2015-16 ums subscription brochure

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U N I V E R S I T Y O F M I C H I G A N | A N N A R B O R

That blank is yours to fill in. At UMS, we believe in personal experiences – interacting with performances in a way that is yours and yours alone. What will your experience be?

That’s for you to define. But whatever you’re seeking, we think you’ll find what you’re looking for. Welcome to the UMS 2015-16 Season. You will it.

This season will be .

The experience is yours.

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Tanya Tagaq by Nadya Kwandibens

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Letters from UMS

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Plus, important dates

2015-16 Series1 0 N E W YO R K P H I L H A R M O N I C

W E E K E N D

3 concerts in one extraordinary weekend

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10 concerts in Hill Auditorium

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6 performances at the Power Center and the Detroit Opera House

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7 concerts in Rackham Auditorium

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5 performances in Hill Auditorium and Michigan Theater

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5 performances in the Lydia Mendelssohn Theatre and the Power Center

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7 performances in Hill Auditorium, Michigan Theater, and Lydia Mendelssohn Theatre

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3 performances in Lydia Mendelssohn Theatre

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10 performances in various venues

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Select at least 5 events and save!

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5 performances in various venues that feature both live music and film

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3 concerts in Rackham Auditorium and Hill Auditorium

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4 1 U M S O N L I N E / S U M M E R S I N G S

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Be a Victor for Excellence

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The fine print

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After 28 years as UMS president, I can tell you: no two performing arts experiences are the same. Even at the same performance, sitting one seat away from someone, you’ll see different things, feel different emotions, and connect with the artists and the audience in completely different ways.

UMS artists create experiences that are powerful,

personal, and provocative. I’ve attended over a

thousand performances during my time here, and I’m

still discovering new favorites, uncovering questions,

and embracing the fresh interpretations that UMS artists

deliver.

This is your year to throw caution to the wind: seek out

something new, explore uncharted terrain, and challenge

yourself to discover something surprising. We love UMS

audiences because they are adventurous, curious, and

willing to see where a performing arts experience will

take them.

Come join us this season. The experience is yours.

K E N N E T H C . F I S C H E R

President

It’s my absolute favorite time of

year: time to unveil what we’ve

been working on for so many

months – and in some cases,

years.

From the renowned to the

obscure, from the soothing

to the disruptive, the season

is full of peaks and valleys of

emotion and of allure. These

are not only performances, they

are experiences. Experiences

to cherish, to confuse, to

inspire, and perhaps to become

the foundation of your own

creativity.

We’ve set the stage…now it’s

your turn. Browse the season,

find what you love, and find

what’s new and different. We

are willing to bet that your

experience will be one you’ll not

soon forget.

M I C H A E L KO N D Z I O L K A

Director of Programming

From our President

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And in addition to these tangible perks, subscribers also enjoy:

Personal Fulfillment. Let’s be honest — it’s hard to find those moments of personal escape, and sometimes we have to schedule them into our lives. UMS takes you to a place where the imagination is thriving, and a UMS series allows you to invest in yourself while supporting the quality of life in our community.

Building Relationships. When you attend with family or friends, you create memories with people who are important to you, whether you join up for dinner before or meet up at the performances. And even if you attend alone, you can build lasting friendships with those who sit near you during performances.

Discovery. We hope you’ll take a chance and discover something new this year — an artist you’ve never heard of, an art form you’ve never experienced, an idea that is animated through our highly-lauded education programs…With UMS, you can count on unexpected moments that will stay with you for a lifetime.

Why subscribe?Subscribers receive great perks including:

A CC E S S T O T H E B E S T S E AT S .

Subscribers get first crack at the best seats in the house.

F R E E T I C K E T E XC H A N G E S .

We know that planning ahead isn’t always a sure bet, so we offer subscribers fee-free exchanges up to 48 hours before a performance. The value of the tickets may be applied to another performance or will be held as UMS Credit until the end of the 2015-16 season. See details on page 45.

D I S CO U N T S .

When you subscribe, you’ll receive up to 27% off single ticket prices.

I N S TA L L M E N T B I L L I N G .

Your order of $300 or more placed by Friday, June 26 qualifies you for installment billing (credit card only, charged in two equal installments: when the order is received and during the first week in July).

F R E E PA R K I N G .

Order at least 8 events and receive free parking in the Power Center structure (Fletcher Street), a close walk to most performance venues. Be sure to check the box on the order form if you wish to take advantage of this offer. Note that U-M parking structures, including the Fletcher Street structure, may not be open for Michigan Theater performances.

T H E O P P O R T U N I T Y T O O R D E R E X T R A T I C K E T S N O W.

As part of your subscription package, you can add on tickets for any event in the season for friends and family who may wish to join you.

W H Y S U B S C R I B E

Audiences at Hill Auditorium by Peter Smith Photography

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I M P O R TA N T D AT E S !

6 / 5 / 1 5• Deadline for payment by U-M

payroll deduction• Deadline for Choral Union and

Chamber Arts subscribers to retain seat location

• Seating priority deadline for donors and renewing subscribers

6 / 2 6 / 1 5• Deadline for installment billing and

free parking options

7/ 6 / 1 5• Group sales reservations open

7/ 2 7/ 1 5• Donor Single Ticket Day (for donors

of $250+)

8 / 3 / 1 5• Single Ticket Day — tickets to all

individual events on sale

9 / 1 8 / 1 5• Last day to order UMS subscriptions

S E P T E M B E R

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UMS Season Opener! My Brightest Diamond with the Detroit Party Marching BandR E N E G A D E , S E R I E S :YO U

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Audra McDonaldS E R I E S :YO U

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Sphinx Virtuosi with the Catalyst Quartet and Gabriela Lena Frank, pianoC H A M B E R A R T S , R E N E G A D E , S E R I E S :YO U

O C T O B E R

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L-E-VD A N C E , S E R I E S :YO U

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The GloamingG LO B A L , S E R I E S :YO U

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New York PhilharmonicAlan Gilbert, music directorC H O R A L U N I O N , N Y P W E E K E N D, U M S O N F I L M , S E R I E S :YO U

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Antigone by Sophoklesstarring Juliette BinocheT H E AT E R , R E N E G A D E , S E R I E S :YO U

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Abdullah Ibrahim & EkayaJ A Z Z , S E R I E S :YO U

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Sankai Juku D A N C E , S E R I E S :YO U

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Hubbard Street Dance ChicagoD A N C E , R E N E G A D E , S E R I E S :YO U

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Chicago Symphony OrchestraRiccardo Muti, music director and conductorC H O R A L U N I O N , S E R I E S :YO U

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TenebraeS E R I E S :YO U

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Danish String QuartetC H A M B E R A R T S , S E R I E S :YO U

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Chucho Valdés: Irakere 40J A Z Z , G LO B A L , S E R I E S :YO U

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Youssou N’Dour and Super Étoile de DakarG LO B A L , S E R I E S :YO U

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Leif Ove Andsnes, pianoC H O R A L U N I O N , S E R I E S :YO U

D E C E M B E R

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Takács QuartetC H A M B E R A R T S , S E R I E S :YO U

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Handel’s MessiahS E R I E S :YO U

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A Christmas Carol National Theatre of Scotland T H E AT E R , R E N E G A D E

J A N U A R Y

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What’s in a Song? An evening of song curated by Martin Katz and featuring Frederica von Stade, David Daniels, Lawrence Brownlee, and others U M S S O N G R E M I X , S E R I E S :YO U

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Jamie Barton, mezzo-sopranoU M S S O N G R E M I X , S E R I E S :YO U

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Royal Philharmonic OrchestraPinchas Zukerman, principal guest conductor and violinC H O R A L U N I O N , S E R I E S :YO U

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Jazz at Lincoln Center with Wynton MarsalisJ A Z Z , S E R I E S :YO U

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Untitled Feminist ShowYoung Jean Lee’s Theater CompanyD A N C E , T H E AT E R , R E N E G A D E ,

S E R I E S :YO U

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Straight White MenYoung Jean Lee’s Theater CompanyT H E AT E R , R E N E G A D E , S E R I E S :YO U

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Chamber Music Society of Lincoln CenterCHAMBER ARTS, SERIES:YOU

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Ms. Lisa Fischer and Grand BatonS E R I E S :YO U

F E B R U A R Y

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Tanya Tagaq in concert with Nanook of the NorthG LO B A L , U M S O N F I L M , R E N E G A D E ,

S E R I E S :YO U

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Taylor MacU M S S O N G R E M I X , R E N E G A D E ,

S E R I E S :YO U

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Igor Levit, pianoC H O R A L U N I O N , S E R I E S :YO U

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Camille A. Brown & DancersD A N C E , S E R I E S :YO U

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Sir András Schiff, pianoThe Last Sonatas of Haydn, Mozart, Beethoven, and SchubertC H O R A L U N I O N , C H A M B E R A R T S , S C H I F F

T R I O, S E R I E S :YO U

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The Triplets of BellevilleJ A Z Z , U M S O N F I L M , S E R I E S :YO U

M A R C H

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The ChieftainsG LO B A L , S E R I E S :YO U

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Nufonia Must FallKid Koala, DJ, producer, and graphic novelistT H E AT E R , U M S O N F I L M , S E R I E S :YO U

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Apollo’s Fire & Apollo’s Singers Bach’s St. John PassionS E R I E S :YO U

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Montreal SymphonyKent Nagano, music director Daniil Trifonov, pianoC H O R A L U N I O N , S E R I E S :YO U

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Gil Shaham, violin Bach Six SolosC H O R A L U N I O N , U M S O N F I L M ,

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American Ballet Theatre The Sleeping BeautyD A N C E , S E R I E S :YO U

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Mariachi Vargas de TecalitlánG LO B A L , S E R I E S :YO U

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Jerusalem String QuartetC H A M B E R A R T S , S E R I E S :YO U

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Mnozil BrassS E R I E S :YO U

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Zafir: Musical Winds from North Africa to AndalucíaG LO B A L , S E R I E S :YO U

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Bavarian Radio OrchestraMariss Jansons, music director Leonidas Kavakos, violinC H O R A L U N I O N , S E R I E S :YO U

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The Bad Plus Joshua RedmanJ A Z Z , S E R I E S :YO U

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New York Philharmonic Weekend

New York Philharmonic by Chris Lee

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New York PhilharmonicAlan Gilbert, music director and conductor (Friday, Saturday)David Newman, conductor (Sunday)Inon Barnatan, piano (Friday)

Friday, October 9 // 8 pmSaturday, October 10 // 8:30 pmSunday, October 11 // 3 pmHill Auditorium

The New York Philharmonic performs three different concerts in Hill Auditorium during the U-M Homecoming Weekend as part of an extended five-year partnership. The 2015 residency, called “Tradition and Innovation,” looks at important historic and present-day composers who have had an in-depth relationship with the New York Philharmonic. The programs will be drawn from the New York Philharmonic’s first two weeks of 2015-16 subscription concerts, as well as their opening night gala at Carnegie Hall. The orchestra’s residency, which includes numerous educational and community engagement activities, closes with an unprecedented performance of Leonard Bernstein’s live score to the 1954 classic On the Waterfront (“Best Picture”, Marlon Brando as “Best Actor”), featuring both the music and the film itself.

P R O G R A M ( F R I 1 0 / 9 )

Magnus Lindberg New WorkBeethoven Piano Concerto No. 1 in C Major, Op. 15 Beethoven Symphony No. 7 in A Major, Op. 92

P R O G R A M ( S AT 1 0 / 1 0 )

Esa-Pekka Salonon L.A. Variations Mahler Symphony No. 5

P R O G R A M ( S U N 1 0 / 1 1 )

Bernstein On the Waterfront Complete with director Elia Kazan’s film, starring Marlon Brando (108 minutes)

The New York Philharmonic residency is generously supported by Eugene M. Grant (LSA ’38).

For further details, visit ums.org or call 734.764.2538.

M A I N F LO O R $275 / $235

M E Z Z A N I N E $205 / $180

B A LCO N Y $140 / $120 / $76 / $38

S U B S C R I B E

Includes all 3 concerts

Note: The Friday and Saturday night performances are on the Choral Union Series. If you subscribe to the Choral Union Series and wish to add on the Sunday concert, please do so on section 2 of the order form.

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New York PhilharmonicAlan Gilbert, music director and conductorInon Barnatan, piano (Friday)

Friday, October 9 // 8 pmSaturday, October 10 // 8:30 pmHill Auditorium

The New York Philharmonic launches UMS’s five-year orchestral residency program with three different performances and a host of free educational activities for students and community members alike. Music director Alan Gilbert conducts the first two concerts, which are both part of this Choral Union Series.

P R O G R A M ( F R I 1 0 / 9 )

Magnus Lindberg New WorkBeethoven Piano Concerto No. 1 in C Major, Op. 15 Beethoven Symphony No. 7 in A Major, Op. 92

P R O G R A M ( S AT 1 0 / 1 0 )

Esa-Pekka Salonen L.A. Variations Mahler Symphony No. 5

Note: The third concert of the New York Philharmonic residency, on Sunday, October 11 at 3 pm, may be purchased separately.


Chicago Symphony OrchestraRiccardo Muti, music director and conductor

Thursday, October 29 // 7:30 pmHill Auditorium

The CSO has a deep commitment to performing in Ann Arbor, with over 200 performances since their 1892 UMS debut in University Hall.

