Berliner Philharmoniker in Hill Auditorium, November 2024. Photo by Rob Davidson

The Berliner Philharmoniker has a rich history of performances in Hill Auditorium dating back to 1955 — the first year the orchestra ever toured the United States. Their return this November marked the Philharmoniker’s milestone 10th visit to Ann Arbor, and included extensive opportunities for audience and community engagement on and off the stage. 

Revisit a remarkable week of performances and events:

Unique Among Orchestras

The Berliner Philharmoniker flew into Ann Arbor from Boston on Friday, November 22. That evening, UMS and the School of Music, Theatre & Dance held a free panel discussion with leadership from the Philharmoniker’s musicians and administrative staff. Together, they discussed what makes the Berliner unique among orchestras, including its governing structure, innovative educational and research initiatives, and the flagship Digital Concert Hall.

Panel discussion on U-M North Campus. Photo by Rob Davidson

Panelists included:

• Andrea Zietzschmann, Berliner Philharmoniker general manager
• Stefan Dohr, horn player and orchestra board member
• Katja Frei, director of education
• Olaf Maninger, principal cellist, and board member and general manager of Berlin Phil Media GmbH

The discussion was moderated by Kate Cagney, Director of the Institute for Social Research at U-M, with guest Shinobu Kitayama, Professor of Psychology and Director of the Culture & Cognition Program at U-M.

A Day of Learning on Campus

Horn masterclass led by Sarah Willis. Photo by Rob Davidson

Throughout the day Saturday, members of the Berliner Philharmoniker led more than a dozen different masterclasses with students from the U-M School of Music, Theatre & Dance. All events were free and open for the public to observe.

Clarinet masterclass led by Wenzel Fuchs. Photo by Rob Davidson

Cello masterclass led by Knut Weber. Photo by Rob Davidson

Trombone masterclass led by Jesper Busk Sørensen. Photo by Rob Davidson

Visiting Another Iconic Venue

Hill Auditorium is spectacular, but there’s another can’t-miss venue when visiting the University of Michigan campus…

Photo by Mark Jacobson

UMS president Matthew VanBesien welcomed our colleagues from the Berliner Philharmoniker to the Big House for the Michigan vs. Northwestern football game!

A Special Welcome Home

After the game, the Berliner Philharmoniker performed the first of two sold-out performances in Hill Auditorium. It was a joy to welcome soloist Benjamin Beilman back to Ann Arbor in a breathtaking performance of Korngold’s violin concerto, and he graciously treated audiences to an encore from J.S. Bach’s third violin sonata.

Standing ovation for violinist Benjamin Beilman and the Berliner Philharmoniker. Photo by Rob Davidson

No stranger to UMS and Ann Arbor, Beilman attended Community High School, where as a freshman he performed in the very first Neutral Zone / UMS collaboration Breakin’ Curfew in 2005! He is now one of the leading violinists of his generation and one of the youngest artists ever appointed to the faculty of the prestigious Curtis Institute of Music.

Chief conductor Kirill Petrenko brilliantly led the Philharmoniker throughout the evening, framed by Rachmaninoff’s hauntingly beautiful Rachmaninoff ‘Isle of the Dead’ and Dvořâk’s Symphony No. 7.

Berliner Philharmoniker chief conductor Kirill Petrenko. Photo by Rob Davidson

Photo by Rob Davidson

Sound of Science Day

On Sunday, UMS and the Ann Arbor Hands-On Museum presented a special opportunity to explore the science of sound. A brass quartet from the Berliner Philharmoniker and two ensembles from the U-M School of Music, Theatre & Dance — a string quartet and a flute/percussion duo — each gave three short performances, allowing kids to explore how different sounds work.

A brass quartet from the Berliner Philharmoniker performs for kids at the Ann Arbor Hands On Museum. Photo by Peter Smith

Additional hands-on activities were led by UMS 21st Century Intern Renata Rangel, who spent this past summer working in Berlin with the Philharmoniker’s education team. An instrument “petting zoo” was kindly provided by the Ann Arbor Symphony Orchestra.

