uMs PREsENTs

OREsTEiA OF AEscHylusl’Agamemnon ∙ les choéphores ∙ les Euménides

Composed bydarius Milhaud

A co-production with the u-M school of Music, Theatre & dance

Thursday Evening, April 4, 2013 at 7:30 Hill Auditorium • Ann Arbor

57th Performance of the 134th Annual season

134th Annual choral union series

Photo: Mask of Agamemnon, photographer: Gian Berto Vanni/CORBIS.3

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A R T i s T i c F O R c E s

kenneth kiesler, Conductor

university symphony OrchestraKenneth Kiesler, Music Director

uMs choral union and u-M chamber choirJerry Blackstone, Conductor

u-M university choirEugene Rogers, Conductor

u-M Orpheus singersGraduate Student Conductors

u-M Percussion EnsembleJoseph Gramley and Jonathan Ovalle, Co-Directors

Lori Phillips, Soprano (Clytemnestra, Ghost of Clytemnestra)Dan Kempson, Baritone (Orestes)Sidney Outlaw, Baritone (Apollo)Sophie Delphis, Speaker (Leader of the Slave Women)Brenda Rae, Soprano (Athena, A Slave Woman)Tamara Mumford, Mezzo-Soprano (Athena)Jennifer Lane, Contralto (Athena)Julianna Di Giacomo, Soprano (Pythia, Oracle of Apollo’s Temple at Delphi)Kristin Eder, Mezzo-Soprano (Electra)

Funded in part by a grant from Michigan Council for Arts and Cultural Affairs.

Special thanks to the U-M Provost’s Office and the Office of the Vice President for Research for their

generous support of this concert.

Media partnership is provided by WGTE 91.3.

Special thanks to Mark Clague, Kenneth Kiesler, William Bolcom, Ruth Scodel, Ralph Williams, Jerry

Blackstone, and Sophie Delphis for their participation in events surrounding this performance.

Special thanks to Sophie Delphis, Ruth Scodel, Amy Pistone, John Posch, and Evelyn Adkins for their work

on the translation used in the supertitles for this evening’s performance.

Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of

lobby floral art for this evening’s performance.

P R O G R A M

Darius Milhaud

Oresteia of Aeschylus

l’Agamemnon

les choéphores

I. Funeral LamentationII. Libation III. IncantationIV. OmensV. ExhortationVI. Justice and LightVII. Conclusion

I N T E R M I S S I O N

les Euménides

Act IAct IIAct III

This evening's performance is approximately three hours in duration.

Grateful thanks to Alexander Pollock and the Peace Jubilee Brass Band for providing the saxhorns used in

this evening’s performance.

Special thanks to Nadège Foofat and Brianne Dolce for their contributions to this event.

Julianna Di Giacomo and Tamara Mumford appear by arrangement with Opus 3 Artists.

Lori Phillips appears by arrangement with Uzan International Artists.

Brenda Rae and Sidney Outlaw appear by arrangement with Columbia Artists Management, Inc.

Jennifer Lane appears by arrangement with Guy Barzilay Artists.

Dan Kempson appears by arrangement with Barrett Vantage Artists.

Kristin Eder and Sophie Delphis appear by direct arrangement with the artists.

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Clytemnestra/Ghost of Clytemnestra(Lori Phillips, Soprano)• Wife of Agamemnon (second marriages

for both).• Mother of Orestes, Iphigenia, (deceased) and

Electra (and Chrysothemis, not present in this story).

• Informally “married” to Aegisthus whileAgamemnon is fighting the Trojan War.

Orestes (Dan Kempson, Baritone)• Son of Agamemnon and Clytemnestra, who

has been exiled by his mother. Younger brother of Electra.

Apollo (Phoebus Apollo) (Sidney Outlaw, Baritone)• Oracular god of Delphi. God of light, sun,

truth and prophecy, healing, plague, music, and poetry.

Leader of the Slave Women (Sophie Delphis, speaker)

Athena (Pallas Athena) (Trio: Brenda Rae, Soprano; Tamara Mumford; Mezzo-Soprano; Jennifer Lane, Contralto)• Patron Goddess and protector of Athens,

companion of heroes. Goddess of wisdom, courage, law, justice, civilization, just warfare, mathematics, strength, strategy, the arts, crafts, and skill.

Pythia, Oracle of Apollo’s Temple at Delphi(Julianna Di Giacomo, Soprano)• Oracle of Delphi who predicts the future.

The most prestigious and authoritative oracle among the Greeks.

Electra (Kristin Eder, Mezzo-Soprano)• Daughter of Agamemnon and Clytemnestra.

Older sister of Orestes.• Loyal to Agamemnon during Clytemnestra’s

ruling and affair with Aegisthus.

Elders (Men of the Chorus)• Older men of Argos who served as advisors to

King Agamemnon.

Slave women of The Choéphori(Les Choéphores) (Women of the Chorus)• Women who have been captured, born, or

forced into slavery for the royal family of Argos.

The Assembled People of Athens (Choirs)• Assembly of people that represent the

people of Athens.

Furies (Women of the Chorus)• Female spirits/deities of vengeance. Spirits

of the underworld. Avengers of those who swear false oaths.

H O u s E O F A R G O s FA M i ly T R E E

(Ancestors: Tantalus, Pelops, and Pleisthenes)

( b R O T H E R s ) ThyestesAtreus

Agamemnon

(marr. Clytemnestra)

Aegisthus

(“marr.” Clytemnestra)

Orestes Iphigenia Electra

Menelaus

(marr. Helen)

c A s T O F c H A R A c T E R s

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W i V E s O F A R G O s A N c E s T R y

( H A l F s i s T E R s )

Zeus

(god)

Leda

(mortal)

Leda

(mortal)

Tyndareus

(mortal)

Helen Clytemnestra

b A c kG R O u N d

Agamemnon and his brother Menelaus wage war on Troy after Paris of Troy kidnaps Menelaus’s wife Helen. To rule in his stead, Agamemnon leaves behind Clytemnestra (his wife whom he forced into marriage after killing her first husband, the King of Lydia). At the beginning of the battle of Troy, Agamemnon deceives Clytemnestra into sending their daughter, Iphigenia, to him where his ships are wind-bound. Instead of marrying her to Achilles as promised, he slaughters her and offers her as a sacrificial appeasement to the goddess Artemis who is angry about the impending Trojan War.

s y N O P s i s

There is a sentiment of unease; the people of Argos are angry about the 10- year long Trojan War and the lives lost in battle for the sake of exacting revenge on Troy for the abduction of Helen. In Agamemnon’s absence, Clytemnestra took his cousin Aegisthus as her “husband” and co-ruler, to the dismay of the people. King Agamemnon returns at the conclusion of the war with his war-prize Cassandra, daughter of Troy, who predicts her own death and the impending tragedies that will befall the House of Argos. At Agamemnon’s return, Clytemnestra, furious for the betrayals, dupes him into taking a

bath. She traps him, using his robe as a net, and kills him with a double- edged axe or knife.

AgamemnonScene: The palace-front at Argos.C l yt e m n e s t ra h a s j u s t k i l l e d Agamemnon. The Elders (Agamemnon’s counselors) mourn his death and confront Clytemnestra. She justifies her actions by recounting Agamemnon’s murder of her first husband, and the sacrificial slaughter of their own daughter, Iphigenia. Clytemnestra hopes that by killing Agamemnon, she has stopped “the curse of blood revenge” of the House of Tantalus.

Les ChoéphoresScene: The funeral tomb of Agamemnon, later moves back to the palace-front of Argos.Orestes returns from exile to avenge the death of his father (Agamemnon). He is greeted and supported by Electra, his youngest sister, and the slave women who support him in his efforts to perpetrate revenge on Clytemnestra and Aegisthus.