P R O G R A M

Beethoven Symphony No. 5 in c minor, Op. 67Mahler Symphony No. 1 (“Titan”)

Leif Ove Andsnes, P I A N O

Friday, November 20 // 8 pmHill Auditorium

The celebrated Norwegian pianist Leif Ove Andsnes is praised for his poetic interpretations and powerful technique. “Andsnes has entered an elite circle of pianistic stardom…When he sits in front of the keyboard, extraordinary things happen.” (New York Times)

P R O G R A M

Works of Sibelius, Beethoven, Debussy, and Chopin. Complete program details available at www.ums.org.

Royal Philharmonic OrchestraPinchas Zukerman, principal guest conductor and violin

Monday, January 11 // 7:30 pmHill Auditorium

Founded by Sir Thomas Beecham in 1946, the Royal Philharmonic Orchestra made its UMS debut in 1950 and last performed in Hill Auditorium in 1992. This concert features Pinchas Zukerman both at the helm and as the featured soloist.

P R O G R A M

Beethoven Egmont Overture, Op. 84Beethoven Violin Concerto in D Major, Op. 61Elgar “Enigma” Variations, Op. 36

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ChoralUnion SeriesT E N CO N C E R T S I N H I L L A U D I T O R I U M

Kent Nagano by LuceTG.com


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Igor Levit, P I A N O

Saturday, February 6 // 8 pmHill Auditorium

“His superb live performance confirmed the impression of his recording: A major new pianist has arrived.” (New York Times) Born in 1987, the Russian-German pianist Igor Levit received effusive praise for his two-disc debut album of Beethoven’s late piano sonatas. A relative newcomer to the United States, he makes his UMS debut with this recital appearance.

P R O G R A M

Bach Partita No. 4 in D Major, BWV 828Schubert Six Moments Musicaux, D. 780Beethoven Sonata No. 17 in d minor, Op. 31, No. 2Prokofiev Sonata No. 7 in B-flat Major, Op. 83

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Sir András Schiff, P I A N O

Saturday, February 20 // 8 pmHill Auditorium

Sir András Schiff returns with a three-recital project called “The Last Sonatas,” which features the final three sonatas of Haydn, Mozart, Beethoven, and Schubert. The final concert is part of this Choral Union Series (the other two recitals are performed in Rackham Auditorium as part of the Chamber Arts Series).

P R O G R A M

Haydn Sonata No. 62 in E-flat Major, Hob. XVI:52Beethoven Sonata No. 32 in c minor, Op. 111Mozart Sonata No. 18 in D Major, K. 576Schubert Sonata in B-flat Major, D. 960

Montreal Symphony OrchestraKent Nagano, conductorDaniil Trifonov, piano

Saturday, March 19 // 8 pmHill Auditorium

The Montreal Symphony returns to Ann Arbor for the first time since 1989, with American conductor Kent Nagano and pianist Daniil Trifonov both making their UMS debuts. “Hearing Trifonov is like having a deep-tissue massage: you keep wanting to pull away from the sheer intensity of it, and you come out feeling as if your reality had been slightly altered…a knockout.” (Washington Post)

P R O G R A M

Debussy Prelude to the Afternoon of a FaunProkofiev Piano Concerto No. 3 in C Major, Op. 26Stravinsky The Firebird (complete ballet music)

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Gil Shaham, V I O L I N

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David MichalekSaturday, March 26 // 8 pmHill Auditorium

Bach’s complete Sonatas and Partitas have long been a “Mount Everest” of the violin repertoire — music that performers return to throughout their lives. In this special event, Gil Shaham collaborates with video artist David Michalek to open up new avenues for listening to and interpreting Bach’s towering masterpieces. A UMS co-commission.

P R O G R A M

Bach Sonatas and Partitas for Solo Violin, BWV 1001-1006

Bavarian Radio OrchestraMariss Jansons, conductorLeonidas Kavakos, violin

Saturday, April 16 // 8 pmHill Auditorium

Of the three major orchestras based in Munich, the Bavarian Radio Orchestra is the most prominent, with a string of eminent music directors including Rafael Kubelik, Sir Colin Davis, Lorin Maazel, and, since 2003, Mariss Jansons. Leonidas Kavakos, who made his UMS debut last year with Yuja Wang, returns as soloist with the Korngold Violin Concerto.

P R O G R A M

Korngold Violin Concerto in D Major, Op. 35 Dvořák Symphony No. 8 in G Major, B. 163

Igor Levit by Felix Broede


S U B S C R I B E

Includes 10 concerts

M A I N F LO O R $720 / $650 / $580

M E Z Z A N I N E $570 / $480

B A LCO N Y $390 / $330 / $240 / $116

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L-E-VSharon Eyal and Gai Behar, co-creators

Saturday, October 3 // 8 pmPower Center

L-E-V is an adventurous new ensemble of fiercely talented dancers, the culmination of years of collaboration between two Israeli creative superstars. The Jerusalem-born Sharon Eyal was muse, dancer, and choreographer at Batsheva where she spent 23 years under the artistic direction of Ohad Naharin, whose Gaga technique she has adopted as her company’s foundation. Her partner, Gai Behar, produced live music, techno raves, and underground art events in Tel Aviv. The company’s confluence of movement, music, lighting, fashion, art, and technology could be equally at home in a techno club or an opera house. Their UMS debut program features two different works: Sara and Killer Pig.

U M U S U N A : M E M O R I E S B E F O R E H I S T O R Y

Sankai JukuUshio Amagatsu, artistic director

Friday, October 23 // 8 pmSaturday, October 24 // 8 pmPower Center

Over the course of the past 35 years, the work of Ushio Amagatsu for his company Sankai Juku has become known worldwide for its elegance, refinement, technical precision, and emotional depth. The arrival of a work by Amagatsu, one of the premier choreographers at work in the world today, is a much-anticipated event in the North American dance landscape. His contemporary Butoh creations are sublime visual spectacles and deeply moving theatrical experiences. Umusuna: Memories Before History, created in 2013, evokes the essence of duality and unity encapsulated in the characters for “birth” and “earth” that combine to form the work’s title. “One of the most original and startling dance theater groups to be seen.” (New York Times)

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DanceSeriesS I X P E R F O R M A N C E S AT T H E P O W E R C E N T E R A N D T H E D E T R O I T O P E R A H O U S E

Untitled Feminist Show by Blaine Davis

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Hubbard Street Dance ChicagoGlenn Edgerton, artistic director

Tuesday, October 27 // 7:30 pmPower Center

Hubbard Street Dance Chicago returns for a one-night-only program featuring choreography by William Forsythe. Raised in New York, Forsythe had a 20-year tenure as director of Ballett Frankfurt before starting his own company in Germany. He is one of the choreographers who changed ballet from its identification with 19th-century classical repertoire to a more dynamic, 21st-century art form. The program will include Quintett, Forsythe’s tribute to his wife, who died of cancer at the age of 32; N.N.N.N., a piece for four men; and One Flat Thing, reproduced, inspired by the risk and adventure of Robert Scott’s arctic expeditions, during which explorers relied on each other for survival. One Flat Thing is performed within the confines of a tightly-spaced set of tables, a thrilling sequence of team choreography that runs dangerously close to reckless abandon.

U N T I T L E D F E M I N I S T S H O W

Young Jean Lee’s Theater CompanyYoung Jean Lee, director

Thursday, January 21 // 7:30 pmSaturday, January 23 // 8 pmPower Center

Six utterly charismatic stars of the downtown theater, dance, cabaret, and burlesque worlds perform a fully nude, wordless celebration of identity. This exhilarating work uses a dizzying array of modes to shake up gender norms through movement and music, and to express ideas about conventional and unconventional roles and expectations. Full of paradoxes and juxtapositions of the best kind, the performance features comic vignettes, evocative video images, and contemporary dance. With the absence of words — and clothes — what inhabits the stage is a series of ideas: those of the fiercely talented Young Jean Lee, the performers, and the audience members. “One of the more moving and imaginative works I have ever seen on the American stage.” (New Yorker)

Recommended for mature audiences; performance contains (a lot of) nudity.

B L A C K G I R L — L I N G U I S T I C P L AY

Camille A. Brown & DancersCamille A. Brown, artistic director and choreographer

Saturday, February 13 // 8 pmPower Center

“Every aspect of the dance-making here is thoroughly accomplished.” (New York Times) A prolific choreographer who danced with Ronald K. Brown’s Evidence, Rennie Harris’s Puremovement, and the Alvin Ailey American Dance Theater, Camille A. Brown brings her newest work to Ann Arbor for her UMS debut. Black Girl — Linguistic Play speaks to the complexities of carving out a positive identity as a Black female in urban American culture. In a world where Black women are often portrayed only in terms of their strength, resiliency, or trauma, this work interrogates these narratives by presenting a fuller spectrum of the black female and the complexities of negotiating in this racially and politically charged world. Program will also include other repertoire.

T H E S L E E P I N G B E A U T Y

American Ballet TheatreChoreography by Marius PetipaStaging and additional choreography by Alexei RatmanskyMusic by Peter Ilyitch Tchaikovsky

Thursday, March 31 // 7:30 pmFriday, April 1 // 7:30 pmSaturday, April 2 // 7:30 pmSunday, April 3 // 2:30 pmDetroit Opera House

UMS and Michigan Opera Theatre join forces to bring American Ballet Theatre’s new production of The Sleeping Beauty to the Detroit Opera House. Choreographed by Marius Petipa with additional staging and choreography by Alexei Ratmansky, this classic story ballet premiered 125 years ago at the Mariinsky Theatre in St. Petersburg. The story is one of the most familiar and enchanting of all fairy tales: the beautiful princess Aurora is cursed by the evil sorceress Carabosse to sleep for 100 years, until she is awakened by the kiss of a handsome prince. It’s ballet on the grandest possible scale, with superstar dancers, opulent sets and costumes, and Tchaikovsky’s ravishing score performed live by the Michigan Opera Theatre Orchestra.

UMS will provide round-trip luxury coach service for a nominal fee on Friday and Saturday (details to be announced).

Funded in part by the Community Foundation for Southeast Michigan.

D A N C E S E R I E S

Sankai Juku: Umusuna


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Includes 6 performances

M A I N F LO O R $310 / $245 / $135

B A LCO N Y $270 / $200

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Chamber Arts Series S E V E N CO N C E R T S I N R A C K H A M A U D I T O R I U M

I N S P I R I N G W O M E N

Sphinx Virtuosiwith the Catalyst Quartet andGabriela Lena Frank, piano

Sunday, September 27 // 4 pmRackham Auditorium

The Sphinx Virtuosi, led by the Catalyst Quartet, is one of the nation’s most dynamic professional chamber orchestras. Comprised of 18 of the nation’s top Black and Latino classical soloists, these alumni of the internationally renowned Sphinx Competition come together each fall as cultural ambassadors. Their program, entitled “Inspiring Women,” offers works written by, or inspired by, great women, including the music of Fanny Mendelssohn, Jessie Montgomery, Edward Elgar, Daniel Bernard Roumain, and others. Composer, pianist, and U-M alumna Gabriela Lena Frank also performs the world premiere of her concerto, a UMS co-commission, with the ensemble.

Supported by the Candis J. and Helmut F. Stern Endowment Fund.

Danish String QuartetFriday, November 6 // 8 pmRackham Auditorium

The Danish String Quartet has an infectious joy for making music and “rampaging energy” (New Yorker), on display since their 2002 debut at the Copenhagen Festival. “This is one of the best quartets before the public today.” (Washington Post)

P R O G R A M

Haydn Quartet No. 42 in C Major, Op. 54, No. 2Thomas Adés ArcadianaBeethoven Quartet No. 16 in F Major, Op. 135

Danish String Quartet by Caroline Bittencourt


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Takács QuartetWednesday, December 2 // 7:30 pmRackham Auditorium

This group is not just an Ann Arbor favorite but recognized the world over for their unique blend of drama, warmth, and humor, as well as their impressive delivery of thoughtful and innovative programs.

P R O G R A M

Haydn Quartet No. 57 in C Major, Op. 74, No. 1Timo Andres New WorkDvořák Quartet No. 14 in A-flat Major, Op. 105

Supported by the Ilene H. Forsyth Chamber Arts Endowment Fund.

Chamber Music Society of Lincoln CenterWu Han, pianoBenjamin Beilman, Kristin Lee, and Sean Lee, violinsRichard O’Neill, violaNicholas Canellakis, cello

Friday, January 22 // 8 pmRackham Auditorium

The Chamber Music Society of Lincoln Center presents chamber music of every instrumentation, style, and historical period. The six musicians performing in this concert include violinist Benjamin Beilman, an Ann Arbor native whose career has been burnished by a series of major awards recognizing his extraordinary musical talent.

P R O G R A M

Mozart Quartet in E-flat Major for Piano, Violin, Viola, and Cello, K. 493Schubert Rondo in A Major for Violin and Strings, D. 438Mendelssohn Double Concerto in d minor for Violin, Piano, and Strings

T H E L A S T S O N ATA S , CO N C E R T S I A N D I I


Tuesday, February 16 // 7:30 pmThursday, February 18 // 7:30 pmRackham Auditorium

Sir András Schiff returns with a three-recital project called “The Last Sonatas,” which features the final three sonatas of Haydn, Mozart, Beethoven, and Schubert. These first two concerts are part of this year’s Chamber Arts Series; the final concert is in Hill Auditorium and part of the Choral Union Series.