Music Meets Medicine

Katja Frei, the Berliner Philharmoniker’s director of education, joined Medical Arts at Michigan for a discussion on a joint research project. Launched in 2001, Creativity During Pregnancy aims to learn how creative interventions like music can significantly reduce maternal stress factors.

A Rare Gem: Bruckner’s Fifth

On Sunday afternoon, the Berliner Philharmoniker’s Ann Arbor visit came to a triumphant close in Hill Auditorium. Chief conductor Kirill Petrenko masterfully led Bruckner’s fifth symphony — a rarely performed treasure, presented in a timely celebration of the 200th anniversary of the composer’s birth.

A standing ovation after Bruckner’s Symphony No. 5. Photo by Rob Davidson

In a glowing review of the Philharmoniker’s performance in Carnegie Hall last week, The New York Times remarked that “The orchestra’s agility is such that it can shift from pummeling roar to shining chorale to turbulence to hush, each turn precise and graceful.”

Our Ann Arbor audience, in an extended standing ovation, most certainly concurred.

Thank You to All Our Supporters

We thank all of our sponsors for their incredible generosity in support of the Berliner Philharmoniker’s Ann Arbor visit on their 2024 US Tour.

Title Sponsors

Menakka and Essel Bailey
Howard Bond
Richard Caldarazzo and Eileen Weiser

Presenting Sponsor

Principal Sponsors

Emily Bandera
Laura Chang and Arnold Chavkin
James and Nancy Stanley
Shaomeng Wang and Ju-Yun Li

Supporting Sponsors

Charles and Julia Eisendrath
Mr. and Mrs. Donald L. Morelock

The Berliner Philharmoniker’s residency is funded in part by a grant from the Arts Initiative at the University of Michigan

Kings Return

“When we come together to do this vulnerable thing called a cappella, it strengthens our bonds. It makes us tighter as a unit and as human beings.” – Gabe Kunda, bass

Discover the sounds of Kings Return before the quartet makes its UMS debut with Joyce DiDonato in KINGS ReJOYCE! on December 14.

Kings Return is a dynamic and soothing a cappella quartet that seamlessly blends genres and styles. Composed of tenor Vaughn Faison, bass Gabe Kunda, tenor JE McKissic, and baritone Jamall Williams, the Dallas-based group was drawn to a cappella’s inherent flexibility. Their brand of R&B is interwoven with spontaneous moments of jazz, soulful bursts of gospel, and bright touches of pop — all built on a solid, classical foundation.

The group’s name embodies their intentions as artists: “Kings” for their charismatic power and ability to move forward with confidence; and “Return” for their goal of giving back to the communities that have supported them along the way.

“We don’t use any instruments, and it can feel very vulnerable to perform on stage alone, especially as Black men — with all the stigma that entails,” says Kunda. “When we come together to do this vulnerable thing called a cappella, it strengthens our bonds. It makes us tighter as a unit and as human beings. We want to be examples for other men like us.”

Kings Return got its start in 2016, when Gabe Kunda asked some friends to join his graduation recital performance. Their vocals captivated the crowd, leading to some local gigs. But the group got their first taste of fame three years later when their soul-stirring rendition of “God Bless America,” went viral. The video was shot in the ensemble’s classic rehearsal spot, a stairwell at Cornerstone Baptist Church in Arlington, Texas, which became an early staple of the group’s identity.

“That stairwell had such excellent reverb … it’s a huge part of our success: We joke that it’s the fifth member of the group,” – Jamall Williams, baritone

The group’s popularity expanded as more of its videos went viral online, including a cappella renditions of “Ubi Caritas” and “Ave Maria.”

The quartet released their first album Merry Little Christmas in 2021, followed up a year later by ROVE. Their cover of the Bee Gees’ “How Deep is Your Love” on the album earned them a Grammy nomination for “Best Arrangement, Instrumental or A Cappella.” In 2023, they released We 4 Kings, their first full-length holiday album.

This year, the ensemble is celebrating the holiday season on tour with Grammy-winning mezzo-soprano Joyce DiDonato in a collaborative program, KINGS ReJOYCE!