Les EuménidesAct IScene: The front of the temple of Apollo at Delphi.The Prophetess finds Orestes, covered in blood and surrounded by sleeping furies, at the temple of Delphi. Clytemnestra

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incites the furies to wake and take revenge for her murder. Apollo tells Orestes to escape to Athena’s temple in Athens. The furies wake and follow in pursuit.

Act IIScene: Athens, before a shrine and ancient image of Pallas Athena.Athena is called upon to decide the fate of Orestes and whether he will suffer the wrath of the furies or be forgiven for his deed.

Act IIIAthena holds a grand trial (the first of its kind) where Orestes is called to

testify to his actions, and Apollo is a witness for the defense. The furies want his death as vengeance for his killing of Clytemnestra. The jury is made up of chosen people of Athens with gods casting their votes as well. The vote is a draw, but Athena casts the deciding ballot, which acquits Orestes and spares him from death on the grounds that he was justified because the mother is not a true parent, only a vessel for the seed of the father. Athena then persuades the ancient furies to transform their fear-based relationship with humankind into a benevolent and constructive force for good.

A Note from the ConductorKenneth Kiesler

In 2004, a package with three impressively oversized scores arrived in my studio with this note from the publisher: “Sent at the request of William Bolcom.” They revealed Milhaud’s setting of Claudel’s French translation of Aeschylus’ Oresteian tragedy, packed with powerful music and words, several roles for principal singers, and multiple choruses. There were also the somewhat unusual occurrences of rhythmically notated dramatic speaking, and the distribution of one role, the goddess Athena, to a trio of singers. As the three hand-delivered scores constituted the three acts of just the final component in the trilogy, Les Euménides, I could only guess at the magnitude of the entire piece. L’Agamemnon’s fairly customary turn-of-the-century orchestra is expanded in Les Choéphores with the quite uncustomary supplement of 15 percussionists. Les Choéphores requires substantial speaking parts for the chorus and the leader of the slave women. In Les Euménides, Milhaud enriches the palate still further by adding two quartets: one of saxophones and one of saxhorns — 19th-century valved brass instruments once common in military bands but that almost never join an orchestra or accompany a choir. The music is often as tightly woven and magnificently shaded as a tapestry. Musical threads of 3, 7, and 11 beats (or 4, 5, 3, and 9 beats) intertwine. The texture of this audible fabric is made expressive and variegated by weaving differently colored or “pitched” threads into mini or sub-tapestries that occur simultaneously in different keys. What at first sounds dissonant, self-competing, and dense, over time becomes familiar language, much as a new dialect of jazz or “world music.” (Milhaud and Claudel had the transformative experience of a two–year visit to Brazil, where they researched and transcribed folk music.)

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On MilhaudWilliam Bolcom

I studied with Darius Milhaud at Aspen, California, and Paris between 1957 and 1960. In the midst of my Conservatoire years, he played a recording of the trilogy, L’Orestie, using the Claudel translation from the Aeschylus, at a group lesson at his house. It blew me out of the ballpark. Its power and savagery and profundity would have a deep effect on me. L’Orestie inspired me to finish my Songs of Innocence and of Experience, which I’d been sketching since 1956; buying time to do this was a primary reason for our moving to Ann Arbor. I am proud that the U-M School of Music (which was its name before the current moniker) had seen fit to undertake my magnum opus in 2004, and doubly proud that — nine years to the day of that April 4 performance! — the U-M School of Music, Theatre & Dance is facing the enormous challenge of presenting and recording my mentor and friend Darius Milhaud’s magnum opus. It is a magnificent tribute to the great work it is.

Milhaud’s trilogy after Aeschylus has, for me, reopened and broadened the rich realm of Greek mythology. The themes of passion and jealousy, violence and revenge, and prudence and propriety still resound within us and in our world. Topics of sexual and gender parity, family relationships, balance of power, and influence in a world of haves and have-nots, not to mention loyalty, steadfastness, allegiance, obedience to those in power, and the economic and social stratification of society — all continue to vex us and show how deeply our human nature connects us to our predecessors. They remind us how far — for all our progress — we still have to go. It may surprise some to know that the musical preparation of this evening’s performance has required many long hours of correcting engraving and printing mistakes in the scores and orchestra parts, filling in passages missing from the vocal scores, finding unusual instruments, and determining which percussion sounds Milhaud might have known or used at the time. We know and understand many Milhaud matters, yet there are still some enigmas and peculiarities. While the first part was written in 1913, and all the separate works were premiered shortly after they were completed, the vocal scores used by soloists and choral singers each have a statement about the first performance of the complete trilogy in 1927. However, they also state that the three pieces were performed in different venues on different dates: Les Choéphores on March 8, L’Agamemnon on April 14, and Les Euménides on November 27. Tonight’s occasion is imbued with significance, as it celebrates the centennial of the great hall that has been home to hundreds, if not thousands, of performances given by the extraordinary students who have been mentored and taught by the dedicated faculty of the U-M School of Music, Theatre & Dance, and led by my current conducting colleagues and our predecessors. Tonight also celebrates the benevolence, spirit, and genius of William Bolcom, the distinguished and brilliant composer and Professor Emeritus who studied with Darius Milhaud, and invited me and others to bring his vision of a performance at U-M into reality with tonight’s concert.

Oresteia of AeschylusL’Agamemnon (1913)Les Choéphores (1915–6)Les Euménides (1917–23)Darius MilhaudBorn September 4, 1892 in Marseilles,

FranceDied June 22, 1974 in Geneva,

SwitzerlandTranslated to French by Paul Claudel from the English translation by A. W. Verrall.

Darius Milhaud was an important member of the musical avant-garde in early 20th-century Paris. Provençal and Jewish by birth, he maintained these and numerous other identities in his music and his life. A lifelong interest in classical mythology and drama, a wide knowledge of French music history, and his utilization of modern theoretical trends all played a role in the composition of his early operatic trilogy, L’Orestie. These complex works draw from Milhaud’s numerous identities and interests in a dramatic, rhythmic expression of Aeschylus’s classic story. Milhaud’s lifelong collaboration with the Catholic poet Paul Claudel played a critical role in the composer’s operatic style. The collaboration resulted in many of Milhaud’s best-known works, including the Orestie trilogy and Christophe Colomb (1930). The style developed by Milhaud and Claudel was influenced prominently by Claudel’s belief that every element of a dramatic work, including music, should exist to serve the poetry. The Orestie trilogy displays this attention to the text through the expressive, syncopated rhythm of the vocal parts. Musically, Milhaud saw himself as part of a great French tradition which extended back from Satie and Debussy

to Bizet and even to Couperin. Among his contemporaries, Milhaud associated most strongly with the fellow members of Les Six (Georges Auric, Louis Durey, Arthur Honegger, Milhaud, Francis Poulenc, and Germaine Tailleferre), a group of composers brought together by Jean Cocteau in the 1920s in an effort to forge a new French modernist musical aesthetic during the interwar period. Despite his integration into the French tradition, Milhaud prominently incorporated other national styles into his own. In a life-changing experience in 1917, Milhaud and Claudel traveled to Brazil on a diplomatic mission. After his diplomatic service, Milhaud began to incorporate Brazilian folk music into his compositions, most famously in the 1919 ballet Le boeuf sur le toit (The Ox on the Roof), but also seen here in Les Euménides. As a composer already drawn to rhythmic expression, Milhaud was particularly interested in the rhythmic complexity of Brazilian music. In addition to innovative rhythmic elements, the Orestie trilogy exhibits complex harmonic techniques, particularly polytonality, in which Milhaud layered two or more harmonic areas simultaneously. Milhaud’s use of polytonality is particularly clear in the finale of Les Euménides, which is structured around repeated polytonal patterns. Although this polytonality may sound dissonant, Milhaud believed that it gave him more varied ways of expressing sweetness in addition to violence. Because the three parts of the Orestie trilogy were written over a 10-year period, each work has a distinct style. In L’ Agamemnon, written when Milhaud was only 21, the rhythm of the vocal parts is used to express the drama of the poetry, while in Les Choéphores and especially in Les Euménides, the drama is furthered by spoken sections

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and an increasingly complex harmonic language. The trilogy, taken as a whole, provides a glimpse into the interaction between modern and traditional, as well as between the French and the foreign, which characterized the music of early 20th-century Paris.