P R O G R A M ( T U E 2 / 1 6 )

Haydn Sonata No. 60 in C Major, Hob. XVI:50Beethoven Sonata No. 30 in E Major, Op. 109Mozart Sonata No. 16 in C Major, K. 545Schubert Sonata in c minor, D. 958

P R O G R A M ( T H U 2 / 1 8 )

Mozart Sonata No. 17 in B-flat Major, K. 570Beethoven Sonata No. 31 in A-flat Major, Op. 110Haydn Sonata No. 61 in D Major, Hob. XVI:51Schubert Sonata in A Major, D. 959

Jerusalem QuartetFriday, April 8 // 8 pmRackham Auditorium

“An absolute triumph. Their playing has everything you could possibly wish for.” (BBC Music) The Jerusalem Quartet’s confident energy and exquisite sensitivity have kept audiences on the edges of their seats since their UMS debut in 2005.

P R O G R A M

Beethoven Quartet No. 2 in G Major, Op. 18, No. 2Bartók String Quartet No. 4Schumann Quartet No. 3 in A Major, Op. 41, No. 3

Chamber Music Society of Lincoln Center by Tristan Cook


S U B S C R I B E

Includes 7 concerts

M A I N F LO O R $320 / $270 / $220 / $160

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Jazz SeriesF I V E P E R F O R M A N C E S I N H I L L A U D I T O R I U M A N D M I C H I G A N T H E AT E R

Chucho Valdés

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Abdullah Ibrahim & EkayaAbdullah Ibrahim, pianoCleave Guyton, Jr., alto saxophone, flute, clarinetLance Bryant, tenor saxophoneAndrae Murchison, trombone, trumpetMarshall McDonald, baritone saxophoneNoah Jackson, bass, celloWill Terill, drums

Wednesday, October 21 // 7:30 pmMichigan Theater

Nelson Mandela has referred to Abdullah Ibrahim as “South Africa’s Mozart,” and few would disagree. Born in 1934 in Cape Town, Abdullah Ibrahim was influenced as a child by spiritual hymns, traditional African music, carnival and minstrel music, and American jazz, swing, and boogie woogie. He earned the nickname “Dollar” from American soldiers for his spirited efforts to buy American LPs, which could be found for one dollar. The nickname stuck, and he would later earn renown as “Dollar Brand.” Alongside Hugh Masekela, he performed and recorded the first jazz LP by Black South African musicians, and in 1963, Duke Ellington discovered him at a jazz café in Zurich, which launched his career as one of the leading pianists, composers, and figures in modern jazz. In the 1980s, he formed the septet Ekaya, one of the most successful acoustic jazz groups of this era. His latest recording with Ekaya, Sotho Blue, is a joyful and swinging affair. “Comparing his tone and manner to anyone living or dead is really impossible.” (AllAboutJazz.com)

Chucho Valdés: Irakere 40Chucho Valdés, pianoDreiser Durruthy Bombalé, batás, lead vocalsRafael Águila, alto saxophoneAriel Bringuez, tenor saxophoneAlexander Abreu, trumpet, vocalsManuel Machado, trumpetReinaldo Melián, trumpetGastón Joya, double bass, vocalsYaroldy Abreu Robles, percussion, vocalsRodney Barreto, drums, vocals

Sunday, November 8 // 4 pmMichigan Theater

Winner of five Grammy Awards and three Latin Grammy Awards, the Cuban pianist, composer, arranger, and bandleader Chucho Valdés has been a key figure in the evolution of Afro-Cuban jazz for the past 50 years. Born in 1941, his musical education includes formal studies and countless nights on the hottest stages in Cuba as the pianist with his legendary father, Bebo Valdés, his orchestra Sabor de Cuba, and also the seminal Orquesta Cubana de Música Moderna. In 1973, Chucho distilled his experiences into the development of Irakere, a historically innovative ensemble that marked a “before” and “after” in Afro-Cuban jazz. In this appearance, Valdés revisits and reinterprets the music of this legendary group with a band of young firecracker musicians.

Jazz at Lincoln Center Orchestra with Wynton MarsalisWednesday, January 20 // 7:30 pmHill Auditorium

“The Jazz at Lincoln Center Orchestra with Wynton Marsalis is so far from the usual big-band cliché that it’s mind-blowing.” (Dallas) Since 1988, Wynton Marsalis has led the 15-piece Jazz at Lincoln Center Orchestra, which simultaneously honors the rich heritage of Duke Ellington and Louis Armstrong while presenting a stunning variety of new works from illustrious names, many of whom perform regularly with the ensemble. From swinging to supple, sophisticated to spirited, it’s all sheer jazz perfection — and no wonder these annual appearances have become a favorite of UMS audiences. “You know it’s a good gig when you can’t tell if the band or the audience is having more fun.” (Milwaukee Journal-Sentinel)

The Triplets of BellevilleLive score performed by composer Benoît Charest and Le Terrible Orchestre de BellevilleThierry Million, art director

Friday, February 19 // 8 pmMichigan Theater

A decade after it was first brought to the screen, Benoît Charest revives the music of the Oscar-nominated film The Triplets of Belleville with a remarkable cast of musicians in this silent movie-live concert event. Kidnapped by mysterious, square-shouldered henchmen, a Tour de France cyclist named Champion is spirited across the ocean to the teeming metropolis of Belleville. His near-sighted grandmother and faithful dog follow his trail and are taken in by a trio of eccentric jazz-era divas. This much beloved animated film is screened as film composer Benoît Charest leads his eight-piece orchestra, Le Terrible Orchestre de Belleville, in a live performance of his original score for the film. The group immediately transports audiences to the exciting streets of 1920s Paris and Le Jazz Hot. (80 minutes, rated PG-13)

The Bad Plus Joshua RedmanReid Anderson, bassEthan Iverson, pianoDave King, drumsJoshua Redman, tenor saxophone

Saturday, April 23 // 8 pmMichigan Theater

When Joshua Redman joined the idiosyncratic trio as a special guest a few years back, a brilliant collaboration was born. Redman’s melodic prowess blends seamlessly with the “avant-garde populism” of The Bad Plus, pushing the boundaries of jazz beyond all imagination. Metroland describes this new all-star quartet best: “It’s as though Redman is the long-lost fourth member of the group, just waiting to be snapped snugly into place. Imagine if the Beatles had spent the first decade of their career as a trio before adding Paul. It’s like that.”


S U B S C R I B E


M A I N F LO O R $220 / $180

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Antigone by SophoklesIn a new translation by Anne CarsonDirected by Ivo van HoveStarring Juliette Binoche

Wednesday, October 14 // 7:30 pmThursday, October 15 // 7:30 pmFriday, October 16 // 8 pmSaturday, October 17 // 8 pmPower Center

Celebrated stage and screen actress Juliette Binoche plays Antigone in a contemporary version of Sophokles’ tragedy, translated afresh by Anne Carson, a T.S. Eliot Prize-winning poet, MacArthur “Genius” grant winner, and former U-M Professor of Classics and Comparative Literature. When her dead brother is decreed a traitor and his body left unburied beyond the city walls, Antigone refuses to accept this most severe of punishments. Defying her uncle, who governs Thebes, she forges ahead with a funeral, placing personal allegiance before politics. This treacherous act will trigger a cycle of destruction. Director Ivo van Hove “has been building steadily on his reputation as one of the most affecting and clearest-sighted directors working in world theater. His intense and solemn work is designed to shake us to the core.” (The Guardian)

A Christmas Carol National Theatre of ScotlandThursday, December 17–Sunday, January 3 (26 performances — see order form or ums.org for complete listing)Power Center Stage

Three years ago, the National Theatre of Scotland brought its captivating production of The Strange Undoing of Prudencia Hart to a bar in Ypsilanti. Now the group returns to Ann Arbor with a unique production of Charles Dickens’s holiday classic, A Christmas Carol, performed in a specially-designed immersive set that places the audience right in the midst of the offices of Messrs. Scrooge and Marley. Dickens’s immortal tale of the miserly Ebenezer Scrooge features a superbly talented cast, haunting puppets, live music, and a set that will spirit you back to Scrooge’s Victorian London. General admission onstage seating only, recommended for ages 8+.

Antigone by Jan Versweyveld

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Straight White Men and Untitled Feminist ShowYoung Jean Lee’s Theater CompanyYoung Jean Lee, writer and director

S T R A I G H T W H I T E M E N

Friday, January 22 // 8 pmSaturday, January 23 // 2 pmSaturday, January 23 // 8 pmLydia Mendelssohn Theatre



“Young Jean Lee is, hands down, the most adventurous downtown playwright of her generation.” (New York Times)

For the first time ever, this week showcases Young Jean Lee’s two most recent theatrical essays on gender and identity in repertory, and in conversation with one another — and performed across the street from one another in the Power Center and Lydia Mendelssohn Theatre. Subscribers have the opportunity to participate in a full-day immersion of Lee’s work by seeing Straight White Men in the afternoon and Untitled Feminist Show in the evening.


When Ed and his three adult sons come together to celebrate Christmas, they enjoy cheerful trash-talking, pranks, and takeout Chinese. Then they confront a problem that even being a happy family can’t solve: when identity matters and privilege is problematic, what is the value of being a straight white man? “A compassionate study of one man’s uneasy search for meaning, and his discovery that, in the world of straight white men, failure may be acceptable, but being content with a disappointed life is most definitely not.” (New York Times)


Six utterly charismatic stars of the downtown theater, dance, cabaret, and burlesque worlds perform a fully nude, wordless celebration of identity. This exhilarating work uses a dizzying array of modes to shake up gender norms through movement and music, and to express ideas about conventional and unconventional roles and expectations. With the absence of words — and clothes — what inhabits the stage is a series of ideas: those of the fiercely talented Young Jean Lee, the performers, and the audience members. Untitled Feminist Show constantly surprises, twisting and turning in hilarious ways that both reveal and challenge the viewers’ assumptions about gender politics. “One of the more moving and imaginative works I have ever seen on the American stage.” (New Yorker)

Untitled Feminist Show is recommended for mature audiences; performance contains (a lot of) nudity.

Nufonia Must Fall Kid Koala, DJ, producer, and graphic novelistK.K. Barrett, directorAelos String Quartet

Friday, March 11 // 8 pmSaturday, March 12 // 8 pmPower Center

“Seamless...You can’t help but leave with a fuzzy feeling inside.” (examiner.com) The globetrotting, Montreal-based scratch DJ and music producer Kid Koala presents a magical multi-disciplinary and theatrical adaptation of his graphic novel and soundtrack, Nufonia Must Fall. This charming story centers around a headphones-sporting robot on the verge of obsolescence who falls in love with a lonely office girl. This live adaptation unfolds via real-time filming of more than a dozen miniature stages and a cast of puppets, while Kid Koala and the Aelos Quartet provide original live scoring on piano, strings, and turntables. The result? You’ll seem to be watching an animated picture, but simultaneously seeing puppets being filmed and projected in real time. Heartfelt, hand-made, and a very cool live experience.

A Christmas Carol

S U B S C R I B E


M A I N F LO O R $240 / $220

B A LCO N Y $220 / $190 / $140

Interested in subscribing to both the Dance and the International Theater Series? See the combined series option on the order form.


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The GloamingWednesday, October 7 // 7:30 pmMichigan Theater

Evocative of the spare serenity of the Irish countryside, the music of The Gloaming is both deeply familiar and consistently surprising. The traditional Irish backgrounds of fiddle master Martin Hayes, hardanger innovator Caoimhín Ó Raghallaigh, and Irish singer Iarla Ó Lionáird anchor the group, with New York pianist Thomas Bartlett (aka Doveman, better known as a colleague of Antony and the Johnsons, The National, and Nico Muhly) and Chicago guitarist Dennis Cahill pushing them forward with an entirely new energy. The super group’s rare combination of Irish tunes, ancient sean-nós song, and instrumental explorations over a backbone of spare minimalism carves new paths, connecting the Irish folk tradition with New York’s contemporary scene. In just a few short years, they have become a huge draw in the UK and Europe, playing to capacity crowds in the world’s most prestigious venues and making music that is both ancient and utterly new. “Moves the music of Ireland in fascinating new directions.” (New Yorker)

Chucho Valdés: Irakere 40Chucho Valdés, pianoDreiser Durruthy Bombalé, batás, lead vocalsRafael Águila, alto saxophoneAriel Bringuez, tenor saxophoneAlexander Abreu, trumpet, vocalsManuel Machado, trumpetReinaldo Melián, trumpetGastón Joya, double bass, vocalsYaroldy Abreu Robles, percussion, vocalsRodney Barreto, drums, vocals

Sunday, November 8 // 4 pmMichigan Theater

Winner of five Grammy Awards and three Latin Grammy Awards, the Cuban pianist, composer, arranger, and bandleader Chucho Valdés has been a key figure in the evolution of Afro-Cuban jazz for the past 50 years. Born in 1941, his musical education includes formal studies and countless nights on the hottest stages in Cuba as the pianist with his legendary father, Bebo Valdés, his orchestra Sabor de Cuba, and also the seminal Orquesta Cubana de Música Moderna. In 1973, Chucho distilled his experiences into the development of Irakere, a historically innovative ensemble that marked a “before” and “after” in Afro-Cuban jazz. In this appearance, Valdés revisits and reinterprets the music of this legendary group with a band of young firecracker musicians.

