Blechacz, an






performances — in fact, one of the judges remarked that


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)

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concertante and rafał blechacz piano


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)


vijay iyer trio and rudresh mahanthappa’s apex

Saturday, February 12 8 pmPoWER 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.

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Photos: Concertante by Michael Aheam, Merce Cunningham Dance Company by Anna Finke.

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Friday, February 18 8 pm Saturday, February 19 8 pmPoWER 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 a leader of the American avant-

garde throughout his 70-year career and is considered one of the most

important choreographers of our time. Through much of his life, he

was also one of the greatest American dancers, performing with the

Martha Graham Dance Company for six years. With an artistic career

distinguished by constant innovation, Cunningham 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 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.

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PROGRAM

Squaregame (1976)Music: Takehisa KosugiDesign: Mark Lancaster

Split Sides (2003)Music: Radiohead & Sigur RosDécor: Catherine Yass, Robert HeishmanCostumes: James HallLighting: James F. Ingalls


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SeriesKodo


“Superlatives don’t really exist to convey the primal power

and bravura beauty of Kodo…Throughout, the devil of

it is the combination of the discipline of a surgeon’s

scalpel with the primitive, muscular endurance of a

cavalry charge. The speed and dexterity are as impressive

as the physical tenacity is breathtaking.” (Chicago

Tribune) In ancient Japan, the taiko drum was a symbol

of the rural community, and it is said that the limits of

the village were defined not by geography, but by the

furthest distance from which the taiko could be heard.

With its “One Earth” tour, Kodo brings the sound of the

taiko to people around the globe, transcending barriers

of language and custom and reminding us all of our

membership in that much larger community, the world.

“In this age of exploding populations and lightning-fast

communication, it is more important than ever that these

diverse cultures learn to recognize and accept each other

so that all may share our increasingly shrinking planet in

harmony,” 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.

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Schubert Cycle Concert 2 takács Quartet


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. Schubert

wrote 15 string quartets over his short lifetime, and over

the course of the three concerts, the Takács presents

five of them, along with stwo of his exquisite quintets

(performed at the April 8 concert).

PROGRAM

Schubert String Quartet in B-flat Major, D. 112 (1814)

Schubert String Quartet in a minor, D. 804 (“Rosamunde”) (1824)

Schubert String Quartet in G Major, D. 887 (1826)

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Photos: Kodo by Taro nishita, Takács Quartet by Ellen Appel, Druid’s The Cripple of Inishmaan by Keith Pattison.

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Martin McDonagh’s The Cripple of Inishmaan Druid and atlantic theater companyGarry Hynes director

Thursday, March 10 8 pm Friday, March 11 8 pm Saturday, March 12 8 pm Sunday, March 13 2 pmPoWER CEnTER

It’s 1934, and news is thin on the island of Inishmaan. When

word arrives that a Hollywood filmmaker is coming to a

neighboring island to shoot a movie, excitement ripples

through the sleepy community. For Billy Claven, a crippled

orphan, the film provides an opportunity to get away from

his bleak existence. He auditions for a part in the film and,

to everyone’s surprise, gets his chance. The Cripple of

Inishmaan is “a break-your-heart, cruelly funny evening

directed with an exhilarating ruthlessness and acted with

a bracing lack of sentimentality.” (The Guardian) The

second play in Martin McDonagh’s “Aran Islands” trilogy,

it is infused with his trademark humor, rich with macabre

cruelty, and teeming with eccentric island characters from

Billy’s “Aunt Kate,” who talks to stones to gossip monger

“JohnnyPateenMike,” who attempts to get his elderly

mother to drink herself to death. A UMS debut!

InDIvIDuAL PERFoRMAnCES SPonSoRED By linda and mauriCe binkow philanthropiC Fund

HoSTED By david and phylliS herzig.