The partnership was born from an impromptu comment left by Joyce DiDonato after discovering Kings Return’s a cappella arrangement of “Ave Maria” on YouTube. They replied almost immediately: “Thank you! We’re huge fans!”

On a whim, Joyce wrote back, “We should do something together!” Happily, Kings Return said “YES”.

“We completely lost our minds because she’s such a legend in the vocal music space, and getting her attention was truly an honor.” — Kings Return

The artists, united by a love of singing, a desire to share joy, and an attitude of saying “yes” present a program that blends their love for both sacred and secular music.

This special holiday concert arrives in Hill Auditorium on Saturday, December 14. Celebrate the unique way music can bring us home for the holidays with traditional favorites like “Ave Maria” and “Carol of The Bells” in addition to contemporary classics like “I’ll Be Home for Christmas” and more.

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This December 7 & 8, we warmly embrace our cherished holiday tradition of Handel’s Messiah in Hill Auditorium. Under the baton of Scott Hanoian, the Ann Arbor Symphony and the UMS Choral Union will take the stage with four remarkable soloists.

We are honored to be joined by Lauren Snouffer, Eric Jurenas, Lunga Eric Hallam, and Christian Simmons for our 2024 Messiah performances.

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Lauren Snouffer, soprano

Recognized for her unique artistic curiosity in world-class performances spanning the music of Claudio Monteverdi and Georg Frideric Handel through to Missy Mazzoli and Sir George Benjamin, American Lauren Snouffer is celebrated as one of the most versatile and respected sopranos on the international stage.

During the past season Lauren Snouffer made a Glyndebourne Festival debut as Pamina in Die Zauberflöte under the baton of Constantin Trinks and she created the principal role of Justine in the world premiere of Mikael Karlsson and Royce Vavrek’s opera Melancholia at the Royal Swedish Opera. Lauren Snouffer’s concert profile has yielded marvelous results with many of the world’s most distinguished conductors and orchestras including performances with Franz Welser-Möst and The Cleveland Orchestra, Rafaël Pichon and the Handel & Haydn Society, Maasaki Suzuki and the San Francisco Symphony, Manfred Honeck and the Pittsburgh Symphony, Jaap van Zweden and the New York Philharmonic, Alan Gilbert conducting the NDR Elbphilharmonie Orchester, Edo de Waart and the New Zealand Symphony Orchestra, and with Marin Alsop and the Orquestra Sinfônica do Estado de São Paulo.

Listen to Lauren Snouffer’s magnificent voice here:

Eric Jurenas, countertenor

Praised by The New York Times for his “beautiful, well-supported tone and compelling expression,” American countertenor Eric Jurenas has been featured on some of the world’s largest and most reputable stages. His dedication to baroque-era music, newly-created works, and everything in between, has established him as an influential voice.

Recent operatic engagements include productions at the Wiener Staatsoper, Komische Oper Berlin, Royal Opera House at Covent Garden, Theater an der Wien, Badisches Staatstheater Karlsruhe, The Santa Fe Opera, Michigan Opera Theatre, Opera Philadelphia, The Glimmerglass Festival, and Opera Lafayette.

A frequent concert performer and recitalist, he has been featured in programs of varied repertoire. Recent solo recitals include a program of Purcell, Ravel, and Mahler at New York’s Lincoln Center, British Heroes – a program of Handel’s English repertoire with La Chapelle Harmonique – at the Palace of Versailles, and Zeit steht still – a program of English lute song – at the Innsbruck Festival of Early Music. A frequent performer of Handel and Bach, he has performed countless works with both modern symphony orchestras and baroque ensembles, including Boston Baroque, Colorado Symphony, Winnipeg Symphony, American Bach Soloists, Harvard Baroque Orchestra, Juilliard 415, Dayton Philharmonic, and Colorado Bach Ensemble.