GlobalSeriesS E V E N P E R F O R M A N C E S I N H I L L A U D I T O R I U M , M I C H I G A N T H E AT E R , A N D LY D I A M E N D E L S S O H N T H E AT R E

Youssou N’Dour

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Youssou N’Dour and Super Étoile de DakarSaturday, November 14 // 8 pmHill Auditorium

When “You” gives a concert, everything jumps: he brings entire stadiums to their feet. A superstar across Africa who ran for president of Senegal in 2012 and leads of one of Africa’s greatest bands, Youssou N’Dour is one of the most revered musicians in Africa, a passionate singer, composer, and bandleader with a powerfully expressive voice. He was named to the TIME 100, Time magazine’s annual list of “the hundred men and women whose power, talent, or moral examples are transforming the world.” For nearly 40 years he has been thrilling audiences with mbalax music, which fuses traditional Senegalese percussion and griot singing with Afro-Cuban and indigenous dance/pop flavors. He returns to Ann Arbor for the first time in eight years with his most celebrated ensemble.

Tanya Tagaq I N CO N C E R T W I T H

Nanook of the NorthTuesday, February 2 // 7:30 pmLydia Mendelssohn Theatre

Tanya Tagaq’s music isn’t like anything you’ve heard before. Unnerving and exquisite, Tagaq’s unique vocal expression is rooted in Inuit throat singing, but her music has as much to do with electronica, industrial, and metal influences as it does with traditional culture, a style that she has perfected with collaborators such as Björk and that reminds some of Meredith Monk’s vocal innovations. She reclaims the controversial 1922 silent film Nanook of the North, which portrays the lives of an Inuit family in Arctic Canada and is considered the first major work of documentary filmmaking. Tagaq, along with percussionist Jean Martin and violinist Jesse Zubot, performs a live musical response to the film’s images of life in an early 20th-century Inuit community. Her sense of the sound of the Arctic spaces in the film transforms the images, adding tremendous feeling and depth to the complex mix of beautiful representations and racially charged clichés. Winner of the 2014 Polaris Prize for “Album of the Year” (she beat out Drake and Arcade Fire), Tanya Tagaq makes her UMS debut in this one-night-only event. “Nobody, anywhere, sounds like she does.” (Globe and Mail) (79 minutes, not rated)

The ChieftainsSaturday, March 5 // 8 pmHill Auditorium

Paddy Malone and The Chieftains celebrated 50 years of performing in 2012, and their music remains as fresh and relevant as when they first began. Recognized for reinventing traditional Irish music on a contemporary and international scale, their ability to blend tradition with modem music has made them one of the most renowned and revered musical groups to this day. Back for their fifth UMS performance and their first in nearly a decade, “they seem ageless, and so does their Irish music. If common sense tells you they can’t go on forever, you wouldn’t know it from their electrifying performance.” (Boston Globe)

Mariachi Vargas de TecalitlánFriday, April 1 // 8 pmHill Auditorium

We are proud to bring back Mariachi Vargas de Tecalitlán after their extremely popular performances in 2010 and 2013. No other mariachi in history has had a trajectory or influence remotely comparable to theirs; they are widely considered the finest mariachi in the world. Founded in a small city near Jalisco by Don Gaspar Vargas in the 1890s, this band basically invented the modern mariachi. With world-class vocalists and instrumentalists, flawless ensemble work, impeccable taste in repertoire, and spellbinding showmanship, the group never fails to engage its audience, eliciting spontaneous gritos, sing-alongs, and one ovation after another with their heart-wrenching vocals and virtuosic instrumentals. Masters at melding the old world style of mariachi music with new, innovative pieces, Mariachi Vargas is appealing to audiences across all generations.

Zafir: Musical Winds from North Africa to AndalucíaSimon Shaheen, musical director, oud, violinSonia M’barek, vocalsJuan Pérez Rodríguez, piano, vocals, guitarAuxi Fernandez, flamenco dancerwith Qantara

Friday, April 15 // 8 pmMichigan Theater

Simon Shaheen brings to life the Arab music of Al-Andalus and blends it with the ubiquitous art of flamenco in Zafir, a program of instrumental and vocal music and dance that renews a relationship with music from a thousand years ago. Zafir explores the commonalities of music born in the cultural centers of Iraq and Syria that blew like the wind (zafir) across the waters of the Mediterranean to Al-Andalus, where it blended with elements of Spanish music, then was brought back across the seas to North Africa, where it flourished in the cities of Morocco, Algeria, and Tunisia. Zafir features virtuoso composer and musical director Simon Shaheen with his group Qantara, acclaimed Tunisian vocalist Sonia M’barek, flamenco musician Juan Pérez Rodríguez, and the fiery young flamenco dancer Auxi Fernandez, who completes the music with her explosive footwork.


S U B S C R I B E


M A I N F LO O R $250

B A LCO N Y $220 / $170

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UMS Song RemixT H R E E P E R F O R M A N C E S I N LY D I A M E N D E L S S O H N T H E AT R E

Taylor Mac by Kevin Yatarola

Not a day goes by when we don’t hear a song; we are surrounded by them. Songs represent a fundamental and basic human impulse: to marry words and music, communicating something that neither can do on its own. Songs create special moments of connection between singers and listeners. A song, delivered well, has the power to make you believe that the world as you know it has stopped, even if only for a few minutes.

The 2015-16 winter season kicks off the first edition of UMS Song Remix, a broad and diverse collision of the world of singers and their songs that includes everything from art song and cabaret to popular songs from radio and jazz. Join us for this unique exploration.

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What’s in a Song?Martin Katz, C U R AT O R A N D P I A N I S T

Including appearances byJamie Barton, mezzo-sopranoJesse Blumberg, baritoneLawrence Brownlee, tenorLeah Crocetto, sopranoDavid Daniels, countertenorFrederica von Stade, mezzo-soprano

Friday, January 8 // 8 pmLydia Mendelssohn Theatre

U-M’s Artur Schnabel Collegiate Professor of Collaborative Piano has been dubbed “the gold standard of accompanists” by the New York Times. His 45-year career has taken him to five continents, collaborating with the world’s most celebrated singers in recital and recording. To kick off UMS’s new UMS Song Remix Series, Katz brings together singers with whom he has recently been working to explore what makes a song, from the marriage of poetry and music to the interpretation by the artists.

Jamie Barton, M E Z Z O - S O P R A N O

Martin Katz, P I A N O

Sunday, January 10 // 4 pmLydia Mendelssohn Theatre

This “powerhouse of a mezzo” (New York Times) won both the Song Prize and the overall BBC Cardiff Singer of the World Competition in 2013, only the second double winner in the contest’s history. She is only in her early 30s but has already scored leading roles in some of the most impressive and prestigious opera houses in the world, drawing high marks for her sumptuous voice. “She is a great artist, no question, with an imperturbable steadiness of tone, and a nobility of utterance that invites comparison not so much with her contemporaries as with mid-20th century greats such as Kirsten Flagstad.” (The Guardian)

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Taylor MacFriday, February 5 // 8 pmLydia Mendelssohn Theatre

Taylor Mac is equal parts bedazzled shaman, searing social critic, radical angel, and Elizabethan fool. A critical darling of the New York downtown cabaret scene, he is beloved for his iconic beauty, disarming vulnerability, and soaring spirit. His 24-Decade History of American Popular Music will eventually become an epic show performed over 24 continuous hours; in Ann Arbor, Taylor will focus on the 1960s, 70s, and 80s, connecting the decades to the vibrant music scene in Detroit. “Fabulousness can come in many forms, and Taylor Mac seems intent on assuming every one of them.” (New York Times) A UMS co-commission.

Subscribers to the UMS Song Remix series will have top priority for a fourth song event in Winter 2016: a cabaret evening featuring the music of Stephen Sondheim. Date and details to be announced! For further details, visit ums.org or call 734.764.2538.

S U B S C R I B E


M A I N F LO O R $110 / $80

B A LCO N Y $110 / $80

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Leonidas Kavakos by Marco Borggreve

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Additional Performances

U M S S E A S O N O P E N E R !

My Brightest Diamondwith the Detroit Party Marching Band

Friday, September 11 // Time TBADowntown Home & Garden and Bill’s Beer Garden (210 S. Ashley St.)

Not many people can front a rock band, sing Górecki’s Third Symphony, lead a marching band processional down the streets of the Sundance Film Festival, and perform a baroque opera of their own composition all in a month’s time. But Shara Worden can. A one-time touring member of the Decemberists, the Detroit-based artist and Ypsilanti High School graduate has collaborated with David Lang, Sufjan Stevens, Laurie Anderson, and yMusic, keeping one foot in the classical world and one in the club. Her multi-faceted career as My Brightest Diamond, which began with an acclaimed independent rock record, has reflected her journey into the world of the performing arts. She will kick off the UMS season with the Detroit Party Marching Band at Ann Arbor’s Downtown Home & Garden and Bill’s Beer Garden.

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

Audra McDonaldThursday, September 17 // 7:30 pmHill Auditorium

Audra McDonald has secured her place atop Broadway’s pantheon with a record-breaking six Tony Awards, the only actor ever to achieve the Tony Grand Slam: “Best Performance by a Leading Actress in a Play” (as Billie Holiday in Lady Day at Emerson’s Bar and Grill), “Best Featured Actress in a Musical” (Carousel and Ragtime), “Best Featured Actress in a Play” (Master Class and A Raisin in the Sun), and “Best Actress in a Musical” (The Gershwins’ Porgy and Bess). Blessed with a luminous soprano and an incomparable gift for storytelling, she is equally at home on Broadway and opera stages and in roles on film and television. After her stunning 2013 Gershwin concert, she returns to UMS for her sixth appearance, featuring music from her most recent recording, Go Back Home. “One of Ms. McDonald’s greatest gifts is to find the story inside the song and deliver it with immediacy and clarity…A defining voice of our time.” (New York Times)

Lisa Fischer by Lanita Adams

T H E S E E V E N T S D O N ’ T F I T N E AT LY I N T O O U R S E R I E S B A S E D O N A R T F O R M S , B U T A L L C A N B E U S E D A S PA R T O F A S E R I E S :YO U PA C K A G E .

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TenebraeNigel Short, music director

Friday, October 30 // 8 pmSt. Francis of Assisi Catholic Church

The “devastatingly beautiful” (Gramophone) British choir Tenebrae blends passion and precision in their powerful, yet intimate, performances. Founded by former King’s Singers member Nigel Short, Tenebrae combines a large force of singers with the exactitude of a small ensemble, using movement, light, and ambience to allow audiences to experience music from a fresh perspective. For their UMS debut, they bring a unique program that balances the sublime music of Spanish composers of the late Renaissance period with 19th-century choral works by Bruckner, Brahms, and Max Reger. “Exquisitely beautiful throughout. This is music to carry you to heaven.” (St. Louis Today)

Complete program details at www.ums.org.

Handel’s MessiahUMS Choral UnionAnn Arbor Symphony OrchestraConductor and Soloists to be announced

Saturday, December 5 // 8 pmSunday, December 6 // 2 pmHill Auditorium

This performance will mark the debut of the UMS Choral Union’s new music director, who will be announced this summer. An eagerly anticipated holiday season tradition, these performances are ultimately the heart and soul of UMS, dating back to the organization’s founding and first concerts in the 1879-80 season. The performances connect audiences not only with the talented artists on stage but also with the friends and family who attend each year. In a true community tradition, the performance features the Ann Arbor Symphony Orchestra and the voices of the Grammy Award-winning UMS Choral Union (2006 “Best Choral Performance”).

Supported by the Carl and Isabelle Brauer Endowment Fund.

Ms. Lisa Fischer and Grand BatonWednesday, January 27 // 7:30 pmMichigan Theater

By any measure of talent and accomplishment, Lisa Fischer is a superstar. Yet, if you do not know her name, it’s likely because her name has never been on the marquee; she has spent the past 20 years as a backup singer for the Rolling Stones, Chris Botti, and countless others. As one of the top session and backup singers, she’s featured in the Oscar-winning documentary 20 Feet from Stardom and celebrated for her live concert duets with Mick Jagger during “Gimme Shelter” that have also received millions of hits on YouTube. After winning Grammy Awards for “Best Female R&B Performance” (1992) and “Best Music Film” (2015), she has decided to move forward from being a backup singer, putting together her own band and claiming her well-deserved place center stage.

J . S . B A C H ’ S S T. J O H N PA S S I O N

Apollo’s Fire & Apollo’s SingersJeannette Sorrell, conductorNicholas Phan (Evangelist)Jesse Blumberg (Jesus)Jeffrey Strauss (Pilate)Amanda Forsythe (soprano)Terry Wey (countertenor)Tyler Duncan (baritone)

Tuesday, March 15 // 7:30 pmSt. Francis of Assisi Catholic Church

Fresh from their 2014 performance of Monteverdi’s Vespers, Apollo’s Fire & Singers return to St. Francis of Assisi Church with one of their signature pieces, J.S. Bach’s St. John Passion. Bursting out of the gate from the agitated opening chorus, this work is considered Bach’s most dramatic and theatrical oratorio. In this acclaimed interpretation, the story’s action is highlighted by a dramatic approach: the roles are performed by true singing actors, staged on a special theatrical platform within the orchestra. The acclaimed Apollo’s Singers evoke the wild mob with fierce intensity.

Mnozil BrassThursday, April 14 // 7:30 pmHill Auditorium

Named after a pub in Austria, where the former Vienna Conservatory students spent many a night socializing and performing at a monthly open mic, Mnozil Brass beautifully combines fearless, world-class virtuosity and zany theatrical wit. This brass septet seamlessly blends original compositions with classical favorites, jazz standards, and popular hits, presented with the group’s iconic humor in scenes so clever that they would be worthy of Monty Python. One glance at their online videos quickly turns the curious into converts, but it is the unforgettable live experience that creates lifelong fans.