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Mahler’s Symphony No. 8 Detroit Symphony OrchestraUMS Choral Union U-M Chamber Choir | U-M University ChoirU-M orpheus Singers | MSU Children’s ChoirLeonard Slatkin conductor

Saturday, March 19 8 pmHILL AuDIToRIuM

In commemoration of the 150th anniversary of Gustav

Mahler’s birth and the 100th anniversary of his death,

UMS is collaborating with the Detroit Symphony

Orchestra, the U-M School of Music, Theatre & Dance,

the MSU Children’s Choir, and Michigan Opera Theatre

to present a spectacular, not-to-be-missed performance

of Mahler’s monumental Symphony No. 8. The first

performance of this “choral symphony” featured a chorus

of about 850, with an orchestra of 171, leading Mahler’s

agent to dub the work “Symphony of a Thousand.”

While Mahler himself did not approve of the title, it

nevertheless remains associated with this work, which

is rarely performed due to the massive forces required

to do it justice.

PROGRAM

Mahler Symphony No. 8 (“Symphony of a Thousand”) (1907)



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Shakespeare’s Richard III and The Comedy of errorspropelleredward Hall director

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.

bach collegium JapanMasaaki Suzuki conductor

Thursday, March 24 8 pmHILL AuDIToRIuM


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)

PROGRAMJ.S. Bach Mass in b minor, BWV 232 (1724-49)


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Photos: Propeller’s A Midsummer night’s Dream by nobby Clarke, Septeto nacional Ignacio Piñeiro de Cuba.

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Septeto Nacional ignacio piñeiro de cuba

Thursday, April 7 8 pmHILL AuDIToRIuM

Septeto Nacional Ignacio Piñeiro de Cuba has been the

greatest and first champion of the traditional sound of

the Cuban son for more than 80 years. The ensemble

performs some of the most treasured and well-known

Cuban songs in the tradition of Ignacio Piñeiro Martínez,

the legendary founder of the Septeto’s first incarnation in

1927 and one of the most important composers of son

music. The group’s exceptional musicianship is firmly

rooted in the musical explosion of Cuban son that took

place during the 1920s and 1930s, evoking the nostalgic

elegance of the dancing ballrooms and clubs of 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.

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Richard III

Wednesday, March 30 7:30 pmFriday, April 1 7:30 pm Saturday, April 2 2 pmSunday, April 3 7:30 pmPoWER CEnTER

The Comedy of errors

Thursday, March 31 7:30 pmSaturday, April 2 7:30 pm Sunday, April 3 2 pmPoWER CEnTER

InDIvIDuAL PERFoRMAnCES SPonSoRED By robert and pearSon maCek AnD jane and edward SChulak.

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Schubert Cycle Concert 3takács QuartetJeffrey Kahane pianoPaul Katz celloJohn Feeney double bass

Friday, April 8 8 pmRACKHAM 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.

tetzlaff QuartetSaturday, April 9 8 pmRACKHAM 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)


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Photos: Tetzlaff Quartet by Alexandra vosding, Tony Allen by Bernard Benant.

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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

Saturday, April 23 8 pmHILL 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)


tony allen’s Secret agentSaturday, April 16 8 pmHILL 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)

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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.

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 30to 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 Marsalisnew 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

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mariinsky OrchestraValery Gergiev music director and conductor

Denis Matsuev piano

Sunday, october 10 4 pmHILL 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.

HoSTED By jim and nanCy Stanley AnD jay and mary kate zelenoCk.

murray perahia piano

Wednesday, november 10 8 pmHILL 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.

Co-SPonSoRED In PART By natalie matovinoviĆ AnD gil omenn and martha darling.



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

and as a uniquely significant interpreter of piano repertoire

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.



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






performance — in fact, one of the judges remarked that


prize could actually be awarded.”

SPonSoRED By

St. petersburg philharmonicYuri Temirkanov conductor nikolai Lugansky piano

Saturday, April 2 8 pmHILL AuDIToRIuM

The Piano Series opens with Rachmaninoff Piano

Concerto No. 3 performed by the 1998 Tchaikovsky

Piano Competition winner and closes with

Rachmaninoff Piano Concerto No. 2 performed by the

1994 Tchaikovsky Piano Competition winner. Nikolai

Lugansky makes his UMS debut with this popular piece.