Preview this selection of Handel featuring the wonderfully talented Eric Jurenas:

Lunga Eric Hallam, tenor

This season, Hallam will make major orchestral debuts, singing Mozart’s Mass in C Major with Nathalie Stutzmann and the Atlanta Symphony Orchestra, later performing Handel’s Messiah with Masaaki Suzuki and the National Symphony Orchestra and also singing a baroque programme with Emmanuelle Haim and the Los Angeles Philharmonic.

He will also debut Schubert’s Mass no.5 in A-flat with the São Paulo Symphony and sing a recital with Craig Terry at the Kennedy Center in Washington for Vocal Arts DC. On the stage, Lunga will make a debut at Minnesota Opera returning to the role of Count Almaviva in Il Barbiere di Siviglia.

Hallam debuted last season with the Houston Grand Opera, Pittsburgh Opera and a return to Wolf Trap Opera for his first Ferrando in Cosi fan tutte. He began his career in Cape Town, where he studied at the University of Cape Town College of Music, and was in the Young Artist Programme at Cape Town Opera.

At the Lyric Opera of Chicago, Lunga appeared in the Harris Theater’s Beyond the Aria series alongside Joyce DiDonato, and his recent debut with the Chicago Symphony Orchestra and Riccardo Muti as the Judge in Un ballo in maschera. Recent performances at the Lyric Opera include the Sunday in the Park with Lyric’s Rising Stars concert, as well as in the Chicago premieres of Fire Shut Up in My Bones (Adult Nathan) and Le Comte Ory (First Courtier).

Hear Lunga Eric Hallam’s sensational voice in this performance of Bellini’s “La ricordanza” from Sole e Amore:

Christian Simmons, bass-baritone

Washington, D.C. native Christian Simmons, bass-baritone, was a winner in the 2023 Metropolitan Opera Eric and Dominique Laffont Competition. Simmons made his European debut with Deutsche Oper Berlin for the 2023-24 season, as a winner in the Opera Foundation’s 37th Annual Scholarship Competition.

With Deutsche Oper Berlin, Mr. Simmons was seen in Carmen, Anna Bolena, Tosca, Gianni Schicchi, Nabucco, Die Zauberflöte, Madama Butterfly, Lohengrin, La traviata, and La bohème. Also in the 2023-24 season, Simmons made his Atlanta Opera debut in La bohème and joined the Santa Fe Opera as an Apprentice Artist.

As a member of the Cafritz Young Artists of the Washington National Opera, Simmons has appeared on many stages within the John F. Kennedy Center for the Performing Arts. In the concert setting, Simmons was a featured soloist with Maestro Gianandrea Noseda and the National Symphony Orchestra, performing the bass soloist in Mozart’s Requiem and concert aria “Per questa bella mano” at the Kennedy Center Concert Hall.

Simmons has performed with various festivals and companies around the world including the Morgan State University Theater, Bel Cantanti Opera Company, Washington Opera Society, Castleton Music Festival, Amalfi Coast Music Festival, Berlin Opera Academy, Bare Opera Company, and the Maryland Opera Studio. Simmons has also been featured as the bass soloist in such works as G.F. Handel’s Messiah, J.S. Bach’s Magnificat, Gabriel Fauré’s Requiem, Giuseppe Verdi’s Requiem, and Franz Schubert’s Mass in G Major.

Hear Christian Simmons beautifully perform a selection from Mozart’s Don Giovanni:

“Giving back is fundamental to Golden Limousine’s mission and my personal values… It’s about creating a new bottom line that’s not focused solely on profit, but also about lifting the community as a whole.”

Sean Duval is the president and CEO of Golden Limousine International, an Ann Arbor-based private luxury and executive-level transportation service, and one of UMS’s generous corporate supporters. We asked Sean about his background in the arts, favorite UMS moments, and what makes giving back to the community such an important part of his company’s values.

Tell us a little about your background with the arts: First performing arts experience? Did you grow up with the arts or come to them as an adult?