Audience members in Bill’s Beer Garden outside of Downtown Home & Garden at the UMS season opener in 2013. Photo by Mark Gjukich Photography

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RenegadeT E N P E R F O R M A N C E S I N VA R I O U S V E N U E S

U M S S E A S O N O P E N I N G D A N C E PA R T Y

My Brightest Diamond with the Detroit Party Marching Band

Friday, September 11 // Time TBADowntown Home & Garden

What Makes it Renegade? Shara Worden, aka My Brightest Diamond, fronts a rock band, leads a marching band, has composed and performed in a neo-Baroque opera, and seamlessly navigates the worlds of pop and classical music simultaneously, charting a new pathway as a musician.

Sphinx Virtuosiwith the Catalyst Quartet and Gabriela Lena Frank, piano

Sunday, September 27 // 4 pmRackham Auditorium

What Makes it Renegade? Incoming SMTD Dean Aaron Dworkin had a vision to change the culture of classical music in America, and over the past 20 years, he’s done just that: by training and nurturing young African-American and Latino/a musicians, he has changed the cultural face and perception of orchestral music in America, painting an inclusive picture of what the 21st century orchestra can and will look like.

Where curious audiences meet unexpected ideas.

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

Tanya Tagaq

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Antigone by SophoklesIn a new translation by Anne CarsonDirected by Ivo van HoveStarring Juliette Binoche

Wednesday, October 14 // 7:30 pmThursday, October 15 // 7:30 pmFriday, October 16 // 8 pmSaturday, October 17 // 8 pmPower Center

What Makes it Renegade? Director Ivo van Hove says, “I think if [playwrights of the past like] Tennessee Williams or Arthur Miller lived today, they would want something innovative. If you just reproduce what they envisioned long ago, it wouldn’t have the same force. I want to push through the limits, make the ultimate production. That’s an ambition, of course. You never get there.”

W O R K S O F W I L L I A M F O R S Y T H E

Hubbard Street Dance ChicagoTuesday, October 27 // 7:30 pmPower Center

What Makes it Renegade? William Forsythe is a true post-modernist dance maker who has defiantly turned ballet’s orientation away from its 19th-century traditions toward the future by embracing forward-looking aesthetic ideas — dance, voice, text, sound, visual art, and anything else at hand — to create trans-disciplinary works.

A Christmas Carol National Theatre of Scotland

Thursday, December 17–Sunday, January 3 (26 performances)Power Center Stage

What Makes it Renegade? Actors and puppets breathe new life into a leather-bound classic, taking a story that we all know and conceiving of it in an entirely new context: theater in a box. Providing an immersive experience that brings you right on stage with the actors, you will emerge feeling as though you’ve traveled in time from 19th-century England to the present day.

Straight White Men and Untitled Feminist ShowYoung Jean Lee’s Theater CompanyYoung Jean Lee, writer and director


Friday, January 22 // 8 pmSaturday, January 23 // 2 pmSaturday, January 23 // 8 pmLydia Mendelssohn Theatre



What Makes it Renegade? Young Jean Lee uses the devices of theater to explore the meaning of race and gender. She approaches playwriting by asking herself, “What’s the last show in the world I would ever want to make?” This charged question has been the impetus of productions that have challenged and unsettled audiences worldwide, even allowing Lee to create a play without words about the female experience.



What Makes it Renegade? An Inuit throat singer from Nunavut, Canada, Tanya Tagaq has a voice capable of full-bodied and animalistic lows, and breathtaking grunts and growls. She is an outspoken advocate of aboriginal rights and equality, weaving her musical and political tones into emotive, sensual, and complex compositions and improvisations that raise a fist of protest with no words at all.

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Taylor MacFriday, February 5 // 8 pmLydia Mendelssohn Theatre

What Makes it Renegade? Taylor Mac’s 24-Decade History of American Popular Music is audacious in its ambition and its scope: a unique mash-up of songs, history, performance, and art that will reach its zenith in a 24-hour spectacle covering the 240 years of popular music in America. A theater artist who uses the gender pronoun judy, Mac has been named a “future theater legend” by TimeOut New York.





What Makes it Renegade? A collision of some of the most cherished music of the Western music canon with the slowed-down, iconic film world of David Michalek creates a new kind of contemporary classical music concert experience.

R E N E G A D E


S U B S C R I B E


M A I N F LO O R $380 / $350 / $240

B A LCO N Y $350 / $300

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Series:You

As a Series:You subscriber, you get it all: a 10% discount, access to the best seats in the house, free exchange privileges, and the opportunity to purchase additional tickets to the entire UMS season for friends or family members.

The experience is yours. Series:You is the perfect way for you to create and curate your own UMS experience. With Series:You, you can select a variety of performances that speak to you.

Also, please note: We’re trying something new this year and making almost every event on the season available for Series:You. The one exception is the National Theatre of Scotland’s version of the Charles Dickens classic, A Christmas Carol. Because of the unique stage set-up and limited seating for each performance (only 150 seats, all on stage), A Christmas Carol is a special, non-discounted performance that is offered to subscribers of any series now as an add-on event.

When you purchase at least 5 different events from those listed in this brochure before Friday, September 18, 2015, you’ll receive a 10% discount.

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New York PhilharmonicOn the WaterfrontDavid Newman, conductor

Sunday, October 11 // 3 pmHill Auditorium

The magnificent soundtrack for On the Waterfront was Leonard Bernstein’s only original movie score. The music churns with dramatic intensity, underscoring the brutality of the docks, the tough combativeness of the longshoremen, and the dark, looming presence of the mob bosses who dominate their territory. Written by Budd Schulberg and directed by Elia Kazan, the story is based on true events about crime and corruption on the waterfronts of Manhattan and Brooklyn, with Bernstein’s music accentuating the somber, yet triumphant, conclusion. Academy Award-nominated film composer and conductor David Newman leads the New York Philharmonic in this final concert of their 2015 residency. (108 minutes, not rated)




With Tanya Tagaq, ancient meets modern in powerful, provocative ways. This spellbinding performance features the Inuit throat singer accompanying a screening of Nanook of the North (1922) with a live score. Tagaq’s mixed-media performance reclaims the controversial classic — considered the first feature-length documentary — capturing the sense of the sound of the Arctic spaces shown in the film and adding tremendous feeling and depth to what is a complex mix of beautiful representations and racially charged clichés. (79 minutes, not rated)

UMS on FilmF I V E P E R F O R M A N C E S T H AT F E AT U R E B O T H L I V E M U S I C A N D F I L M .

On the Waterfront © 1954, renewed 1982 Columbia Pictures Industries, Inc. All rights reserved.

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Nufonia Must Fall Kid Koala, DJ, producer, and graphic novelistK.K. Barrett, directorAelos String Quartet

Friday, March 11 // 8 pmSaturday, March 12 // 8 pmPower Center

“Seamless...You can’t help but leave with a fuzzy feeling inside.” (examiner.com) The globetrotting, Montreal-based scratch DJ and music producer Kid Koala presents a magical multi-disciplinary and theatrical adaptation of his graphic novel and soundtrack, Nufonia Must Fall. This charming story centers around a headphones-sporting robot on the verge of obsolescence who falls in love with a lonely office girl. This live adaptation unfolds via real-time filming of more than a dozen miniature stages and a cast of puppets, while Kid Koala and the Aelos Quartet provide original live scoring on piano, strings, and turntables. The result? You’ll seem to be watching an animated picture, but simultaneously seeing puppets being filmed and projected in real time. Heartfelt, hand-made, and a very cool live experience.





Video artist David Michalek, best known for his “Slow Dancing” installation at Lincoln Center, and in the capitals of Europe, says of the Bach Six Solos project: “As a contemporary artist with a particular interest in motion pictures and time, I’ve been compelled to consider how the addition of extreme slow motion might be applied to moving images of the face, the body, obliquely narrative tableaux, and also still life in ways that can both enhance and alter the meanings latent within them. As a visual strategy, extreme slowness creates a continuing sense of a pause in the action — as if the growth and evolution of the slow-moving image is itself a further manifestation of the deep and consuming absorptive state that often arises while observing it.” Michalek collaborates with violinist Gil Shaham to animate J.S. Bach’s complete Sonatas and Partitas, music that performers — and audiences — return to throughout their lives.

The Triplets of BellevilleLive score performed by composer Benoît Charest and Le Terrible Orchestre de BellevilleThierry Million, art director

Friday, February 19 // 8 pmMichigan Theater

A decade after it was first brought to the screen, Benoît Charest revives the music of the Oscar-nominated film “The Triplets of Belleville” with a remarkable cast of musicians in this silent movie-live concert event. Kidnapped by mysterious, square-shouldered henchmen, a Tour de France cyclist named Champion is spirited across the ocean to the teeming metropolis of Belleville. But the true star of the animated film is the hot jazz score written by Canadian composer Benôit Charest. This screening of the beloved French film transports audiences to the exciting streets of 1920s Paris and Le Jazz Hot. (80 minutes, rated PG-13)

U M S O N F I L M


S U B S C R I B E


M A I N F LO O R $230

B A LCO N Y $200

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T H R E E CO N C E R T S I N R A C K H A M A U D I T O R I U M A N D H I L L A U D I T O R I U M

Sir András Schiff: The Last Sonatas

Andras Schiff by Nadia Romanini


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Tuesday, February 16 // 7:30 pmThursday, February 18 // 7:30 pmSaturday, February 20 // 8 pmHill Auditorium

Of “The Last Sonatas,” Sir András Schiff says, “‘Alle guten Dinge sind drei’ — all good things are three, according to this German proverb that must have been well-known to Haydn, Mozart, Beethoven, and Schubert. Introducing their last three piano sonatas in three concerts is a fascinating project that can demonstrate the connections, similarities, and differences among these composers. The sonata form is one of the greatest inventions in Western music, and it is inexhaustible. With our four masters of Viennese classicism, it reached an unprecedented height that has never been equaled, let alone surpassed.”

UMS is thrilled to bring all three concerts of “The Last Sonatas” to Ann Arbor, presented over the course of a week in Rackham and Hill Auditoriums. “So successful was the evening that the critic can only throw up his hands, wish you had been there, and quote Ira Gershwin’s endearing tombstone inscription: ‘Words Fail Me.’” (New York Times)

P R O G R A M ( T U E 2 / 1 6 )

Haydn Sonata No. 60 in C Major, Hob. XVI:50Beethoven Sonata No. 30 in E Major, Op. 109Mozart Sonata No. 16 in C Major, K. 545Schubert Sonata in c minor, D. 958

P R O G R A M ( T H U 2 / 1 8 )

Mozart Sonata No. 17 in B-flat Major, K. 570Beethoven Sonata No. 31 in A-flat Major, Op. 110Haydn Sonata No. 61 in D Major, Hob. XVI:51Schubert Sonata in A Major, D. 959

P R O G R A M ( S AT 2 / 2 0 )

Haydn Sonata No. 62 in E-flat Major, Hob. XVI:52Beethoven Sonata No. 32 in c minor, Op. 111Mozart Sonata No. 18 in D Major, K. 576Schubert Sonata in B-flat Major, D. 960

S I R A N D R Á S S C H I F F : T H E L A S T S O N ATA S


M A I N F LO O R $150 / $132 / $90 / $72S U B S C R I B E

Includes all 3 concerts

Note: The two Rackham concert(s) are on the Chamber Arts Series, and the Hill concert is on the Choral Union Series. If you are subscribing to one of those series and wish to add on the additional concert(s), please do so on section 2 of the order form.

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It made me feel .



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L-E-V by Gil Shani

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Fixed Series Fixed series subscribers commit to the packages that we’ve created, which are generally programmed by art form or theme. Fixed series subscribers who wish to add on other performances on the season will receive a 10% discount on each ticket.

Series:You Series:You subscribers create their own packages of at least five events, mixing and matching across art forms. With Series:You, become the programmer and curate your own season, customized to your specific interests and seating preferences.

Every UMS experience is personal. That’s why we’ve created a number of ways for you to build your own.

Seriessubscriptions

A N O T E A B O U T S I N G L E T I C K E T SAs a subscriber, you may order tickets now to ANY event in our season. Non-subscribers must wait until Monday, August 3, 2015. UMS Donors ($250+ annually) may purchase tickets to individual events beginning Monday, July 27, 2015.

Marathon Series Are you always looking to go that extra mile? Are you interested in experiencing the breadth of what UMS has to offer? Subscribe to the Marathon Series, which includes one ticket to each event on the UMS season, and take 25% off. You’ll have a personal representative in our ticket office to work with you on all of your Marathon Series package needs.

Straight White Men by Blaine Davis


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Our website continues to be an information hub for all UMS services and performance information. View the 2015-16 season calendar, learn more about the artists we’re presenting, purchase tickets, and make a donation.

U M S LO B BY. O R G

On the UMS Lobby, you can engage more fully with all that is UMS. Access exclusive artist content, behind-the-scenes photos and videos, thoughts from audience members, and much more. Check it out — and don’t forget to tell us what you think!

U M S R E W I N D . O R G

This newest addition to our online presence showcases every artist and piece that has been performed during the past 136 years. Download a program book from your first UMS experience, browse our performance history, and take a look at our online photo archive, which will continue to grow. Our history is your history, and we hope you’ll explore.

S E A S O N A N N O U N C E M E N T V I D E O

Scan the QR code or visit bit.ly/1516umsseason to watch.