Program note by Ethan Allred.

A R T i s T s

W inner of the prestigious A m e r i c a n P r i z e i n C o n d u c t i n g f o r 2 0 1 1 ,

KENNETh KIESLEr is one of the most prominent conductors of his generation and one of the world’s most sought-after mentors of conductors. Of his debut with The Chamber Orchestra of Paris, critic Roger Bouchard stated, “there do exist great American conductors, and Kiesler is one of them! Standing on behalf of the music he serves, he conducts from memory with unaffected gestures both precise and passionate. Nothing is unnecessary in his conducting; yet everything is there. Very beautiful work!” He has conducted the National Symphony Orchestra at the Kennedy Center, Chicago Symphony at Orchestra Hall, and the orchestras of Utah, Detroit,

Indianapolis, San Diego, New Jersey, Jerusalem, Haifa, O s a k a , P u s a n Daejon, Hang Zhou, Jalisco Philharmonic in Mexico, and The

Chamber Orchestra of Paris, among many others; and at the Aspen, Meadowbrook, Skaneateles, Sewanee, and Atlantic music festivals. He has led numerous world premieres and recordings with the BBC, Third Angle, and University of Michigan Symphony

and Opera. His stage performances include Bright Sheng’s The Silver River in Singapore, Peter Grimes and Il Turco in Italia at Opera Theatre of St. Louis with the St. Louis Symphony, and Appalachian Spring with the Martha Graham Company. He is Conductor Laureate of the Illinois Symphony Orchestra where as music director from 1980–2000, he led debuts at Lincoln Center and Carnegie Hall, and won several distinguished awards. He returned as Music Advisor for the 2010–11 and 2011–12 seasons. Director of orchestras and professor of conducting at U-M since 1995, his students have won major competitions such as the Maazel/Vilar, Eduardo Mata, and Nicolai Malko, and hold positions with major orchestras, opera companies, and music schools worldwide. He is Director of the National Arts Centre Conductors Program (Canada) and the Conductors Retreat at Medomak (Maine), as well as the conducting programs of International Masterclasses Berlin. He has led intensive conducting courses in Paris, Berlin, Leipzig, Moscow, New York, and Oxford University, for the Ministry of Culture in Mexico, and the Royal Academy of Music in London. He will soon lead a class for conductors from across Latin America in São Paulo, Brazil. M a e s t r o K i e s l e r w a s silver medalist at the 1986 Stokowski Competition at Avery Fisher Hall, and recipient of the American Symphony Orchestra League’s Helen M. Thompson Award for outstanding American music director under age 35 in 1988. His teachers include Carlo Maria Giulini, Fiora Contino, Julius Herford, Erich Leinsdorf, John Nelson, and James Wimer. He was a selected conductor in the Leonard Bernstein American Conductors Program and the Carnegie Hall Centenary conducting class

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with Pierre Boulez and Ensemble InterContemporain. Maestro Kiesler is included in Steven Sherman’s book, Leonard Bernstein at Work: the Final Years, Jeannine Wagar’s book Conductors in Conversation: Fifteen Contemporary Conductors Discuss Their Lives and Profession, Shostakovich Reconsidered by Allan Ho, and David Saler’s Serving Genius, the biography of the great Italian conductor, Carlo Maria Giulini. The Indianapolis News said: “Kiesler is a man with a musical mind at work. He reads, interprets, and conducts idiomatically, in the spirit in which a given work was written.”

LOrI PhILLIPS (Soprano) is widely acknowledged as one of the most innovative and expressive voices in the operatic industry. She made her Metropolitan Opera debut as Senta in Der Fliegende Holländer, which was broadcast live on Sirius Satellite Radio. With the Metropolitan Opera she has returned for productions of Wozzeck, Hänsel und Gretel, Mussorgsky’s Khovanshchina , Il Tabarro , and Turandot. Ms. Phillips also recently made her role debut as Brünnhilde in Die Walküre with Hawaii Opera Theater. Opera News said, “Soprano Lori Phillips was a terrific Brünnhilde: her voice started out in excellent form and kept getting better, her clarion upper register sending chills down one’s spine.” Up next, Ms. Phillips returns to the Metropolitan Opera and Seattle Opera to cover the role of Brünnhilde in the Ring cycle. Ms. Phillips’ noted performances also include her signature role of Turandot at the Seattle Opera, Atlanta Opera, New York City Opera at Lincoln Center, Opera Lyra Ottawa, Portland Opera, Nashville Opera,

and Opera Carolina; Ariane in Ariane et Barbe-bleue with the Vancouver Opera, L’Opera de Nice, and Opéra National de Paris (Bastille) on tour in Japan; Gertrude in Hänsel und Gretel for Dallas Opera; Lady Macbeth in Macbeth with Arizona Opera; Leonora in Fidelio with Portland Opera; Leonora in Il Trovatore with Florentine Opera; Amelia in Un Ballo in Maschera for Opera Memphis, Seattle Opera, and Vancouver Opera; Minnie in La Fanciulla del West with Utah Opera; the title role of Aida at Hawaii Opera Theater; Maddalena in Andrea Chenier with the Nashville Opera; and Santuzza in Cavalleria Rusticana with Vancouver Opera and Opéra de Québec.

DAN KEMPSON’S (Baritone) 2012–13 season includes Figaro in Il barbiere di Siviglia with Shreveport Opera, Anthony in Sweeney Todd with St. Petersburg Opera, soloist in Carmina Burana with Wichita Symphony Orchestra, and Alwan in the world premiere of Mohammed Fairouz’s Sumeida’s Song at Prototype Festival in New York City. In summer 2013 he joins the Apprentice Program of Santa Fe Opera for their production of Le nozze di Figaro. Recent highlights include Belcore in L’elisir d’amore (Mississippi Opera), Figaro in Il barbiere di Siviglia (Imperial Symphony Orchestra), a recital (Father Ryan Arts Center, Pittsburgh), Messiah (Danbury Chamber Orchestra), selections from Haydn’s The Creation (Pittsburgh Symphony), Brahms’s Requiem (Erie Philharmonic), and Marco in Gianni Schicchi and Thomas Putnam in The Crucible (Chautauqua Institution). As Resident Artist with Pittsburgh Opera he sang Argante in Rinaldo, Fiorello in Il barbiere di Siviglia, Tarquinius in The Rape of Lucretia, Moralès in Carmen, and Count Almaviva in Le nozze di

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Figaro. In San Francisco Opera’s Merola Opera Program he sang Figaro from Il barbiere di Siviglia, Fluth from The Merry Wives of Windsor, and the title role in Thomas’s Hamlet. He made his debut with Fort Worth Opera in Glass’s Hydrogen Jukebox.