I’ve always appreciated the arts, though my exposure to them grew as an adult. Moving around as an Army brat from community to community and attending various schools in different states allowed me to experience diverse cultural expressions, usually in church or school experiences. However, the exposure gave me an early respect for art in its many forms. It wasn’t until I became more involved in the Ann Arbor community, however, that I fully embraced the performing arts, especially through organizations like the Ann Arbor Symphony, Young People’s Theatre and UMS and later, the Detroit Opera House and Fisher Theatre. Over time, the arts have become an essential part of my life and my family’s life, enhancing our connection to the community.

We see Golden Limousine everywhere in our community. Tell us why is it important for you to give back?

Giving back is fundamental to Golden Limousine’s mission and my personal values. I believe that a strong business community should actively support the environment it operates in. By contributing time, resources, and services, we strive to make the Ann Arbor region vibrant and thriving. My involvement with organizations like the Shelter Association of Washtenaw County, Ann Arbor Area Community Foundation or Washtenaw Community College has shown me firsthand the positive impact businesses can have on the lives of our residents. It’s about creating a new bottom line that’s not focused solely on profit, but also about lifting the community as a whole.

What are your favorite UMS performance memories?

Trevor Noah’s Back to Abnormal tour was hands-down one of my favorite UMS moments. His humor was spot-on, and he tackled tough topics in a way that had everyone laughing while thinking. Nothing felt off-limits, and it was refreshing to hear someone just lay it all out there with such sharp humor. I also really enjoyed Fight Night — getting to be part of the action made it a fun and thought-provoking experience. It’s great that UMS brings these kinds of performances to Ann Arbor, in addition to all the great musical selections.

What role do you see the arts playing in the Ann Arbor community?

The arts bring people together, serving as a bridge across different backgrounds and experiences. In Ann Arbor, UMS and similar organizations enrich our cultural landscape, making the community more inclusive and more vibrant. Bringing UMS to Ypsilanti and the Ypsi Freighthouse was a stroke of genius. The arts also foster creativity and innovation — qualities that make Ann Arbor a unique and attractive place to live and work. Golden Limousine is proud to support these cultural efforts. It helps to fuel our local economy with visitors while enhancing the quality of life for all of us.

Golden Limo is a new corporate donor to UMS. What makes you most excited about this new partnership?

I’m thrilled to join UMS as a corporate donor, as it aligns perfectly with our commitment to enhancing the Ann Arbor community. Partnering with UMS allows us to connect with audiences who appreciate quality, sophistication, and community — a perfect match with Golden Limousine’s values. Beyond financial support, this partnership provides an opportunity for Golden Limousine to serve the community directly, offering comfortable, reliable transportation for events, potentially making the arts more accessible to a broader audience.

How does your support of UMS complement your relationships with other areas of the greater U-M community?

Supporting UMS enhances our commitment to the University of Michigan community, where Golden Limousine has long provided safe, reliable transportation services. We work with U-M athletics, academic departments, and various university events, and now, our relationship with UMS deepens that bond. It’s rewarding to know that we’re not only supporting the logistical needs of the university but also contributing to the broader cultural and artistic life on campus.

Finally, how is it working with your spouse?!

Working with Alina is both a joy and a challenge! She has an incredible eye for detail and a dedication that matches my own, which means we often push each other to be our best. Of course, we have our moments, like any couple working together, but we make it work by respecting each other’s strengths and knowing when to turn off “work mode” and just be a couple. It’s a unique partnership, and I’m grateful to have her by my side in both life and business. Having her support and insight has been invaluable, both personally and professionally. Plus, she’s not afraid to keep me grounded when needed.

Cloud Gate Dance Theatre performing 13 TONGUES, choreographed by Cheng Tsung-lung. Photo by Liu Chen-hsiang.

Thirteen can be a lucky number! After a 13-year absence, the world-renowned Cloud Gate Dance Theatre of Taiwan returned to Ann Arbor this past month to kick off their 2024 North American tour. The contemporary dance company presented 13 TONGUES, a work created by company artistic director Cheng Tsung-lung, which transforms his childhood memories of Taipei into a dreamlike fantasy world accompanied by Taiwanese folk song, Taoist chant, and electronica.