SPonSoRED By

SPonSoRED In PART By donald moreloCk.


Main Floor $310 / $275 Mezzanine $275 / $230Balcony $185 / $155 / $50

PIANO Series

PIAno SERIES MEDIA PARTnERS

THE MARIInSKy oRCHESTRA, THE CLEvELAnD oRCHESTRA, AnD THE ST. PETERSBuRG PHILHARMonIC ARE SPonSoRED By

Photo: Murray Perahia by nana Watanabe.

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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 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 unexpectedSusurrus Sep 9-Oct 3Sankai Juku: Hibiki: Resonance from Far Away Sat-Sun Oct 23-24Laurie Anderson’s Delusion Fri-Sat Jan 14-15Merce Cunningham Dance Company Fri-Sat Feb 18-19Druid 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 EnsambleHot Club of San Francisco and Hot Club Fri Oct 29 of Detroit/Django Reinhardt’s 100th BirthdayMariachi Vargas de Tecalitlán Sat Nov 6Baby Loves Salsa Sun Jan 30Kodo Wed Feb 23Septeto Nacional Ignacio Piñeiro de Cuba Thu Apr 7Tony Allen’s Secret Agent Sat Apr 16

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

blockbusterRosanne Cash Sat Sep 25Mariinsky Orchestra/Gergiev/Matsuev Sun Oct 10Carolina Chocolate Drops Fri Dec 3Renée Fleming Sun Jan 16Jazz at Lincoln Center Orchestra Wed Feb 2 with Wynton Marsalis Kodo Wed Feb 23Detroit 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 musicMariinsky Orchestra/Gergiev/Matsuev Sun Oct 10Takács Quartet: Schubert Concert 1 Thu Oct 14Jerusalem Quartet Thu Oct 21Venice Baroque Orchestra Wed Oct 27Murray Perahia Wed Nov 10Nadja Salerno-Sonnenberg and Fri Feb 4 New Century Chamber Orchestra Rafał Blechacz Fri Feb 11Takács Quartet: Schubert Concert 2 Sun Feb 20Scharoun Ensemble Wed Mar 9Bach Collegium Japan/Bach’s Mass in b minor Thu Mar 24St. Petersburg Philharmonic/Temirkanov/Lugansky Sat Apr 2Takács Quartet: Schubert Concert 3 Fri Apr 8Tetzlaff 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.

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Spiritual expressionsThe Tallis Scholars Thu Nov 4Handel’s Messiah Sat-Sun Dec 4-5Sequentia Thu Jan 27Bach Collegium Japan/Bach’s Mass in b minor Thu Mar 24

roots music Rosanne Cash Sat Sep 25Carolina Chocolate Drops Fri Dec 3Blues 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 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”)

anniversariesWhat’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)

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.

adult & community engagement734-615-4077 [email protected]

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.

youth, teen, and Family program 734-615-0122 [email protected]

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.

WWW.UMS.ORG/EDUCATION

Photo: Kennedy Center workshop with Erik Stern at Amerman Elementary School.

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 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

YOU MAKE IT HAPPEN

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WWW.UMS.ORG/EDUCATION

Photos: Jill Anderson, Ken Fischer, and Deborah Meadows; Louise Townley and Lisa Townley at Ford Honors Program 2010.

1. Officially we are the university musical 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.

10 things to Know about umS

aB

oU

T U

MS

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 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.