Lauded by The New York Times as a “terrific singer” and The San Francisco Chronicle as “an opera powerhouse,” SIDNEy OuTLAW (Baritone) delights audiences in the US and abroad with his rich and versatile baritone and engaging stage presence. A graduate of the Merola Opera Program and former member of the Gerdine Young Artist Program at Opera Theatre of Saint Louis, the rising American baritone is the featured recitalist with Warren Jones at Carnegie Hall this season, performs Elijah with the New York Choral Society, and will be featured in the role of Burton in Abilene Opera Association’s The Hotel Casablanca. He travels to Guinea as a US Arts Envoy this season, where he will perform a program of American music in honor of Black History Month and in remembrance of Dr. Martin Luther King. He closes the season with concerts of Dallapiccola’s Il Prigioniero with the New York Philharmonic and sings the role of Schaunard in La Bohème with the Ash Lawn Festival. Mr. Outlaw’s awards include Second Prize (2011 Gerda Lissner Foundation Awards), national semi-finalist (Metropolitan Opera National Council Auditions), finalist (George London Foundation), and Grand Prize in the Florida Grand Opera/YPO Vocal Competition. He holds a master’s degree in vocal performance from The Juilliard School and is a graduate of the University of North Carolina at Greensboro.

Mezzo-Soprano SOPhIE DELPhIS (Speaker) was born in Paris, France and raised partially in the California Bay Area. She received her bachelor’s degree with honors from the New England Conservatory of Music in Boston and is currently pursuing her master’s degree in voice performance at the University of Michigan. Her recent operatic roles include Zerlina (Don Giovanni), Sœur Mathilde (Dialogues des Carmelites), Valetto (L’Incoronazione di Poppea), and Lazuli (L’Étoile). She has performed recital programs and fundraiser concerts for the French-American Cultural Society, the Palo Alto Fortnightly Music Club, and the Opera Academy of California. In addition, she enjoys collaborating with young composers and improvisers on new works in Boston and Ann Arbor. She is currently a student of Melody Racine.

BrENDA rAE (Soprano) is currently a member of the ensemble at Oper Frankfurt. This season, she will sing the role of Zerbinetta in Ariadne auf Naxos for her debut with the Hamburgische Staatsoper, followed by a debut at the Paris Opera as Anne Trulove in The Rake’s Progress. Ms. Rae makes a return to the US with two important debuts: Polissena in Radamisto at Carnegie Hall (as part of a European and American tour with The English Concert and Harry Bicket) and in the summer as Violetta in La Traviata at the Santa Fe Opera. In Frankfurt, Ms. Rae will continue her exploration of the Baroque repertoire with her debut as Cleopatra in a new production of Giulio Cesare and will sing the title role in Donizetti’s Maria Stuarda in concert. In the spring, she will return to Bordeaux for Pamina in Die Zauberflöte. Further European concert dates of Radamisto will include London, Paris, Birmingham,

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and Toulouse, and in the early summer she will make her Schubertiade debut in Schwarzenberg, Austria. In the future, Ms. Rae will return to the Oper Frankfurt and the Bayerische Staatsoper in leading roles. In 2007, Ms. Rae gave a recital at Alice Tully Hall as a winner of the Juilliard Vocal Arts Honors Recital. In January 2008, she gave a recital at Carnegie Hall under the auspices of the Marilyn Horne Foundation. Ms. Rae has been awarded First Prize honors from the Licia Albanese-Puccini Foundation, the Bel Canto Foundation, and Wisconsin NATS. She is also the recipient of a Shoshana Foundation Richard F. Gold Grant from Central City Opera, and grants from the Giulio Gari Foundation and the Annenberg Foundation. Ms. Rae received her Artist Diploma from the Juilliard Opera Center in 2008, her master’s degree from The Juilliard School in 2006, and her bachelor’s degree from the University of Wisconsin-Madison in 2004.

This season, TAMArA MuMFOrD (Mezzo-Soprano) tours the US and Europe with Gustavo Dudamel and the Los Angeles Philharmonic in performances of John Adams’s The Gospel According to the Other Mary, and appears in Lincoln Center’s White Light Festival in a performance of Mahler’s Das Lied von der Erde. She also makes her debuts with the San Francisco Symphony Orchestra, Milwaukee Symphony Orchestra, Eugene Symphony, and Santa Barbara Symphony. A graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program, Ms. Mumford made her debut there as Laura in Luisa Miller, and has since appeared as Smeaton in the new production of Anna Bolena, and in productions of Rigoletto, Ariadne auf

Naxos, Il Trittico, Parsifal, Idomeneo, Cavalleria Rusticana, Nixon in China, The Queen of Spades, the complete Ring cycle, and The Magic Flute. Other recent opera engagements have included the title role in the American premiere of Henze’s Phaedra and the title role in The Rape of Lucretia at the Opera Company of Philadelphia, the title role in Dido and Aeneas at the Glimmerglass Opera, Ottavia in L’incoronazione di Poppea at the Glyndebourne Opera Festival and the BBC Proms, Isabella in L’Italiana in Algeri at the Palm Beach Opera, the title role in The Rape of Lucretia conducted by Lorin Maazel at the Castleton Festival; the title role in Carmen at the Crested Butte Music Festival, Principessa in Suor Angelica and Ciesca in Gianni Schicchi with the Orchestra Sinfonica Giuseppe Verdi di Milano in Italy; and the title role in La Cenerentola at Utah Festival Opera.

Recognized in the US and abroad for her stunning interpretations of repertoire ranging from the early Baroque to that of today’s composers, J E N N I F E r LANE (Contralto) has appeared with distinguished festivals and concert series worldwide in programs ranging from recitals and chamber music to oratorio and opera. These include San Francisco Opera, the Metropolitan Opera, Théâtre du Châtelet, L’Opéra de Monte Carlo, New York City Opera, Göttingen and Halle Handel Festspiels, Aix-en-Provence, and the Palau de la Musica in Barcelona. Many of her nearly 50 recordings released on the Harmonia Mundi USA, Naxos, Opus 111, CBC Records, Koch International, Newport Classic, Arabesque, VOX, PGM, Centaur, and Gaudeamus labels have won awards, as have her two films: The Opera Lover and Dido & Aeneas. Now associate professor of voice at the

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University of North Texas, Ms. Lane has held positions at Stanford University and the University of Kentucky. Her students have won Metropolitan Opera National Council, NATS, and other competition prizes and awards. They have participated in prestigious young artist programs, served as teaching fellows, and won graduate fellowships. A number of them are nationally and internationally active.

This season, JuLIANNA DI GIACOMO (Soprano) makes her debuts at the Los Angeles Opera as Donna Anna in Don Giovanni, the Petruzelli e Teatri di Bari as Desdemona in Otello, and the Opéra National Montpellier in Les Roys d’Ys. She also returns to the Teatro Real de Madrid for the title role in Suor Angelica and appears in concert with the Israel Philharmonic and the Netherlands Radio Philharmonic Orchestra. Ms. Di Giacomo made her debut at the Metropolitan Opera as Clotilde in Norma and has since returned for Lina in Stiffelio and Leonora in Il Trovatore. Other recent North American engagements have included her debut with the Los Angeles Philharmonic in performances of Mahler’s Symphony No. 8, conducted by Gustavo Dudamel, in both Los Angeles and Caracas and broadcast live to movie theaters in North and South America; excerpts from Don Giovanni with the New York Philharmonic; Il Trovatore and Mathilde in Guillaume Tell at the Caramoor International Music Festival; Mme. Lidoine in Dialogues des Carmelites at the Pittsburgh Opera; Fiordiligi in Così fan tutte; and Donna Elvira in Don Giovanni at the New York City Opera. She made her Carnegie Hall debut as Lucrezia in I due Foscari with Eve Queler and the Opera Orchestra of New York and returned for Rossini’s Stabat Mater and as a featured recitalist

in the Opera Orchestra of New York’s Rising Stars Series. She also appeared at Lincoln Center as a featured soloist in its Puccini 150th Birthday Celebration gala concert, and most recently made her Cincinnati May Festival debut in a performance of Elijah conducted by James Conlon.