In addition to their two stunning performances at the Power Center, Cloud Gate connected with students and curious dancers in the community. They presented a masterclass to dance majors at the University of Michigan School of Music, Theatre & Dance and a free You Can Dance! workshop at the Riverside Arts Center.

Cloud Gate’s time in Ann Arbor was enhanced through a partnership with the Michigan Taiwanese American Organization (MITAI), which is dedicated to promoting cultural exchange between Michigan residents and Taiwanese Americans in Michigan. MITAI had a busy week as well, accompanying the artists throughout their time in Ann Arbor, providing meals and receptions for the artists, and hosting their own community engagement event to discuss the connections between 13 TONGUES and Taiwanese culture.

Take a look back at this terrific week!

From Hearts to Horizons

Sunday, October 20

MITAI prepared for the company’s arrival by partnering with the Ann Arbor District Library for 13 Tongues and 13 Taiwanese Tales, a series of presentations about the diverse and vibrant culture of Taiwan. Through food, healthcare, industry, arts, religion, and more, MITAI introduced the audience to elements at the heart of both Taiwanese society and Cloud Gate’s performance. Watch the full presentation on YouTube.

Welcome Back to Ann Arbor

Wednesday, October 23

Cloud Gate Dance Theatre first performed at the Power Center in 1979, and their most recent appearance was in 2011, when they presented Water Stains on the Wall. Since then, choreographer and founder Lin Hwai-min handed the reins of the company to current artistic director Cheng Tsung-lung, who, along with the company, arrived in Michigan early Wednesday morning (despite travel delays!)

MITAI President Theresa Yang 楊逸鴻 (right) and board member Tzywen Gong 龔姿文 (left) welcome Cloud Gate Dance Theatre artistic director Cheng Tsung-lung 鄭宗龍 (center) at the airport.

Masterclass

Thursday, October 24

Cloud Gate dancers Hsu Chih-hen and Huang Po-kai led a class for a group of 60 U-M School of Music, Theatre & Dance students. The pair put the full group through warm ups and somatic exercises before teaching some of the choreography found in the weekend’s performances.

Cloud Gate member Hsu Chih-hen leading the class through warm ups.

Good Friends and Good Food

Friday, October 25

MITAI hosted a dinner with Cloud Gate artists at China Palace in Ypsilanti. After lots of hard work and travels, everyone had a wonderful time getting to know each other, sharing stories and celebrating community the night before opening!

Members of the Michigan Taiwanese American Organization and Cloud Gate Dance Theatre of Taiwan

You Can Dance!

Saturday, October 26

Students weren’t the only ones who got to learn and move! Hsu and Huang also led UMS’s first You Can Dance! workshop of the season for the community-at-large. Thirty dancers of all ages and experience levels learned body awareness and contemporary vocal and movement basics before getting their own try at some of the choreography in 13 TONGUES.

Cloud Gate dancer Huang Po-kai modeling a fragment of the show’s choreography for the You Can Dance! participants.

The Hand Bell Sounds

Saturday, October 26 & Sunday, October 27

Beginning and ending with the sound of a single hand bell, 13 TONGUES captivated audiences in two performances. The brilliant colors of costumes and projections, the musicality of voices and electronica, and the sharp movements of the ensemble left audiences with impressions of spirituality, humanity, and journey.

Cloud Gate Dance Theatre performing 13 TONGUES, choreographed by Cheng Tsung-lung. Photo by Liu Chen-hsiang.

The title refers to a legendary 1960s street artist and storyteller known as “Thirteen Tongues,” who could conjure up all the characters of Bangka/Wanhua, Taipei’s oldest district, in the most vivid, dramatic, and fluently imaginative narratives. Choreographer Cheng Tsung-lung first heard about “Thirteen Tongues” when he was a child, through stories shared by his mother. Hear Cheng speak more about his inspiration and creation:

Bravo!

As the projection of the koi fish darted its way off of the curtain into the darkness, audiences leaped to their feet, recognizing both the artists and the choreographer for their illustrious work with several minutes of applause and bows.

Our Sincerest Appreciation

Every staff member at UMS played a significant role behind the scenes in bringing this residency to life. We especially thank our Programming, Production, and Learning & Engagement teams for their tireless dedication over the past months.