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SEAT MAPS

general admission venuesSt. Francis of assisi (SF) 2250 EAST STADIUM BOULEVARDJordi Savall/La Capella Reial Thu Sep 30The Tallis Scholars Thu Nov 4Sequentia Thu Jan 27

matthaei botanical gardens 1800 NORTH DIxBORO ROAD Susurrus Sep 9-Oct 3

venue tbD Stew and The Negro Problem Thu-Sat Nov 18-20 with Heidi Rodewald

hill auditorium (h2)Rosanne Cash Sat Sep 25Venice Baroque Orchestra Wed Oct 27Murray Perahia Wed Nov 10Renée Fleming Sun Jan 16Wynton Marsalis/Jazz at Wed Feb 2 Lincoln Center Orchestra Rafał Blechacz Fri Feb 11Kodo Wed Feb 23“Songs and Waltzes of Love” Sat Apr 23

hill auditorium (h1)Mariinsky Orchestra/Gergiev Sun Oct 10Handel’s Messiah Sat-Sun Dec 4-5Cleveland Orchestra/Welser-Möst Tue Feb 1Detroit Symphony Orchestra/ Sat Mar 19 Mahler 8Bach Collegium Japan Thu Mar 24St. Petersburg Philharmonic/ Sat Apr 2 Temirkanov

hill auditorium 825 NORTH UNIVERSITY AVENUE

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Map 1 - orchestras Map 2 - Classical Recitals & Jazz/World Map 3 - Main Floor & Mezzanine only

Detailed seat maps are available on our website at www.ums.org/tickets/seat_maps.asp

michigan theater (mt)Hot Clubs of San Francisco & Fri Oct 29 Detroit/Django Reinhardt Birthday Carolina Chocolate Drops Fri Dec 3

michigan theater 603 EAST LIBERTY STREET

A

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hill auditorium (h3)Mariachi Vargas de Tecalitlán Sat Nov 6Blues at the Crossroads Thu Feb 10Septeto Nacional Ignacio Thu Apr 7 Piñeiro de Cuba Tony Allen’s Secret Agent Sat Apr 16

Price Level Gold

Price Level (A)

Price Level (B)

Price Level (C)

Price Level (D)

Price Level (E)

pricingPricing scheme

applies to all venues.

SEAT MAPSrackham auditorium (r)Takács Quartet Schubert Concert 1 Thu Oct 14Jerusalem String Quartet Thu Oct 21ONCE.MORE Historic Concert Tue Nov 2Nadja Salerno-Sonnenberg/ Fri Feb 4 New Century Chamber Orch Concertante/Rafał Blechacz Sun Feb 13Takács Quartet Schubert Concert 2 Sun Feb 20Scharoun Ensemble Wed Mar 9Takács Quartet Schubert Concert 3 Fri Apr 8Tetzlaff String Quartet Sat Apr 9

rackham auditorium915 EAST WASHINGTON STREET

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power center (p)Paul Taylor Dance Company Thu-Sat Oct 7-9Sankai Juku Sat-Sun Oct 23-24Laurie Anderson’s Delusion Fri-Sat Jan 14-15Grupo Corpo Fri-Sat Jan 21-22Vijay Iyer/Rudresh Mahanthappa Sat Feb 12Merce Cunningham Dance Co. Fri-Sat Feb 18-19Druid/Cripple of Inishmaan Thu-Sun Mar 10-13Propeller/Comedy of Errors Wed-Sun Mar 30-Apr 3 and Richard III

power center121 FLETCHER STREET

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lydia mendelssohn theatre911 NORTH UNIVERSITY AVENUE

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BalconyOverhang

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lydia mendelssohn theatre (lmt)Joanne Shenandoah Sun Jan 23Baby Loves Salsa Sun Jan 30

important Notes from the ticket Office 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.

ticket exchangesSubscribers may exchange tickets free of charge up to 48 hours before the performance. Non-subscribers may exchange tickets for a $6 per ticket exchange fee. Exchanged tickets must be received by the Ticket Office (by mail or in person) at least 48 hours prior to the performance. 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 also 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.

ticket Donations/unused ticketsUnused tickets may be donated to UMS for a tax-deductible contribution until the published start time of the concert. Unused tickets that are returned after the performance are not eligible for UMS Credit or for a tax-deductible contribution.

ticket mailing vs. ticket pick-upYour subscription tickets will be mailed in mid-August, before tickets to individual performances go on sale to the general public. Any 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 ticketsCall the Ticket Office at 734-764-2538 to have duplicate tickets waiting for you at will-call. Duplicate tickets cannot be mailed.

refund policyDue 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 DisabilitiesAll UMS venues are accessible for people with disabilities. Call 734-764-2538 for more information.