Check out clips from some of the performances on the 2015-16 season, and listen to members of the UMS programming staff talk about why they are personally excited about the events on our season. It’s a great way to get a sneak peek at the artists who are coming to Ann Arbor next year.

facebook.com/UMSNews

twitter.com/UMSNews

instagram.com/UMSNews

youtube.com/umsvideos

Find UMS Online

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The UMS Choral Union invites you to take part in its 22nd season of Summer Sings,

popular, participatory evenings of memorable music-making. Full details to be announced in May; visit www.ums.org/summersings

for more information.

ARE YOU READY

TO SING?

Hill Auditorium Centennial Celebration by Mark Gjukich.

Be a victor for .excellence

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UMS strives to become more than a world-class presenting organization. Our vision is to connect with individuals in transformative ways that alter the trajectory of their existence, sending them out to the world to invent, treat, discover, and build in ways unleashed by their creative curiosity. We believe the performing arts have the power to transform the world. And it starts with you. Right now.

We rely on our donors to continue to deliver remarkable seasons like this one. We are also in the midst of the largest campaign in our history focused on the following areas:

A CC E S S & I N C L U S I V E N E S S

UMS will provide opportunities for anyone and everyone to discover and experience the transformative power of the performing arts through affordable tickets, free educational events, and community-building activities.

E N G A G E D L E A R N I N G T H R O U G H T H E A R T S

UMS will integrate the performing arts into the student experience at all levels to encourage creative thinking, collaboration, and experimentation and to create meaningful connections between arts and life.

B O L D A R T I S T I C L E A D E R S H I P

UMS will solidify our position as a recognized national and international artistic leader through bold programming, producing, and commissioning that reflect our commitment to both tradition and innovation.

Visit us online or call UMS development to make your gift today.

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V I C T O R S F O R M I C H I G A N

Kyle Abraham master class for U-M Dance students by Jesse Meria

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Subscription tickets will be mailed in late July. There is a $10 service charge for all subscription orders.

S U B S C R I P T I O N T I C K E T S / S E AT I N G P R I O R I T Y Please note: During the subscription renewal period, we are unable to provide specific seat locations when you purchase your subscription. Priority seating is given to renewing subscribers and donors.

D O N O R SDonors receive the highest priority seating based on level of giving, including new subscriptions and seating upgrade requests.

Donations may be included with your ticket order. Ticket orders must be received by Friday, June 5 to be eligible for seating priority.

F I X E D S E R I E SFixed series subscribers (for packages listed on pages 10-37 of this brochure) receive priority before Series:You subscribers and individual event purchasers. Subscriptions will be filled in the order received.

S E R I E S :YO USeries:You subscribers (those who choose at least five events from pages 10-37 of this brochure) will receive priority seating before individual event purchasers if orders are submitted by July 31, 2015. Subscription orders must be received by September 18, 2015 to receive the 10% discount and will be filled in the order received.

G R O U P S O F 1 0 O R M O R EGroups of 10 or more people to a single event will receive priority over individual event purchasers and save 15-25% off the regular ticket prices to most performances. For more information, contact the UMS Group Sales Office at [email protected] or 734.763.3100.

UMS accepts group reservations beginning Monday, July 6, a full month before tickets to individual events go on sale to the general public. Plan early to guarantee access to great seats!

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

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

H O W T O O R D E R

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ums.orgP H O N E

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

FA X734.647.1171

I N P E R S O NVisit the UMS Ticket Office on the north end of the Michigan League building (911 North University Avenue). The Ticket Office also sells tickets for all U-M School of Music, Theatre & Dance productions and the Ann Arbor Summer Festival.

M A I LUMS Ticket OfficeBurton Memorial Tower881 North University AvenueAnn Arbor, MI 48109-1011

Summer Hours (May-August) 10 am to 5 pm Mon-Fri Closed Sat and SunExtended hours resume after Labor Day.

S T U D E N T T I C K E T SHalf-price tickets are available for students in accredited degree programs, subject to availability, beginning Tuesday, September 8, 2015. For details, visit www.ums.org/students. Students may purchase subscriptions at half-price at any time; please call the Ticket Office at 734.764.2538 for details.

Ticket info

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P L E A S E G I V E U S YO U R E M A I L A D D R E S SUMS sends updated concert-related parking and late seating information via email a few days before each event. Please be sure that the Ticket Office has your correct email address on file. This information is also used to communicate event changes or cancellations. While these happen infrequently, timing is often critical and email is the fastest way to reach audiences.

T I C K E T E XC H A N G E SSubscribers may exchange tickets free-of-charge up to 48 hours before the performance. Non-subscribers may exchange tickets for a $6 per ticket exchange fee.

Exchanged tickets must be received by the Ticket Office (by mail or in person) at least 48 hours prior to the performance. You may also fax a photocopy of your torn tickets to 734.647.1171, or email a photo to [email protected].

The value of the ticket(s) may be applied to another performance or will be held as UMS Credit until the end of the 2015-16 season. Credit must be redeemed by April 23, 2016. Unused credit will be converted to a donation after that date, with a receipt mailed to the address on file.

For information about exchanging tickets within 48 hours of the performance, please call the Ticket Office.

T I C K E T D O N AT I O N S / U N U S E D T I C K E T SUnused tickets may be donated to UMS until the published start time of the concert. A receipt will be issued for tax purposes; please consult your tax advisor. Unused tickets that are returned after the performance begins are not eligible for UMS Credit or as a donation.

T I C K E T M A I L I N G V S . T I C K E T P I C K- U PSubscription tickets will be mailed in late July, before tickets to individual performances go on sale to the general public. Any ticket order 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.

LO S T O R M I S P L A C E D T I C K E T SCall the Ticket Office at 734.764.2538 to have duplicate tickets waiting for you at will-call. Duplicate tickets cannot be mailed.

PA R K I N G / PA R K I N G T I P SDetailed directions and parking information will be mailed with your tickets and are also available at www.ums.org.

A CC E S S I B I L I T YAccessible parking is provided in University of Michigan parking structures for those with a state-issued disability permit or a U-M handicap verification permit. There are drop-off areas near Hill Auditorium and Rackham Auditorium and inside the Power Center structure.

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

Seating spaces for patrons with mobility disabilities and their companions are located throughout each venue, and ushers are available to assist patrons. Please let the usher know how best to assist you.

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

Further accessibility information is available at ums.org/accessibility.

S TA R T T I M E & L AT E CO M E R SUMS makes every effort to begin concerts at the published start time. Latecomers will be asked to wait in the lobby and will be seated by ushers at a predetermined time in the program, which may be as late as intermission. The late seating break is determined by the artists and will generally occur during a suitable break in the program, designed to cause as little disruption as possible to other patrons and the artists on stage. Please allow extra time to park and find your seats.

Occasionally, performances will have no seating break. For example, dance and theater performances often have a “no late seating” policy. UMS may not learn a specific company’s late seating policy until a couple of weeks before the performance and makes every effort to contact ticketbuyers via email if there will be no late seating. Be sure the Ticket Office has your email address on file.

C H I L D R E N A N D FA M I L I E S / U M S K I D S C L U BChildren under the age of three will not be admitted to UMS performances. All children attending UMS performances must be able to sit quietly in their own seats without disturbing other patrons, or they may be asked to leave the auditorium. Please use discretion when choosing to bring a child, and remember that everyone must have a ticket, regardless of age.

UMS Kids Club tickets, which provide discounted tickets for children in grades 3-12 and an accompanying adult, will go on sale on Monday, September 14, 2015.

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Pricing levels apply to all venues.

A B C D E*

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

B A LCO N Y

M E Z Z A N I N E

M A I N F LO O R

S TA G E

23

4

54 3 2

1

10 9 8 7 6

1615 14 13 12

11

17181920

21

P O W E R C E N T E R

S TA G E

M A I N F LO O R

B A LCO N Y

1

23

45

10

9

6

78

P O W E R C E N T E R ( P )

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

S TA G E

2

3 1

48

7 56

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

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

S TA G E

O R C H E S T R A

B A LCO N Y

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

H I L L A U D I T O R I U M ( H 1 ) H I L L A U D I T O R I U M ( H 2 ) M I C H I G A N T H E AT E R ( M T )

SEAT MAPS


EA

T M

AP

S

S E AT M A P S

H I L L A U D I T O R I U M825 N. University Ave.

H 1 New York PhilharmonicFriday–Sunday, October 9–11

Chicago SymphonyThursday, October 29

Royal Philharmonic OrchestraMonday, January 11

Montreal Symphony Saturday, March 19

Bavarian Radio OrchestraSaturday, April 16

H 2Audra McDonaldThursday, September 17

Youssou N’Dour and the Super Étoile de DakarSaturday, November 14

Leif Ove Andsnes, pianoFriday, November 20

Handel’s MessiahSaturday–Sunday, December 5–6

Jazz at Lincoln Center Orchestra with Wynton MarsalisWednesday, January 20

Igor Levit, pianoSaturday, February 6

Sir András Schiff: The Last Sonatas Concert IIISaturday, February 20

The ChieftainsSaturday, March 5

Gil Shaham and David Michalek: Bach Six SolosSaturday, March 26

Mariachi Vargas de TecalitlánFriday, April 1

Mnozil BrassThursday, April 14

D E T R O I T O P E R A H O U S E1526 Broadway, Detroit

American Ballet Theatre: The Sleeping BeautyThursday-Sunday, March 31–April 3

R A C K H A M A U D I T O R I U M ( R )915 E. Washington St.

Sphinx VirtuosiSunday, September 27

Danish String QuartetFriday, November 6

Takács QuartetWednesday, December 2

Chamber Music Society of Lincoln CenterFriday, January 22

Sir András Schiff: The Last Sonatas Concert ITuesday, February 16

Sir András Schiff: The Last Sonatas Concert IIThursday, February 18

Jerusalem String QuartetFriday, April 8

P O W E R C E N T E R ( P )121 Fletcher St.

L-E-VSaturday, October 3

Antigone by SophoklesWednesday–Saturday, October 14–17

Sankai Juku: UMUSUNAFriday–Saturday, October 23–24

Hubbard Street Dance ChicagoTuesday, October 27

Young Jean Lee: Untitled Feminist ShowThursday–Saturday, January 21–23

Camille A. Brown & DancersSaturday, February 13

Nufonia Must FallFriday–Saturday, March 11–12

M I C H I G A N T H E AT E R ( M T )603 E. Liberty St.

The GloamingWednesday, October 7

Abdullah Ibrahim & EkayaWednesday, October 21

Chucho Valdés: Irakere 40Sunday, November 8

Ms. Lisa Fischer and Grand BatonWednesday, January 27

The Triplets of BellevilleFriday, February 19

Zafir: Musical Winds from North Africa to AndalucíaFriday, April 15

The Bad Plus Joshua RedmanSaturday, April 23

LY D I A M E N D E L S S O H N T H E AT R E ( L M T )911 N. University Ave.

What’s in a Song?Martin Katz with Frederica von Stade, David Daniels, Jesse Blumberg, and othersFriday, January 8

Jamie Barton, mezzo-sopranoMartin Katz, pianoSunday, January 10

Young Jean Lee: Straight White MenFriday–Saturday, January 22–23

Tanya Tagaq in concert with Nanook of the NorthTuesday, February 2

Taylor Mac A 24-Decade History of American Popular Music: 1960s–1980sFriday, February 5

General Admission

P O W E R C E N T E R S TA G E121 Fletcher St.

National Theatre of Scotland: A Christmas CarolThursday, December 17–Sunday, January 3

D O W N T O W N H O M E & G A R D E N 210 S. Ashley St.

UMS Season Opener!My Brightest Diamond with the Detroit Party Marching BandFriday, September 11

S T. F R A N C I S O F A S S I S I C AT H O L I C C H U R C H2250 E. Stadium Blvd.

TenebraeFriday, October 30

Apollo’s Fire and Apollo’s Singers: Bach’s St. John PassionTuesday, March 15

7 3 4 . 7 6 4 . 2 5 3 8U M S . O R G

47

It took me to .



E P

RE

SE

NT

Sankai Juku: Umusuna

B E P R E S E N T7 3 4 . 7 6 4 . 2 5 3 8U M S . O R G

49

M E D I AP A R T N E R S

My Brightest Diamond

R E N E G A D E V E N T U R E S F U N D This multi-year challenge grant created by Maxine and Stuart Frankel supports artistic, innovative, and cutting-edge programming.

D O R I S D U K E C H A R I TA B L E F O U N D AT I O N E N D O W M E N T F U N DSpecial project support for several components of the 2015-16 UMS season is provided by the Doris Duke Charitable Foundation Endowment Fund, established with a challenge grant from the Leading College and University Presenters Program at the Doris Duke Charitable Foundation.

T H E A N D R E W W. M E L LO N F O U N D AT I O N The Andrew W. Mellon Foundation is providing support to UMS via multi-year grants for two projects: (1) orchestra and large ensemble presentations and associated residencies, and (2) an initiative to integrate the arts more fully into the undergraduate academic experience at the University of Michigan.

CO M M U N I T Y F O U N D AT I O N F O R S O U T H E A S T M I C H I G A N The co-presentation with Michigan Opera Theatre of American Ballet Theatre’s The Sleeping Beauty is funded in part by a grant from the Community Foundation for Southeast Michigan, part of a three-year initiative focused on dance.

N AT I O N A L E N D O W M E N T F O R T H E A R T SSpecial project support for several performances in the 2015-16 season is provided by the National Endowment for the Arts.

N E W E N G L A N D F O U N D AT I O N F O R T H E A R T S / N AT I O N A L D A N C E P R O J E C T Sankai Juku and Camille A. Brown & Dancers are funded in part by grants from the New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation, with additional support from the National Endowment for the Arts.