UMS has been supported by passionate university, individual, and corporate sponsors who were essential in supporting this residency at the University of Michigan. We thank all of our sponsors for their incredible generosity and commitment to our mission of connecting audiences and artists in uncommon and engaging experiences.

In particular, a special thank you to the Michigan Taiwanese American Organization for their partnership in presenting these wonderful artists.

Presenting Sponsor

Tim and Sally Petersen

Funded in Part by

Harry A. and Margaret D. Towsley Foundation

Media Partner

“Few artists are so fearless and so ravenous in their exploration” as Rhiannon Giddens, proclaimed the influential online music magazine Pitchfork.

We could not agree more. And it’s no wonder why legends like Yo-Yo Ma and Beyoncé have collaborated with Giddens during milestone moments in their own careers. Learn more about Giddens’ unique virtuosity and passion for a more accurate understanding of our country’s musical origins before she returns to UMS with the Silkroad Ensemble on Friday, November 8.

Rhiannon Giddens’ resume is beyond impressive. She is a two-time Grammy Award and Pulitzer Prize-winning singer and instrumentalist, a MacArthur “Genius” grant recipient, and a composer of opera, ballet, and film. Her rise to fame is a testament to her unique artistic vision, centered around lifting up people whose contributions to American musical history have previously been overlooked or erased.

“I believe that knowing your history as a musician is super important. It’s important as a person, it’s important as a country, it’s important as a people.”

Hear her elaborate in a 2017 TED Talk and performance:

Born in Greensboro, North Carolina, Giddens first gained national recognition as part of the Grammy Award-winning folk group Carolina Chocolate Drops (which UMS presented in 2010). Her powerful vocals, banjo, and fiddle skills were a noted focal point of the ensemble.

Hear Carolina Chocolate Drops in a cover of Blu Cantrell’s “Hit ‘Em up Style (Oops!)”

Giddens’ name recognition has skyrocketed in recent years, especially after a collaboration with one of the world’s biggest superstars. Beyoncé’s 2024 album, Cowboy Carter, features Giddens playing banjo and viola in the now-iconic (and TikTok viral!) “TEXAS HOLD ‘EM.”

Following the album’s release, Giddens spoke to ABC News about how she looks to reclaim the Black history of the banjo:

In 2022, Giddens took on a new role as the artistic director of the illustrious Silkroad Ensemble, succeeding Yo-Yo Ma. Ma founded Silkroad in 1998 to be both a touring ensemble composed of world-class musicians from all over the globe and a social impact organization making a positive impact across borders through the arts.

Under Giddens’ leadership, Silkroad creates music that engages difference, sparking cultural collaboration and passion-driven learning. The ensemble strives to help build a more hopeful and inclusive world through performances, the creation and commissioning of new music, social impact initiatives, and educational partnerships.

Silkroad’s upcoming album and tour, American Railroad, illuminates the impact of the Transcontinental Railroad and westward expansion on the communities it displaced and those who labored to build it, taking a more accurate look at the global diasporic origin of the American Empire.

We hope you can join us Friday, November 8, when Rhiannon Giddens and Silkroad Ensemble bring American Railroad to Hill Auditorium. This highlight of UMS’s 24/25 season is one of our most anticipated programs, featuring new commissions by other UMS audience favorites — jazz artist Cécile McLorin Salvant and renowned pipa player Wu Man — as well as new arrangements by Giddens and other Silkroad musicians.

We also encourage you to dive deeper into American Railroad on Silkroad’s website.

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Students look at a display of cereal boxes in Robin Frohardt’s immersive The Plastic Bag Store, January 2023. Photo by Peter Smith

Engaging Performance, a class that brings together resources from U-M and UMS, connects undergraduate students directly to the world-class touring artists who perform music, theater, and dance on the U-M campus. Students enrolled in the course attend live performances, talk with artists and arts administrators, and explore how the performing arts are an integral part of our lives and the world. 

IS IT FOR ME?