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

parking/parking tipsDetailed directions and parking information will be mailed with your tickets and are also available at www.ums.org/parking.

children and FamiliesChildren 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 available later this summer.

HOW TO ORDER

phoneWith Visa, MasterCard, Discover, or American Express734-764-2538Outside the 734 area code and within Michigan, call toll-free 800-221-1229.

internetwww.ums.org

mailUMS Ticket OfficeBurton Memorial Tower881 North University AvenueAnn Arbor, MI 48109-1011

Summer hours 10 am to 5 pm Mon-Fri Closed Sat and Sun. Extended hours resume after Labor Day.

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

in personPlease 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.

Fax734-647-1171

Subscription tickets/Seating prioritySubscription tickets will be mailed in mid-August.

DonorsDonors 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 SeriesFixed series subscribers (for packages listed on pages 6-23 and page 45 of this brochure) receive priority before Mono-gram Series subscribers and individual event purchasers. Subscriptions will be filled by series, in the order received.

monogram SeriesMonogram 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.

Join us in the lobby!While UMS doesn’t present concerts during the summer, you can still join us in the Lobby – the virtual Lobby, that is! Visit www.umsLoBBY.org throughout the summer to read our multimedia blog, visit the archives (including a new living archive that will feature remembrances of concerts past), and conversation areas where you can offer up your observations and opinions and read those of others. Our regular website, www.ums.org, will remain an information hub; the Lobby website is a place where you can engage more fully with all that UMS does, gaining access to the behind-the-scenes activities that keep us humming.

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 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 $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

refundsDue to the nature of the performing arts, programs and artists are subject to change. If an artist cancels an ap-pearance, 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.

group Sales OfficeBring your friends and save! When you bring a group of 10 or more to a UMS event, you’ll save 15-25% off the regular ticket price for most performances. For more information, contact UMS Group Sales at 734-763-3100 or [email protected].

UMS accepts group reservations beginning Wednesday, august 11, two weeks before individual events go on sale to the general public. Plan early to guarantee access to great seats!

Order Form Tips to Help UMS SubscribersWe’ve worked hard to make ordering tickets to the many events in the 10/11 season as easy as possible, but with literally thousands of possible combinations, we realize that it can be difficult. With that in mind, please consider these tips that will help you make your decisions for the 10/11 season, whether you are new to UMS or have been subscribing for years:

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

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

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 10% off the total price and still receive priority seating over single ticket buyers. You may purchase a different number of tickets to each event, so feel free to invite friends to join you for any or all of the performances in your series!

4. When you purchase a fixed package OR a Monogram Series, you may also purchase tickets to any individual Family, Choral Union, and Chamber Arts events now (see Sections 2 and 4 of the order form). These tickets may be purchased for yourself or for your friends and family. Most of these performances are not included on the Monogram Series, so you can guarantee your seats for these concerts and plan your entire season of UMS events at once! Please note that there are no discounts for these events, unless they are purchased as part of another series.

5. Please be sure to fill out all six pages of the order form before you send it in. You may also call the Ticket Office for assistance if you have questions about which package makes the most sense for you. Don’t forget to include your pre-paid parking passes to avoid hassles on the night of the performance, and to make your tax-deductible contribution to UMS.

MailUMS Ticket OfficeBurton Memorial Tower881 north University AvenueAnn Arbor, Mi 48109-1011

Last name First name

Address

City State Zip

e-Mail Address (for up-to-date info on parking, start times, intermissions, program changes, etc.)

Tickets will be mailed to the address provided above in early to mid-August. If you would like your tickets sent to a different address or held for pick-up at the League Ticket Office, please see the "important seating info" section on the next page.