K r I ST I N E D E r (Mezzo-Soprano) enjoys an active career as a performer of operatic, oratorio, and recital repertoire. She has most recently appeared as a guest artist with organizations including the Tallahassee Symphony Orchestra, the Illinois Symphony Orchestra, the Oakland Choral Society, Ann Arbor Cantata Singers, the Bozeman Symphony, and the Adrian Symphony. She has also performed with the Arbor Opera Theater, the Metropolitan Baroque Ensemble, and the U-M Opera Theater. Ms. Eder’s operatic roles include Jo in Little Women, the title role in Gluck’s Armide, Dido and the Sorceress in Dido and Aeneas, Marcellina in Le Nozze di Figaro, Mercedes in Carmen, and Florence Pike in Albert Herring. In May 2011, Ms. Eder completed her doctorate in vocal performance at the University of Michigan, where she also received master’s degrees in vocal performance and choral conducting. Her concert repertoire includes Handel’s Messiah, Duruflé’s Requiem, Verdi’s Requiem, Stravinsky’s Pulcinella, Mozart’s Requiem and Mass in c minor as well as all of Bach’s choral masterworks. Ms. Eder resides in Ann Arbor with her husband and two young daughters and is currently a lecturer of vocal music at U-M and an adjunct professor of vocal and choral studies at Adrian College.

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T he uNIvErSITy SyMPhONy O r C h E S T r A ( U S O ) i s considered one of the world’s

finest student orchestras. Under the auspices of the School of Music, Theatre & Dance, the USO serves as a training ground for gifted young musicians, many of whom go on to play in major symphony orchestras, and for students in U-M’s highly competitive and sought-after orchestral conducting program, ranked number one in the United States. Conducted by Kenneth Kiesler since 1995, the USO has toured to the festivals of Salzburg and Evian, premiered dozens of new works by contemporary composers, played the American premiere of James P. Johnson’s The Dreamy Kid, and the first performance since 1940 of the same composer’s De Organizer. The USO has several recordings currently available including first-ever recordings of music by Leslie Bassett, Michael Daugherty, and William Bolcom on the Equilibrium label. Four other CDs are available on the Naxos label, including excerpts from operas by David Amram, David Schiff, Abraham Ellstein, and Paul Schoenfield. In 2010, the USO released on the Dorian Sono Luminus label its recording of The Old Burying Ground, an orchestral song cycle for soprano, tenor, and folksinger by Evan Chambers. Its reputation as one of the leading orchestras of its kind was affirmed in 2005 when the orchestra received the Grammy Award for “Best Classical Album” for the premiere recording of William Bolcom’s Songs of Innocence and of Experience. In 2011, the USO was the recipient of the prestigious American Prize in Orchestral Performance. Last year the orchestra released world premiere recordings of Alberto Ginastera’s Three Piano Concertos with Barbara Nissman on the Pierian label.

T he u-M ChAMBEr ChOIr , conducted by Jerry Blackstone, Director of Choral Activities,

performs a broad spectrum of repertoire, and frequently collaborates with instrumental ensembles. Its 45 members are graduate and undergraduate students majoring in vocal performance, music education, or conducting. Recent appearances have included performances at national and division conventions of the American Choral Directors Association, an appearance by special invitation at the inaugural conference of the National Collegiate Choral Organization, and acclaimed performances with the Detroit Symphony Orchestra at Orchestra Hall in Detroit.

T h e u - M u N I v E r S I T y ChOIr , a 95-voice ensemble at the U-M School of Music, Theatre

& Dance, is comprised of music majors in vocal performance, music education, piano, organ, composition, and theory. They are conducted by Eugene Rogers, Associate Director of Choirs.

T he u-M OrPhEuS SINGErS is a 25-voice ensemble comprised of upper level undergraduate

students in vocal performance and music education, and is led by graduate choral conductors. They frequently appear with instrumental ensembles and collaborate with the Chamber and University Choirs in the presentation of major works for chorus and orchestra.

F ormed by a group of local university and townspeople who gathered together for the study of

Handel’s Messiah, the uMS ChOrAL uNION has performed with many of

Tonight’s performance marks Maestro Kenneth Kiesler’s second appearance under UMS auspices. Maestro Kiesler made his UMS debut in January 2004 conducting the University Symphony Orchestra in the Hill Auditorium Re-Opening Celebration. This evening’s performance marks the 57th appearance of the University Symphony Orchestra under UMS auspices. The Orchestra made its UMS debut in February 1880 under the baton of Calvin Cady and most recently performed under UMS auspices in April 2004 as part of the Grammy Award-winning recording and performance of William Bolcom’s Songs of Innocence and of Experience at Hill Auditorium. Tonight’s performance marks the 423rd performance of the UMS Choral Union under UMS auspices. The UMS Choral Union made its debut in December 1879 in its first Ann Arbor performance of Handel’s Messiah. The Choral Union most recently appeared in January 2013 with the Detroit Symphony Orchestra and Maestro Leonard Slatkin in a celebration concert of the Frieze Memorial Organ at Hill Auditorium. The U-M Chamber Choir makes its third UMS appearance this evening, following its March 2012 performance with Mason Bates and members of the San Francisco Symphony in the American Mavericks Festival at Hill Auditorium. The U-M University Choir and Orpheus Singers make their second UMS appearances, following their most recent UMS performances in April 2004 as part of William

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the world’s distinguished orchestras and conductors in its 134-year history. First led by Professor Henry Simmons Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Since its first performance of Handel’s Messiah in December 1879, the oratorio has been performed by the UMS Choral Union in Ann Arbor annually. Based in Ann Arbor under the aegis of UMS, the 175-voice Choral Union, led by music director Jerry Blackstone, is known for its definitive performances of large-scale works for chorus and orchestra. Seventeen years ago, the UMS Choral Union further enriched that tradition when it began appearing regularly with the Detroit Symphony Orchestra (DSO). Participation in the UMS Choral

Union remains open to all students and adults by audition. For more information on how to audition, please email choralunion@umich.edu, call 734.763.8997, or visit www.ums.org/about/ums-choral-union.

T h e u - M P E r C u S S I O N ENSEMBLE has commissioned, performed, and recorded works

from a global array of musical cultures. Many of the compositions premiered have gone on to enter the standard percussion canon, and the ensemble has numerous recordings to its credit on a variety of labels. The ensemble is co-directed by assistant professors of percussion Joseph Gramley and Jonathan Ovalle.

u M s A R c H i V E s

Continued from page 17

Bolcom’s Songs of Innocence and of Experience at Hill Auditorium. Soprano Julianna Di Giacomo makes her second UMS appearance this evening, following her UMS debut in December 2012 in Handel’s Messiah. Soprano Brenda Rae also makes her second UMS appearance this evening, following her UMS debut in February 2013 in Handel’s Radamisto with The English Concert and Harry Bicket. Tonight marks contralto Jennifer Lane’s second UMS appearance, following her April 1995 UMS debut as a soloist with the Mark Morris Dance Group and Boston Baroque Orchestra and Chorus. UMS welcomes the U-M Percussion Ensemble and soloists Sophie Delphis, Lori Phillips, Kristin Eder, Tamara Mumford, Dan Kempson, and Sidney Outlaw, who make their UMS debuts this evening.

You'reInvited.2013–2014 Season Announcement Party

Friday, April 12, 4:30–7:30 pm

Michigan League

Please refer to your program book insert for complete rosters of all performing ensembles in this evening’s performance.