U N I V E R S I T Y O F M I C H I G A NThe University of Michigan provides special project support for many activities in the 2015-16 season through the U-M/UMS Partnership Program. Additional support is provided by the U-M Office of Research, the U-M Office of the Senior Vice Provost for Academic Affairs, and other individual academic units.

U N I V E R S I T Y O F M I C H I G A N H E A LT H S Y S T E MThe University of Michigan Health System provides multi-year support for UMS programs.

WA L L A C E E N D O W M E N T F U N DAntigone is funded in part by the Wallace Endowment Fund, established with a challenge grant from the Wallace Foundation to build participation in arts programs.

U M S I S A M E M B E R O F T H E U N I V E R S I T Y O F M I C H I G A N A R T S CO N S O R T I U M , T H E A R T S A L L I A N C E , A N D C U LT U R E S O U R C E .

A N O N - D I S C R I M I N AT O R Y, A F F I R M AT I V E A C T I O N E M P LOY E R .

Foundation & University Support

B E P R E S E N T50 1 3 7 T H S E A S O NF

OU

ND

AT

ION

& U

NIV

ER

SIT

Y S

UP

PO

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F O U N D AT I O N & U N I V E R S I T Y S U P P O R T7 3 4 . 7 6 4 . 2 5 3 8U M S . O R G

51

Burton Memorial Tower

University of Michigan

881 North University Avenue

Ann Arbor, MI 48109-1011

Publication Date: April 2015

U M S . O R G U M S LO B B Y. O R G U M S R E W I N D . O R G

Non-Profit

Organization

U.S. Postage

Paid

Ann Arbor, MI

Permit No. 27

Hee Seo in The Sleeping Beauty. Photo by Fabrizio Ferri.

Subscription prices (fixed packages) are

guaranteed until Friday, September 18, 2015.

Individual event prices are guaranteed until Friday, July 31, 2015.

OrderFormH O W T O O R D E R

W E B

ums.org

P H O N E

734.764.2538800.221.1229

Visa, MasterCard, Discover, or American Express

FA X734.647.1171

I N P E R S O NVisit the UMS Ticket Office on the north end of the Michigan League building (911 North University Avenue).

M A I LUMS Ticket OfficeBurton Memorial Tower881 North University AvenueAnn Arbor, MI 48109-1011

Summer Hours (May-August) 10 am to 5 pm Mon-Fri

Closed Sat and SunExtended hours resume after Labor Day.

F E E SThere is a $10 service charge for all subscription orders.

Youssou N’Dour by Youri Lanquette

D O N ’ T M I S S T H E S E I M P O R TA N T D AT E S !

4 / 2 7/ 1 5• Subscription packages on sale• Seating priority given to current

UMS subscribers and donors

6 / 5 / 1 5• Deadline for payment by U-M

payroll deduction• Deadline for Choral Union and

Chamber Arts subscribers to retain seat location

• Seating priority deadline for donors and renewing subscribers

6 / 2 6 / 1 5• Deadline for installment billing and

free parking options

7/ 6 / 1 5• Group sales reservations open

7/ 2 7/ 1 5• Donor Single Ticket Day (for donors

of $250+)

8 / 3 / 1 5• Single Ticket Day — tickets to all

individual events on sale

9 / 1 8 / 1 5• Last day to order UMS subscriptions

Subscription requests are filled in the order in which they are received, with priority given to fixed series subscribers. Order early to guarantee the best seats before tickets go on sale to the general public. UMS Donors are given seating priority for upgrades and new series when orders are received by Friday, June 5.

T I P SP L E A S E R E A D , E V E N I F YO U ’ V E S U B S C R I B E D I N T H E PA S T. We’ve

worked hard to make ordering tickets to the many events in the 2015-16 season as

easy as possible, but with literally thousands of possible combinations, we realize

that it can be complicated. With that in mind, please consider these tips that will

help you make your decisions for the 2015-16 season, whether you are new to UMS

or have been subscribing for years:

1

L O O K T H R O U G H T H E E N T I R E B R O C H U R E A N D M A K E A L I S T O F

T H E E V E N T S YO U A R E I N T E R E S T E D I N S E E I N G .

2

I F YO U G E N E R A L LY L I K E E V E N T S T H AT A R E T H E M AT I C A L LY

L I N K E D ( E . G . , J A Z Z , C H A M B E R M U S I C ) , you will probably be most

interested in the fixed packages listed in Section 1 of the order form. Fixed series

subscribers receive priority seating over Series:You subscribers and individual event

buyers. And anyone who purchases a fixed package may purchase any number of

Series:You events now at a 10% discount. The 10% Series:You discount is available

to all fixed package subscribers, regardless of the number of Series:You events

purchased.

3

I F YO U P R E F E R A VA R I E T Y O F E V E N T S , you will probably be most

interested in Series:You in Section 2 of the order form. When you purchase at least

5 events, you may take 10% off the total price and still receive priority seating over

individual event 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 — but you must purchase at least 5 different events to qualify for

Series:You! Important Note: If you are not ordering the same number of tickets to

each event in your Series:You package, we recommend that you submit this paper

order form or call the Ticket Office, rather than ordering online.

4

W H E N YO U P U R C H A S E A F I X E D PA C K A G E O R S E R I E S :YO U , you

may also purchase tickets to the National Theatre of Scotland’s production of

A Christmas Carol now (see Section 3 of the order form). These tickets may be

purchased for yourself or for your friends and family. These performances are only

included on the Theater and Renegade Series and are not part of Series:You, 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 this event, unless it is

purchased as part of the Theater or Renegade series.

5

P L E A S E B E S U R E T O F I L L O U T T H E E N T I R E O R D E R F O R M

B E F O R E YO U S E N D I T I N . Feel free to 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.

6

P L E A S E C O N S U LT T H E I M P O R TA N T D AT E S T O T H E L E F T B E F O R E

S E N D I N G I N YO U R O R D E R .

M A I L I N G I N F O R M AT I O N

LAST NAME FIRST NAME

ADDRESS*

CITY STATE ZIP

DAY PHONE EVENING PHONE

EMAIL ADDRESS (for up-to-date information on parking, start times, late seating, program change, etc.)

*Tickets will be mailed to the address provided above in late July. If you would like your tickets mailed to a different address or held for pickup at the League Ticket Office, please see the “important seating info” section below.

PAY M E N T I N F O R M AT I O N

C H E C K (payable to UMS) V I S A M A S T E R C A R D A M E R I C A N E X P R E S S D I S C O V E R

I N S TA L L M E N T B I L L I N G (not available for online orders)

I want to take advantage of installment billing for my subscription tickets (credit card orders totaling $300 or more only; order must be received by June 26, 2015). Please bill my credit card in two equal installments: when my order is received and in early July.

I want to take advantage of installment billing for my donation (credit card orders totaling $100 or more only; order must be received by May

31, 2015). Please bill my credit card in two equal installments: when my order is received and the following month. Donations received after May 31 will be charged in full at time of receipt, or call 734.647.1175 for other options.

CARD NUMBER EXPIRATION DATE AUTHORIZATION SIGNATURE

U - M PAY R O L L D E D U C T I O N (order must be received by Friday, June 5, 2015)

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 2015.

Note: Payroll deduction requests must be mailed, faxed, or dropped off at the League Ticket Office. Payroll Deduction requests will not be accepted by phone or online.

U-M EMPLOYEE ID NUMBER AUTHORIZATION SIGNATURE

I M P O R TA N T S E AT I N G I N F O

I F T H E S E AT I N G S E C T I O N YO U S E L E C T E D I S N O T AVA I L A B L E F O R A N E V E N T T H AT YO U H AV E R E Q U E S T E D , W O U L D YO U P R E F E R (please check all that apply):

O F F I C E U S E O N LY T I C K E T T O TA L : D O N AT I O N :

U M S A C C O U N T N U M B E R (if known, can be found on the mail panel of this brochure above your name)

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 used at any time during the 2015-16 season. A UMS Credit receipt will be printed with your tickets and mailed in late July. 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 you to the next lowest price section, unless you indicate otherwise here:

A C C E S S I B I L I T Y- R E L AT E D S E AT I N G N E E D S O R S P E C I A L S E AT I N G R E Q U E S T S :

I W O U L D L I K E M Y T I C K E T S M A I L E D T O :

Change my seats the next highest price section

Change my seats to the next lowest price section

Call me at the daytime number listed above

Email me at the address listed above

If available, move me to a different performance of the same event and keep the same price section (note any exceptions below)

The address above 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):

F I X E D S E R I E S PA C K A G E SPlease consult the venue seating maps on pages 46-47 of this brochure as you make your selection.

S T E P

1

Q U E S T I O N S ? 7 3 4 . 7 6 4 . 2 5 3 8 continue to step 2 >>>

Series (# of performances)# of Packages

Gold Main

AMain

BMain

A Mezz

BMezz

BBalc

C Balc

D Balc

E Balc Total

Choral Union Series (10) x 720 650 580 570 480 390 330 240 116 =

New York Philharmonic Weekend (3) x 275 235 * 205 180 140 120 76 38 =

Gold Main Gold Balc A B C D

Chamber Arts Series (7) x * * 320 270 220 160 =

András Schiff: Last Sonatas (3) x * * 150 132 90 72 =

Dance Series (6) x 310 270 245 200 135 * = Please circle your preferred performance: Sankai Juku

Fri 10/23, 8pm Sat 10/24, 8pm

Young Jean Lee: Untitled Feminist Show

Thu 1/21, 7:30pm Sat 1/23, 8pm

ABT/The Sleeping Beauty

Thu 3/31, 7:30pm Fri 4/1, 7:30pm Sat 4/2, 7:30pm Sun 4/3, 2:30pm

Theater Series (5) x 240 220 220 190 140 * = Please circle your preferred performance: Antigone

Wed 10/14, 7:30pm Thu 10/15, 7:30pm Fri 10/16, 8pm Sat 10/17, 8pm

A Christmas Carol (please write in your top three choices, including date and time — see complete listing in section 3)

1st Choice: 2nd Choice:

3rd Choice:

Young Jean Lee: Straight White Men

Fri 1/22, 8pm Sat 1/23, 2pm Sat 1/23, 8pm


Thu 1/21, 7:30pm Sat 1/23, 8pm

Nufonia Must Fall

Fri 3/11, 8pm Sat 3/12, 8pm

Dance/Theater Combined (10) x 485 430 430 350 250 * = Please circle your preferred performances in the dance and theater listings above.

Renegade Series (10) x 380 350 350 300 240 * = Please circle your preferred performance: Antigone

Wed 10/14, 7:30pm Thu 10/15, 7:30pm Fri 10/16, 8pm Sat 10/17, 8pm

A Christmas Carol (please write in your top three choices, including date and time — see complete listing in section 3)

1st Choice: 2nd Choice:

3rd Choice:

Young Jean Lee: Straight White Men

Fri 1/22, 8pm Sat 1/23, 2pm Sat 1/23, 8pm


Thu 1/21, 7:30pm Sat 1/23, 8pm

Jazz Series (5) x 220 180 * * * * =

Global Series (7) x 250 220 * 170 * * =

UMS Song Remix (3) x 110 80 * * * * =

UMS on Film (5) x 230 200 * * * * =

Marathon Series (50) x 2,132 * * * 1,342 * =

1 Fixed Series Package Sub-Total $ = * seats are not available in this price section for venue listed

S E R I E S :YO UChoose 5 or more events from this listing and take 10% off. Subscribers to any of the Fixed Series Packages listed in Section 1 of the Order Form may order any number of individual Series:You events and receive the 10% discount. Please consult the venue seating maps on pages 48-49 of this brochure as you make your selection. Individual event prices are guaranteed until Friday, July 31, 2015.