» Please continue

FOR OFFiCe USe OnLY Ticket Total: Members Total:

HAvE QUESTionS? WE’RE HAPPY To HElP! Call the UMS Ticket Office at 734-764-2538Outside the 734 area code and within Michigan, call toll-free 800-221-1229

ChecklistPlease 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 concert cancellation or ticketing problem)?

■ Signed and enclosed your check, or signed the credit card line in “Payment Information”?

■ If you have ordered the Dance, Theater, or Family Series, have you circled your preferred performance(s) on the order form for events with more than one performance?

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

Mailing InformationUMS Account number (if known, can be found on the mail panel of this brochure above your name)

Day Phone

evening Phone

Payment Information ■ My payment is by U-M Payroll Deduction (order must be received by Friday, June 4). I

understand I will be billed in four installments, once monthly in June, July, August, and September. Donations will be deducted in monthly installments beginning in July 2010.NOTE: Payroll Deduction requests must be mailed, faxed, or dropped off at the Michigan League Ticket Office. Payroll Deduction requests will not be accepted by phone.

132nd UMS SeASOn

ORDeR FORM

My Payment is by ■ Check, payable to UMS ■ visa ■ MasterCard

■ American express ■ Discover ■ I want to take advantage of installment billing (credit card orders totaling $300 or

more only). Please bill my credit card in three equal installments: the week the order is received in the UMS Ticket Office, the first week of July, and the first week of August. Installment billing requests must be received by Friday, June 25.

Account number (Do not include hyphens, dashes or spaces)

expiration Date Signature of cardholder

_________________________________________

Important Notes from the Ticket Office

U-M employee iD number Signature Authorizing Payroll Deduction

_______________________

HAvE QUESTionS? WE’RE HAPPY To HElP!Call the UMS Ticket Office at 734-764-2538Outside the 734 area code and within Michigan, call toll-free 800-221-1229

PhoneWith visa, MasterCard, Discover, or American express

734-764-2538Outside the 734 area code andwithin Michigan, call toll-free 800-221-1229.

Internetwww.ums.orgIn PersonPlease 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.

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 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.

Fax734-647-1171

Hours10 am to 5 pm Monday-FridayClosed Saturdays and Sundays.extended hours resume after Labor Day.

MailUMS Ticket OfficeBurton Memorial Tower881 north University AvenueAnn Arbor, Mi 48109-1011

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

132nd UMS SeASOn

ORDeR FORM

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 $ _________

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 $ ________

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).

Series (# of concerts)

Main Floor Mezzanine Balcony

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 _______

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 $ _________

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).

Series (# of concerts)

Main Floor Mezzanine Balcony

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 _______

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 in this price section for venue listed.

No. of Tickets

Gold Main

A Main B MainA Mezz/

B Mezz B Balc C D E TotalGold Balc

SEP

Susurrus Sep 9-Oct 3 ______ 30 general admission ________

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

______ 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 ________

OC

T

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 ________

Jerusalem String Quartet Thu 10/21, 8pm, R _____ * 42 36 * * * 28 20 * ________

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 * ________

NO

V

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 ________

Stew and The Negro Problem Thu 11/18, 8pm, tbd ____ 45 general admission ________

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 ________

DEC

Carolina Chocolate Drops Fri 12/3, 8pm, MT ____ 42 38 * 42 * 32 24 18 * ________

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 ________

JAN

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 Fri 1/21, 8pm, P ____ 42 38 * 38 * 34 28 22 18 ________

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 ________

FEB

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 ________

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 ________

MA

R

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 ________

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 ________

APR

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 Sun 4/3, 7:30pm, P ____ 56 50 * 50 * 46 36 26 20 ________

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) ______

6. Support UMS Don’t Forget! Ticket prices cover only 46% of our costs. Please help UMS maintain its standard of excellence with your tax-deductible donation. See page 49 for details.