18A18H

Laura HolladayCynthia Lunan Karla K. Manson #Linda Selig Marshall Sandra Lau Martins Elizabeth MathieBeth McNally Marilyn Meeker*Carol MilsteinKathleen OperhallHanna Martha Reincke Cindy Shindledecker Susan SintaHanna SongKatherine Spindler Ruth A. Theobald Carrie Throm Alice E. TremontBarbara TrevethanCheryl UtigerCrystal VanKootenAlice VanWambekeKaty VaitkeviciusYvonne WaschekIris WeiMary Beth Westin Susan Wortman Allison Anastasio Zeglis

Tenor Gary BanksGeorge Case Steven Fudge*Randy GilchristArthur Gulick Marius JoosteTim KeelerEzra Keshet Bob Klaffke Mark A. Krempski #Richard MarshJames PecarChris Petersen

Kenneth Sieloff Carl Smith Patrick Tonks

Bass Ethan AllredWilliam BaxterWilliam Boggs #Nicholas CagleJohn DrydenCharlie DwyerDon Faber James FerraraKenneth A. FreemanMark GoodhartStephen Gusukuma Philip J. Gorman Christopher HampsonJames HeadRobert HeynJorge Iniguez-LluhiZachery T. KirklandJoseph D. McCaddenJames B. McCarthy Gerald MillerFredy NagherMichael Pratt James RhodenhiserNeil ShadleWilliam Shell Donald Sizemore*William StevensonJack ToccoTerril O. Tompkins Thomas L. Trevethan John Van Bolt Paul Venema

* Section Leader# Section Coach

UMs PresenTs

oresTeia of aeschylUsKenneth Kiesler, Artistic DirectorNadège Foofat, Associate Conductor

This concert is a collaboration between the University of Michigan School of Music, Theatre & Dance and UMS.Christopher Kendall, Dean and Paul Boylan Collegiate Professor of Music, Theatre & DanceKenneth C. Fischer, President, UMS

U n i v e r s i T y s y M P h o n y o r c h e s T r a

Kenneth Kiesler, Director of Orchestras and Conductor

violinTimothy Steeves**, ConcertmasterYe Eun Kim*, PrincipalImmanuel AbrahamMichael BechtelDaniel BrierCaroline BuseCeleste CarruthAlexis ChoiCharlotte CrosmerKen DavisSophia HanCaroline HartCindy HongKazato Inouye**Janice Lee

Sharon LeePeiming LinLaura LongmanJanet Lyu*Genevieve MichelettiVerena OchanineAnna PiotrowskiHoorig PoochikianAdrianne PopeChauntee RossAlan TilleyElizabeth TsungKatie von BraunDavis West**Jing Xing

Continued

18B 18G

soPrano Alison AquilinaJamie Bott Debra Joy Brabenec Ann K. BurkeAnne Busch Ann Cain-NielsenCarol Callan Susan F. Campbell Cheryl D. Clarkson Elizabeth Crabtree Lauren CunninghamMarie Ankenbruck Davis Carrie Deierlein Kristina EdenEmilia FraczJennifer Freese Keiko GotoKatharina HuangAnne JaskotEmily JenningsJaclyn JohnsonKyoung KimAlana KirbyKaren KirkpatrickKay LeopoldPatricia LindemannLoretta Lovalvo Katherine LuNatalie LuethSara McMullen-LairdCarole C. McNamaraToni Marie Micik #Samantha MillerMarina MusicusNancy K. Paul

Christie PeckSara J. Peth Margaret Dearden Petersen Julie PierceJane Renas Katharine RollerAllie SchachterErin L. Scheffler- FranklinMary A. Schieve Joy C. SchultzSujin SeoElizabeth Starr Sue Ellen Straub Virginia A. Thorne-Herrmann Leah UrpaBarbara Hertz WallgrenMargie Warrick Mary Wigton*

alTo Paula Allison-England Carol Barnhart Dody Blackstone Margy BoshovenAnne CasperCarole DeHartValerie DelektaElise DemitrackMelissa Doyle Sarah FenstermakerGrace K. GheenJohanna Grum Kat Hagedorn Linda Hagopian Nancy Heaton Carol Kraemer Hohnke

U M s c h o r a l U n i o n

Jerry Blackstone, Music Director and ConductorGeorge Case, Assistant ConductorJean Schneider and Scott VanOrnum, AccompanistsKathleen Operhall, Chorus ManagerNancy K. Paul, LibrarianDonald Bryant, Conductor Emeritus

violaRachel Samson*, PrincipalErin Maughan ,̂ Associate PrincipalClifton BoydDaniel BrownSiobhan CroninMegan LathanKatherine LawheadJack MobleyAmy Pikler*Chisato SugaJhena VigrassSamantha Yo

celloHoracio Contreras*, PrincipalMatthew Armbruster*Zan BerryCaitlin EgerMartin GuerraMichael HarperEric HaugenAmy KimJames Perretta*Nathaniel PierceDaniel PocetaJacobsen Woollen

BassAlexander Vaughn*, PrincipalMichael FlinnZoe KumagaiChristopher LivesayGillian MarkwickJesse SeguinGrecia Serrano-NavarroKohei Yamaguchi*

flUTeCarly RennerDaniel VelascoHannah WeissKatherine Zhang

oBoeMelissa BosmaAlex HayashiZach PulseJennifer Roloff

clarineT Ryan KingDaniel ParkMatt RynesJohn Walters

BassoonThomas CrespoMichael GieskeNathaniel HoshalTim McCarthy

saxoPhoneJonathan Hulting-CohenMicaela AcombEdward GoodmanJi Hoon Kang

hornColin BianchiNatalie FritzAdedeji OgunfoluPatrick Walle

saxhornMatt AndersonGreg SimonCody HalquistChristopher Plaskota

TrUMPeTAlex CarterPeter StammerStephanie TuckSpencer Wallin

TroMBoneJakob HildebrandtMicah Smiley

Continued

18F 18C

U - M P e r c U s s i o n e n s e M B l e

Joseph Gramley and Jonathan Ovalle, Co-Directors

Jonathan BrownAnthony DeMartinisGary DonaldThomas EricksonMatthew GeigerDylan GreeneBenjamin Krauss

Evan LaybournPatterson McKinneyDaniel PiccoloMackenzie SatoArlo ShultisChristopher SiesBrian Young

Bass TroMBoneMatthew Karatsu

TUBaNick Beltchev

TiMPani/PercUssionJonathan BrownMatthew GeigerEvan LaybournArlo ShultisBrian Young

harPKristin LloydCatherine Miller

celesTeTzuyin Huang

**Concertmaster, *principal, and ^associate principal string players rotate positions during the season. Wind players rotate positions during the concert.

Daniel Brier, Elim Chan, Saya Callner,Elliot Moore, Rodrigo Ruiz, Yaniv Segal,Assistant Conductors

Catherine Miller, AssistantPersonnel Manager

Matthew Anderson, MatthewKaratsu, and Li Kuang, EquipmentAssistants

U - M c h a M B e r c h o i r

Jerry Blackstone, Director of Choirs and ConductorScott VanOrnum, Pianist

soPranoAlison AquilinaNora BurgardMarianne GruzwalskiKara HuckaboneJaclyn JohnsonPaige LucasMeghan McLoughlinMelissa SondhiHannah Sparrow

alToFrancesca ChiejinaSophie DelphisNatalie DoranLauren JacobRachel McIntoshKate NadolnyAmanda O’Toole

Kellie RongKate RosenKatherine SanfordStephanie SchoenhoferAlexandra Shaw

TenorJustin BerkowitzGeorge CaseJonas HackerTimothy KeelerJonathan KingMichael MartinAlan NagelNicholas NestorakNathan ReiffAustin StewartScott WaltersJacob Wright

Glenn HealyGlen Thomas RideoutRobert SilversmithJeremy Williams

Stephen Gusukuma, Glen ThomasRideout, George Case, Jaclyn Johnson,Nathan Reiff, William Scott Walters, Jonathan King, Tim Keeler, Graduate Student Conductors

William Scott Walters, PersonnelManager

s Ta f f

Emily Avers, Director of EnsembleOperations

Paul Feeny, Ensembles ProductionCoordinator and Librarian

Rachel Francisco, Publicity

David Gilliland and Scott VanOrnum,Rehearsal Pianists

Yaniv Segal, Surtitle OperatorBrianne Dolce, Surtitle Coordinator

Scan to see U-M students share behind-the-scenes moments from the rehearsal process for Oresteia of Aeschylus.