Q U E S T I O N S ? 7 3 4 . 7 6 4 . 2 5 3 8 8 0 0 . 2 2 1 . 1 2 2 9 Series:You list continues on next page >>>

Artist Date, Time (Venue)# of Tickets

Gold Main

AMain

BMain

Gold Balc B

MezzB

Balc C D E

TotalA

Mezz

My Brightest Diamond Fri 9/11, TBA (DHG) x 30 general admission = Audra McDonald Thu 9/17, 7:30pm (H2) x 60 54 48 50 44 38 32 26 10 = Sphinx Virtuosi Sun 9/27, 4pm (R) x * 50 44 * * * 34 24 * = L-E-V Sat 10/3, 8pm (P) x 44 40 * 40 * 34 24 * * = The Gloaming Wed 10/7, 7:30pm (MT) x 42 36 * 42 * 32 26 20 * = NY Phil Beethoven Fri 10/9, 8pm (H1) x 110 90 76 80 70 56 48 30 14 = NY Phil Mahler Sat 10/10, 8:30pm (H1) x 110 90 76 80 70 56 48 30 14 = NY Phil On the Waterfront Sun 10/11, 3pm (H1) x 75 68 60 60 54 38 32 24 10 = Antigone 1 Wed 10/14, 7:30pm (P) x 70 60 * 60 * 50 30 * * = Antigone 2 Thu 10/15, 7:30pm (P) x 70 60 * 60 * 50 30 * * = Antigone 3 Fri 10/16, 8pm (P) x 70 60 * 60 * 50 30 * * = Antigone 4 Sat 10/17, 8pm (P) x 70 60 * 60 * 50 30 * * = Abdullah Ibrahim & Ekaya Wed 10/21, 7:30pm (MT) x 50 42 * 50 * 36 30 24 * = Sankai Juku 1 Fri 10/23, 8pm (P) x 46 42 * 42 * 36 24 * * = Sankai Juku 2 Sat 10/24, 8pm (P) x 46 42 * 42 * 36 24 * * = Hubbard Street Dance Tue 10/27, 7:30pm (P) x 56 52 * 52 * 46 34 * * = Chicago Symphony Thu 10/29, 7:30pm (H1) x 110 90 76 80 70 56 48 30 14 = Tenebrae Fri 10/30, 8pm (SF) x 40 reserved / 30 general admission = Danish String Quartet Fri 11/6, 8pm (R) x * 44 38 * * * 30 22 * = Chucho Valdés: Irakere 40 Sun 11/8, 4pm (MT) x 54 48 * 54 * 42 34 24 * = Youssou N’Dour/Super Étoile Sat 11/14, 8pm (H2) x 60 54 48 50 44 38 32 26 10 = Leif Ove Andsnes Fri 11/20, 8pm (H2) x 65 60 56 56 46 36 30 24 10 = Takács Quartet Wed 12/2, 7:30pm (R) x * 52 46 * * * 36 26 * = Handel’s Messiah 1 Sat 12/5, 8pm (H2) x 36 28 24 28 24 22 18 14 10 = Handel’s Messiah 2 Sun 12/6, 2pm (H2) x 36 28 24 28 24 22 18 14 10 = What’s in a Song? Katz+Friends Fri 1/8, 8pm (LMT) x * 45 35 45 * 35 * * * = Jamie Barton Sun 1/10, 4pm (LMT) x * 35 25 35 * 25 * * * = Royal Phil/Zukerman Mon 1/11, 7:30pm (H1) x 75 68 60 60 50 40 34 26 12 = Jazz at Lincoln Center/Marsalis Wed 1/20, 7:30pm (H2) x 60 54 48 50 44 38 32 26 10 = Untitled Feminist Show 1 Thu 1/21, 7:30pm (P) x 48 44 * 44 * 36 20 * * = Straight White Men 1 Fri 1/22, 8pm (LMT) x * 45 35 45 * 35 * * * = Chamber Music Soc of Lincoln Ctr Fri 1/22, 8pm (R) x * 56 48 * * * 38 26 * = Straight White Men 2 Sat 1/23, 2pm (LMT) x * 45 35 45 * 35 * * * = Straight White Men 3 Sat 1/23, 8pm (LMT) x * 45 35 45 * 35 * * * = Untitled Feminist Show 2 Sat 1/23, 8pm (P) x 48 44 * 44 * 36 20 * * = Lisa Fischer and Grand Baton Wed 1/27, 7:30pm (MT) x 42 36 * 42 * 32 28 22 * = Tanya Tagaq/Nanook Tue 2/2, 7:30pm (LMT) x * 40 30 40 * 30 * * * = Taylor Mac/1960s-1980s Fri 2/5, 8pm (LMT) x * 45 35 45 * 35 * * * = Igor Levit Sat 2/6, 8pm (H2) x 50 44 40 44 34 28 24 20 10 = Camille A. Brown Dance Sat 2/13, 8pm (P) x 42 38 * 38 * 34 24 * * = András Schiff: Last Sonatas 1 Tue 2/16, 7:30pm (R) x * 56 48 * * * 38 26 * = András Schiff: Last Sonatas 2 Thu 2/18, 7:30pm (R) x * 56 48 * * * 38 26 * = Triplets of Belleville Fri 2/19, 8pm (MT) x 42 36 * 42 * 30 26 20 * = András Schiff: Last Sonatas 3 Sat 2/20, 8pm (H2) x 65 60 56 56 46 36 30 24 10 = The Chieftains Sat 3/5, 8pm (H2) x 56 50 44 46 40 36 30 22 10 = Nufonia Must Fall 1 Fri 3/11, 8pm (P) x 54 48 * 48 * 42 24 * * = Nufonia Must Fall 2 Sat 3/12, 8pm (P) x 54 48 * 48 * 42 24 * * = Apollo’s Fire/St. John Passion Tue 3/15, 7:30pm (SF) x 55 reserved / 45 general admission = Montreal Symphony Sat 3/19, 8pm (H1) x 65 60 56 56 46 36 30 24 12 =

S T E P

2

Artist Date, Time (Venue)# of Tickets

Gold Main

AMain

BMain

Gold Balc B

MezzB

Balc C D E

TotalA

Mezz

Gil Shaham/Bach Six Solos Sat 3/26, 8pm (H1) x 56 50 44 46 40 30 24 20 10 = American Ballet Theatre/Sleeping Beauty 1† Thu 3/31, 7:30pm (DOH)

x129 99 69 129 * * 49 29 * =

American Ballet Theatre/Sleeping Beauty 2† Fri 4/1, 7:30pm (DOH)

x129 99 69 129 * * 49 29 *

= Mariachi Vargas de Tecalitlán Fri 4/1, 8pm (H2) x 46 40 34 32 20 20 * * 10 = American Ballet Theatre/Sleeping Beauty 3† Sat 4/2, 7:30pm (DOH)

x129 99 69 129 * * 49 29 *

= American Ballet Theatre/Sleeping Beauty 4† Sun 4/3, 2:30pm (DOH)

x129 99 69 129 * * 49 29 *

= Jerusalem String Quartet Fri 4/8, 8pm (R) x * 52 46 * * * 36 26 * = Mnozil Brass Thu 4/14, 7:30pm (H2) x 42 36 30 36 28 * * * 10 = Zafir/Simon Shaheen Fri 4/15, 8pm (MT) x 40 34 * 40 * 30 26 20 * = Bavarian Radio Orch Sat 4/16, 8pm (H1) x 65 60 56 56 46 36 30 24 12 = The Bad Plus Joshua Redman Sat 4/23, 8pm (MT) x 48 42 * 48 * 36 28 18 * =

Series:You Sub-Total $ =

Less 10% (must purchase at least 5 events from Section 2 or any series in Section 1) $ =

2 Series:You Sub-Total (please do not round your total) $ =

Q U E S T I O N S ? 7 3 4 . 7 6 4 . 2 5 3 8

A Christmas Carol 1 Thu 12/17, 7:30pm (P) x 48 general admission = A Christmas Carol 2 Fri 12/18, 8pm (P) x 54 general admission = A Christmas Carol 3 Sat 12/19, 2pm (P) x 54 general admission = A Christmas Carol 4 Sat 12/19, 8pm (P) x 54 general admission = A Christmas Carol 5 Sun 12/20, 2pm (P) x 54 general admission = A Christmas Carol 6 Sun 12/20, 6pm (P) x 54 general admission = A Christmas Carol 7 Tue 12/22, 2pm (P) x 54 general admission = A Christmas Carol 8 Tue 12/22, 7:30pm (P) x 54 general admission = A Christmas Carol 9 Wed 12/23, 7:30pm (P) x 54 general admission = A Christmas Carol 10 Thu 12/24, 2pm (P) x 48 general admission = A Christmas Carol 11 Thu 12/24, 9pm (P) x 48 general admission = A Christmas Carol 12 Sat 12/26, 2pm (P) x 60 general admission = A Christmas Carol 13 Sat 12/26, 8pm (P) x 60 general admission = A Christmas Carol 14 Sun 12/27, 2pm (P) x 60 general admission = A Christmas Carol 15 Sun 12/27, 6pm (P) x 60 general admission = A Christmas Carol 16 Tue 12/29, 2pm (P) x 48 general admission = A Christmas Carol 17 Tue 12/29, 7:30pm (P) x 48 general admission = A Christmas Carol 18 Wed 12/30, 2pm (P) x 48 general admission = A Christmas Carol 19 Wed 12/30, 7:30pm (P) x 48 general admission = A Christmas Carol 20 Thu 12/31, 2pm (P) x 48 general admission = A Christmas Carol 21 Thu 12/31, 9pm (P) x 48 general admission = A Christmas Carol 22 Fri 1/1, 4pm (P) x 54 general admission = A Christmas Carol 23 Sat 1/2, 2pm (P) x 54 general admission = A Christmas Carol 24 Sat 1/2, 8pm (P) x 54 general admission = A Christmas Carol 25 Sun 1/3, 2pm (P) x 54 general admission = A Christmas Carol 26 Sun 1/3, 6pm (P) x 54 general admission =

3 Special Event Sub-Total $ =

S P E C I A L E V E N TSubscriber benefit! Subscribers to any series may order tickets to the National Theatre of Scotland’s holiday production of A Christmas Carol now. Audiences for A Christmas Carol will be seated onstage at the Power Center, within the offices of Messrs. Scrooge & Marley. We’re sorry, we are unable to offer discounts to this event unless it is purchased as part of an entire Theater or Renegade Series.

S T E P

3

† Note: The Detroit Opera House uses different nomenclature to describe its price sections. We have tried to be consistent in terms of seat locations for the prices listed.

* seats are not available in this price section for venue listed

continue to step 4 >>>

Q U E S T I O N S ? 7 3 4 . 7 6 4 . 2 5 3 8

Subscriber benefit! I subscribed to eight or more events prior to June 26, 2015 and would like free parking in the Power Center (Fletcher Street) structure on UMS concert nights. Please send a special voucher with my tickets. Please note: the University of Michigan parking structures may not be staffed on the nights of Michigan Theater events.

S T E P

4PA R K I N GPre-Paid Event Parking Passes may be purchased in advance for $5 each for the University of Michigan 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 2015-16 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. Please note that the University of Michigan parking structures may not be staffed on the nights of Michigan Theater events.

Pre-Paid Parking Passes x x $5/each =

4 Parking Sub-Total $ =

S T E P

5S U P P O R T U M STicket prices cover less than half of our operating expenses. Please help UMS maintain its standard of excellence with your tax-deductible donation.

If you are a donor, please print your name(s) as you would like it to appear in the program book listing, or check the box below to remain anonymous. Donors of $250 or more will be listed in the program book.

G I V I N G L E V E L S

Presenter’s Circle

Director $100,000 or more

Soloist $50,000-$99,999

Maestro $20,000-$49,999

Virtuoso $10,000-$19,999

Producer $5,000-$9,999

Friends

Leader $3,500-$4,999

Principal $2,500-$3,499

Patron $1,000-$2,499

Benefactor $500-$999

Associate $250-$499

Advocate $100-$249

Friend $1-$99

C H E C K L I S T

Please double check that you have completed the following before mailing in your order. Have you:

Included daytime and evening phone numbers and email addresses (to be used in case of concert cancellation or ticketing problems)?

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

If you have ordered the Dance, Theater, or Renegade Series, have you circled your desired performance(s) on the order form for events with multiple performances?

Filled out and included the entire order form? Please do not cut the order form before sending.

T O TA L S

1 Fixed Series Package Sub-Total $

2 Series:You Sub-Total (do not round) $

3 Special Event Sub-Total $

4 Parking Sub-Total $

Postage/Handling $ 10.00

Sub-Total (Total 1-4 + Postage)

5 Tax-Deductible Contribution to UMS $

Grand Total

Remain anonymous

D O N O R SUMS Donors receive the highest priority seating based on level of giving, including new subscriptions and seating upgrade requests.

Donations may be included with your ticket order. Ticket orders must be received by Friday, June 5, 2015 to be eligible for seating priority.

F I X E D S E R I E SFixed series subscribers (for packages listed on pages 10-37 of this brochure) receive seating priority before Series:You subscribers and individual event purchasers. Subscriptions will be filled in the order received.

S E R I E S :YO USeries:You subscribers (those who choose at least five events across different series) receive seating priority before individual event purchasers if orders are received before Friday, July 31, 2015. Subscription orders must include a minimum of five different events and be received by Friday, September 18, 2015 to receive the 10% discount. Subscriptions will be filled in the order received.

S U B S C R I P T I O N T I C K E T S W I L L B E M A I L E D I N L AT E J U LY.Please be sure that you have noted if you would like tickets to be sent to a different address or held at the League Ticket Office for pick-up (on the Seating Info section of this order form). There is a $10 service charge for all subscription orders.

P L E A S E M A K E S U R E W E H AV E YO U R E - M A I L A D D R E S S O N F I L EUMS sends updated concert-related parking and late seating information via email a few days before each event. Please be sure that the Ticket Office has your correct email address on file.

T I C K E T D O N AT I O N S / U N U S E D T I C K E T SUnused tickets may be donated to UMS until the published start time of the concert. A receipt will be issued for tax purposes; please consult your tax advisor. Unused tickets that are returned after the performance are not eligible for UMS Credit or as a ticket donation.

T I C K E T E XC H A N G E SSubscribers may exchange tickets free-of-charge up to 48 hours before the performance. Exchanged tickets must be received by the Ticket Office (by mail, email or in person) at least 48 hours prior to the performance. The value of the ticket(s) will be applied to another performance or will be held as UMS Credit until the end of the 2015-16 season. You may also fax a photocopy of your torn tickets to 734.647.1171 or email a photo to [email protected]. UMS Credit must be redeemed by April 23, 2016. For information about exchanging tickets within 48 hours of the performance, please call the Ticket Office.

The UMS Ticket Office accepts subscription ticket exchanges after tickets are mailed in late July.

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

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

A CC E S S I B I L I T YFor more information about accessibility services, visit www.ums.org/accessibility.

Important InformationSubscription requests are filled in the order in which they are received, with priority given to fixed package subscribers. Order early to guarantee the best seats before tickets to individual events go on sale to the general public. UMS Donors are given seating priority for upgrades and new series when orders are received before Friday, June 5.

Subscription Tickets/Seating Priority

Notes from the Ticket Office

2015-16 ums subscription brochure

Documents