GivinG LeveLSPresenters CircleDirector $100,000 or moreSoloist $50,000-$99,999Maestro $20,000-$49,999virtuoso $10,000-$19,999Concertmaster $7,500-$9,999Producer $5,000-$7,499Leader $3,500-$4,999Principal $2,500-$3,499Patron $1,000-$2,499

FriendsBenefactor $500-$999Associate $250-$499Advocate $100-$249Friend $1-$99

if you are a donor, please print your name(s) as you would like it to

appear in the program book listing, or check here ■ to remain anony-

mous. Donors of $250 or more will be listed in the program book.

___________________________________________________________

4. Choral Union/Chamber Arts EventsSUBSCRiBeR 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 Tickets

Gold Main A Main B Main

A Mezz /

B Mezz B Balc C D E Total Gold Balc

Mariinsky Orch/ Gergiev/Matsuev

Sun 10/10, 4pm, H1_______ 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/ Möst/Aimard*

Tue 2/1, 8pm, H1_______ 75 68 60 60 50 40 34 20 10 ________

Salerno-Sonnenberg/New Century Chamber*

Fri 2/4, 8pm, R_______ * 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/Temirkanov/Lugansky

Sat 4/2, 8pm, H1_______ 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.

Totals

1. Fixed Series Package Sub-Total

2. Family Series Sub-Total

3. Monogram Series Total (do not round)

4. Choral Union/Chamber Arts Sub-Total

5. Parking/Transportation Sub-Total

6. Postage/Handling $8.00

7. Total 1-6

8. Tax-Deductible Contribution to UMS

9. Grand Total (Lines 7 + 8)

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

Subscription Tickets/Seating PrioritySubscription 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 SeriesRenewing 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 SeriesMonogram 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 ExchangesSubscribers 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 TicketsUnused 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.

RefundsDue 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 DisabilitiesAll UMS venues are accessible for people with disabilities. Call 734-764-2538 for more information.

Important Notes from the Ticket Office

HOW TO ORDER

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Special thanks to the following supporters:

arts at michigan. Arts at Michigan provides programs and services that enable students to integrate arts and culture into their undergraduate experience at the University of Michigan.

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.

uMS is a member of the university of Michigan Public Goods Council and the Cultural Alliance of Southeastern Michigan.

The university of Michigan is an Equal opportunity Employer and pro-vides programs and services without regard to race, sex, color, religion, sexual orientation, gender identity, national origin, or disability.

CREDITSeducation Program SupportersReflects gifts received from July 1, 2008 – November 1, 2009.

Michigan Council for Arts and Cultural AffairsUniversity of Michigan

AnonymousArts at MichiganArts Midwest’s Performing Arts FundAssociation of Performing Arts PresentersBank of Ann ArborThe Dan Cameron Family Foundation/Alan and Swanna SaltielCommunity Foundation for Southeast MichiganDoris Duke Charitable FoundationDoris Duke Foundation for Islamic ArtDTE Energy FoundationDavid and Phyllis Herzig Endowment FundThe Esperance Family FoundationHonigman Miller Schwartz and Cohn LLPJazzNet EndowmentW.K. Kellogg FoundationMasco Corporation FoundationMiller, Canfield, Paddock and Stone, P.L.C.THE MOSAIC FOUNDATION (of R. and P. Heydon)The Mosaic Foundation [Washington, DC]National Dance Project of the New England Foundation for the ArtsNational Endowment for the ArtsPrudence and Amnon Rosenthal K-12 Education Endowment FundRick and Sue SnyderTCF BankUMS Advisory CommitteeUniversity of Michigan Credit UnionUniversity of Michigan Health SystemU-M Office of the Senior Vice Provost for Academic AffairsU-M Office of the Vice President for ResearchWallace Endowment Fund

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Connecting audiences and artists in Uncommon and engaging experiences

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ums 10/11 series brochure

Documents

grupo corpo dance

sequentia divine voices

catalunya divine voices

merce cunningham dance

tallis scholars divine

jerusalem quartet chamber

historic concert chamber

negro problem monogram