Download a free QR code reader app on your smart phone, point your camera at the code, and scan to see multimedia content.

Continued

18D 18E

U - M U n i v e r s i T y c h o i r

Eugene Rogers, Associate Director of Choirs and ConductorDavid Gilliland, Pianist

soPranoShelby AveryJessica BarnoMegan BeckerCatherine BorlandKatherine BrillDanni FengKaci FrissPaige GrahamMichal HarrisMelissa HartmanMarina HogueJayne JaegerBelinda JuangCaroline KaganSiyuan LiChristine MasellHidemi MinagawaChristabel NunooClaire PegramAllison ProstEmily ReayHanna SchwimmerZoe SoumkineMadeline ThibaultAllyson Williams

alToMelissa AnguloEmma AzelbornSonya BelayaLyndsay BurkeYihua CaoRegan ChuhranBreanna GhostoneMarlena HilderleyGrace JacksonShenika John JordanMi-Eun KimGabrielle LewisSara MarquisNatalie MollerAriana NewmanTessa PattersonNina PelusoTanner PorterRena SteedChristina SwansonAlexa WuttDalal YassawiStephanie YuMary Zelinski

TenorCole AndersonAchilles BezanisAlexander BonoffPaul BrumfieldTom CilluffoApoorv DhirTomer EresJason GongLucas GrantJordan HarrisKevin HarveyAlexander HolmesSamn JohnsonDaniel KitzmanElliot KrasnyZac LavenderDaniel PassinoKhris SanchezAdam Schwartz

BassBrendan AsanteJosh BoydAmmon BrattDaniel BraunsteinMorgan Byrd

Joseph ChangSamuel CumminsMatthew DempseyAndrew EarhartDarren FedewaPaul GiessnerAlexander GreenzeigPaul GrosvenorAndrew HerbruckAustin HoeltzelColin KnappJiyao LiMichael MillerJesus MurilloMarcus PetersonTimothy PetersonJames SchmidRhemé SloanDaniel StromfeldAndrew Whang

Stephen Gusukuma, AssistantConductor

Daniel Kitzman, Personnel ManagerMarina Hogue, Khris Sanchez, and

Ben Zisook, Equipment Assistants

BassChase BernhardtJohn BoggsBenjamin BradyNicholas DavisStephen GusukumaJonathan HarrisJohn HummelRonald Perkins, Jr.

Glen Thomas RideoutJonathan SchechnerRyan Winslow

George Case, Glen Thomas Rideout,Jonathan King, Assistant Conductors

John Hummel, Personnel ManagerRonald Perkins, Jr., Equipment

Assistant

U - M o r P h e U s s i n g e r s

Jerry Blackstone, Director of ChoirsScott VanOrnum, Pianist

soPranoSara BonnerJaclyn JohnsonImani MchunuLindsey MeekhofCandace Pierce-WintersAlexandria Strother

alToMarta DominguezJenna HaneAshley MulcahyOlivia Nienhouse

Pavitra RamachandranDiana Sussman

TenorGeorge CaseTimothy KeelerJonathan KingNathan ReiffScott Walters

BassGyuri BarabasStephen Gusukuma

Continued

18D 18E

U - M U n i v e r s i T y c h o i r

Eugene Rogers, Associate Director of Choirs and ConductorDavid Gilliland, Pianist

soPranoShelby AveryJessica BarnoMegan BeckerCatherine BorlandKatherine BrillDanni FengKaci FrissPaige GrahamMichal HarrisMelissa HartmanMarina HogueJayne JaegerBelinda JuangCaroline KaganSiyuan LiChristine MasellHidemi MinagawaChristabel NunooClaire PegramAllison ProstEmily ReayHanna SchwimmerZoe SoumkineMadeline ThibaultAllyson Williams

alToMelissa AnguloEmma AzelbornSonya BelayaLyndsay BurkeYihua CaoRegan ChuhranBreanna GhostoneMarlena HilderleyGrace JacksonShenika John JordanMi-Eun KimGabrielle LewisSara MarquisNatalie MollerAriana NewmanTessa PattersonNina PelusoTanner PorterRena SteedChristina SwansonAlexa WuttDalal YassawiStephanie YuMary Zelinski

TenorCole AndersonAchilles BezanisAlexander BonoffPaul BrumfieldTom CilluffoApoorv DhirTomer EresJason GongLucas GrantJordan HarrisKevin HarveyAlexander HolmesSamn JohnsonDaniel KitzmanElliot KrasnyZac LavenderDaniel PassinoKhris SanchezAdam Schwartz

BassBrendan AsanteJosh BoydAmmon BrattDaniel BraunsteinMorgan Byrd

Joseph ChangSamuel CumminsMatthew DempseyAndrew EarhartDarren FedewaPaul GiessnerAlexander GreenzeigPaul GrosvenorAndrew HerbruckAustin HoeltzelColin KnappJiyao LiMichael MillerJesus MurilloMarcus PetersonTimothy PetersonJames SchmidRhemé SloanDaniel StromfeldAndrew Whang

Stephen Gusukuma, AssistantConductor

Daniel Kitzman, Personnel ManagerMarina Hogue, Khris Sanchez, and

Ben Zisook, Equipment Assistants

BassChase BernhardtJohn BoggsBenjamin BradyNicholas DavisStephen GusukumaJonathan HarrisJohn HummelRonald Perkins, Jr.

Glen Thomas RideoutJonathan SchechnerRyan Winslow

George Case, Glen Thomas Rideout,Jonathan King, Assistant Conductors

John Hummel, Personnel ManagerRonald Perkins, Jr., Equipment

Assistant

U - M o r P h e U s s i n g e r s

Jerry Blackstone, Director of ChoirsScott VanOrnum, Pianist

soPranoSara BonnerJaclyn JohnsonImani MchunuLindsey MeekhofCandace Pierce-WintersAlexandria Strother

alToMarta DominguezJenna HaneAshley MulcahyOlivia Nienhouse

Pavitra RamachandranDiana Sussman

TenorGeorge CaseTimothy KeelerJonathan KingNathan ReiffScott Walters

BassGyuri BarabasStephen Gusukuma

Continued

18F 18C

U - M P e r c U s s i o n e n s e M B l e

Joseph Gramley and Jonathan Ovalle, Co-Directors

Jonathan BrownAnthony DeMartinisGary DonaldThomas EricksonMatthew GeigerDylan GreeneBenjamin Krauss

Evan LaybournPatterson McKinneyDaniel PiccoloMackenzie SatoArlo ShultisChristopher SiesBrian Young

Bass TroMBoneMatthew Karatsu

TUBaNick Beltchev

TiMPani/PercUssionJonathan BrownMatthew GeigerEvan LaybournArlo ShultisBrian Young

harPKristin LloydCatherine Miller

celesTeTzuyin Huang

**Concertmaster, *principal, and ^associate principal string players rotate positions during the season. Wind players rotate positions during the concert.

Daniel Brier, Elim Chan, Saya Callner,Elliot Moore, Rodrigo Ruiz, Yaniv Segal,Assistant Conductors

Catherine Miller, AssistantPersonnel Manager

Matthew Anderson, MatthewKaratsu, and Li Kuang, EquipmentAssistants

U - M c h a M B e r c h o i r

Jerry Blackstone, Director of Choirs and ConductorScott VanOrnum, Pianist

soPranoAlison AquilinaNora BurgardMarianne GruzwalskiKara HuckaboneJaclyn JohnsonPaige LucasMeghan McLoughlinMelissa SondhiHannah Sparrow

alToFrancesca ChiejinaSophie DelphisNatalie DoranLauren JacobRachel McIntoshKate NadolnyAmanda O’Toole

Kellie RongKate RosenKatherine SanfordStephanie SchoenhoferAlexandra Shaw

TenorJustin BerkowitzGeorge CaseJonas HackerTimothy KeelerJonathan KingMichael MartinAlan NagelNicholas NestorakNathan ReiffAustin StewartScott WaltersJacob Wright

Glenn HealyGlen Thomas RideoutRobert SilversmithJeremy Williams

Stephen Gusukuma, Glen ThomasRideout, George Case, Jaclyn Johnson,Nathan Reiff, William Scott Walters, Jonathan King, Tim Keeler, Graduate Student Conductors

William Scott Walters, PersonnelManager

s Ta f f

Emily Avers, Director of EnsembleOperations

Paul Feeny, Ensembles ProductionCoordinator and Librarian

Rachel Francisco, Publicity

David Gilliland and Scott VanOrnum,Rehearsal Pianists

Yaniv Segal, Surtitle OperatorBrianne Dolce, Surtitle Coordinator

Scan to see U-M students share behind-the-scenes moments from the rehearsal process for Oresteia of Aeschylus.

Download a free QR code reader app on your smart phone, point your camera at the code, and scan to see multimedia content.

Continued

18B 18G

soPrano Alison AquilinaJamie Bott Debra Joy Brabenec Ann K. BurkeAnne Busch Ann Cain-NielsenCarol Callan Susan F. Campbell Cheryl D. Clarkson Elizabeth Crabtree Lauren CunninghamMarie Ankenbruck Davis Carrie Deierlein Kristina EdenEmilia FraczJennifer Freese Keiko GotoKatharina HuangAnne JaskotEmily JenningsJaclyn JohnsonKyoung KimAlana KirbyKaren KirkpatrickKay LeopoldPatricia LindemannLoretta Lovalvo Katherine LuNatalie LuethSara McMullen-LairdCarole C. McNamaraToni Marie Micik #Samantha MillerMarina MusicusNancy K. Paul

Christie PeckSara J. Peth Margaret Dearden Petersen Julie PierceJane Renas Katharine RollerAllie SchachterErin L. Scheffler- FranklinMary A. Schieve Joy C. SchultzSujin SeoElizabeth Starr Sue Ellen Straub Virginia A. Thorne-Herrmann Leah UrpaBarbara Hertz WallgrenMargie Warrick Mary Wigton*

alTo Paula Allison-England Carol Barnhart Dody Blackstone Margy BoshovenAnne CasperCarole DeHartValerie DelektaElise DemitrackMelissa Doyle Sarah FenstermakerGrace K. GheenJohanna Grum Kat Hagedorn Linda Hagopian Nancy Heaton Carol Kraemer Hohnke

U M s c h o r a l U n i o n

Jerry Blackstone, Music Director and ConductorGeorge Case, Assistant ConductorJean Schneider and Scott VanOrnum, AccompanistsKathleen Operhall, Chorus ManagerNancy K. Paul, LibrarianDonald Bryant, Conductor Emeritus

violaRachel Samson*, PrincipalErin Maughan ,̂ Associate PrincipalClifton BoydDaniel BrownSiobhan CroninMegan LathanKatherine LawheadJack MobleyAmy Pikler*Chisato SugaJhena VigrassSamantha Yo

celloHoracio Contreras*, PrincipalMatthew Armbruster*Zan BerryCaitlin EgerMartin GuerraMichael HarperEric HaugenAmy KimJames Perretta*Nathaniel PierceDaniel PocetaJacobsen Woollen

BassAlexander Vaughn*, PrincipalMichael FlinnZoe KumagaiChristopher LivesayGillian MarkwickJesse SeguinGrecia Serrano-NavarroKohei Yamaguchi*

flUTeCarly RennerDaniel VelascoHannah WeissKatherine Zhang

oBoeMelissa BosmaAlex HayashiZach PulseJennifer Roloff

clarineT Ryan KingDaniel ParkMatt RynesJohn Walters

BassoonThomas CrespoMichael GieskeNathaniel HoshalTim McCarthy

saxoPhoneJonathan Hulting-CohenMicaela AcombEdward GoodmanJi Hoon Kang

hornColin BianchiNatalie FritzAdedeji OgunfoluPatrick Walle

saxhornMatt AndersonGreg SimonCody HalquistChristopher Plaskota

TrUMPeTAlex CarterPeter StammerStephanie TuckSpencer Wallin

TroMBoneJakob HildebrandtMicah Smiley

Continued

18A18H

Laura HolladayCynthia Lunan Karla K. Manson #Linda Selig Marshall Sandra Lau Martins Elizabeth MathieBeth McNally Marilyn Meeker*Carol MilsteinKathleen OperhallHanna Martha Reincke Cindy Shindledecker Susan SintaHanna SongKatherine Spindler Ruth A. Theobald Carrie Throm Alice E. TremontBarbara TrevethanCheryl UtigerCrystal VanKootenAlice VanWambekeKaty VaitkeviciusYvonne WaschekIris WeiMary Beth Westin Susan Wortman Allison Anastasio Zeglis

Tenor Gary BanksGeorge Case Steven Fudge*Randy GilchristArthur Gulick Marius JoosteTim KeelerEzra Keshet Bob Klaffke Mark A. Krempski #Richard MarshJames PecarChris Petersen

Kenneth Sieloff Carl Smith Patrick Tonks

Bass Ethan AllredWilliam BaxterWilliam Boggs #Nicholas CagleJohn DrydenCharlie DwyerDon Faber James FerraraKenneth A. FreemanMark GoodhartStephen Gusukuma Philip J. Gorman Christopher HampsonJames HeadRobert HeynJorge Iniguez-LluhiZachery T. KirklandJoseph D. McCaddenJames B. McCarthy Gerald MillerFredy NagherMichael Pratt James RhodenhiserNeil ShadleWilliam Shell Donald Sizemore*William StevensonJack ToccoTerril O. Tompkins Thomas L. Trevethan John Van Bolt Paul Venema

* Section Leader# Section Coach

UMs PresenTs

oresTeia of aeschylUsKenneth Kiesler, Artistic DirectorNadège Foofat, Associate Conductor

This concert is a collaboration between the University of Michigan School of Music, Theatre & Dance and UMS.Christopher Kendall, Dean and Paul Boylan Collegiate Professor of Music, Theatre & DanceKenneth C. Fischer, President, UMS

U n i v e r s i T y s y M P h o n y o r c h e s T r a

Kenneth Kiesler, Director of Orchestras and Conductor

violinTimothy Steeves**, ConcertmasterYe Eun Kim*, PrincipalImmanuel AbrahamMichael BechtelDaniel BrierCaroline BuseCeleste CarruthAlexis ChoiCharlotte CrosmerKen DavisSophia HanCaroline HartCindy HongKazato Inouye**Janice Lee

Sharon LeePeiming LinLaura LongmanJanet Lyu*Genevieve MichelettiVerena OchanineAnna PiotrowskiHoorig PoochikianAdrianne PopeChauntee RossAlan TilleyElizabeth TsungKatie von BraunDavis West**Jing Xing

Continued