Engaging Performance is open to undergraduate students at all levels and across all departments at the University of Michigan; no previous experience or special training in arts is required!

Last year, Maddy Wildman, UMS’s University Programs Manager, spoke to three students to hear the key takeaways from their semester in Engaging Performance. Here are some excerpts from their conversations.

MW: What is your prior experience in the performing arts?

Student: I had no experience with it. I went to a couple of orchestra performances through field trips with my elementary school, and that’s about it.

Student: Not much. It wasn’t really until the pandemic that I experimented with costume design and makeup and a little bit of acting. I was in sports before that, and I thought about doing theater my senior year of high school, but it conflicted too much with varsity sports. I really got to dive deeper into the arts once I got to college.

Student: I’ve been writing poetry since I was about 10 years old and been singing all my life; I’ve always had an interest in the arts.

MW: Why did you sign up for this course?

Student: I’ve always loved the performing arts. I really enjoy classical music and I have a strong appreciation for it, but I never had the avenue to explore and attend these performances. I learned during orientation that many amazing performers come to campus, but first semester went by and I did not attend a single performance. I was busy and I just didn’t make time for it. When I saw this class I got really excited. The class forces you to attend these performances and it’s something I could finally make time for.

MW: What was the most memorable moment in the course?

Student: Attending the first performance, Latasha Barnes’ Jazz Continuum, with the group and discussing different points of view on the performance. The class is from a variety of backgrounds; it’s not just majors in SMTD (School of Music, Theater, and Dance) or Stamps (School of Art and Design), so you get a feel for people from business majors, STEM majors, etc. You get to understand their experience of a performance, even if they don’t know the lingo or comprehend what it means to put on a performance. Getting the opportunity to understand those points of views, collaborate with people, and see their perspectives from a non-artistic point of view was really interesting.

LaTasha Barnes’ The Jazz Continuum

MW: What surprised you the most in this course?

Student: I didn’t expect that the class was going to enhance my experience of the performances so much. I knew we were going to attend performances, but I wasn’t sure what we were going to do in class. I was surprised to interact with so many guests who helped us learn about the art forms and performances. It made me more excited to attend.

MW: How will what you’ve learned in this course affect you in the future?

Student: I want to work with youth and families. I’d like to host events and workshops that introduce children and youth to the arts. I want to ask them questions like, “Have you ever tried playing an instrument? Have you ever been to this type of performance?” You never know what things are pivotal until that person is older and they come back and tell you “Wow, this experience really made a difference for me.” You have to give people a chance to latch on to things and then see what blossoms from it. 

Student: As a business major, I see so many open roads and paths I can take, so I really value being well-rounded. Even as a person, it’s important to be well-rounded, building these experiences and learning how to appreciate other cultures. There’s a whole hidden language within the performing arts audience, like when you clap while watching an orchestra. Immersing yourself in different communities and learning to appreciate them is so important when you go into any career – and especially business careers – to share and connect with people.

MW: Would you recommend this course to a friend?

Student: I would definitely recommend it to a friend. This course is a chance to deepen your appreciation of performances and explore, have fun, and be surprised.

Student: I’d recommend it. It’s a great opportunity to see things that you’re already familiar with, but also to help you better understand performance as a whole. It can also open you up to new mediums that you may not have experienced before. I think it could really help people that aren’t as involved in the arts open up and see what they might like or want to explore further. For people that really love concerts, orchestra, and entertainment, I think it can deepen your understanding and appreciation for those forms.

Winter 2025 Class Information

Term: Winter 2025 // Course Name: Engaging Performance

Course Listing: MUSPERF 200, ALA 260, ENGLISH 290

Instructors: Jason Fitzgerald and Matthew Thompson

Credits: 3 Credits (Humanities Distribution)

Class Schedule: Tuesdays & Thursdays from 11:30 am – 1 pm, Room TBD (Central Campus)

Course Listing

Students will attend live performances of:

• Caroline Shaw and Gabriel Kahane – January 23 // 7:30 pm 
• Natalie Palamides’ Nate – A One Man Show – February 5-9 // 2:00 pm & 7:30 pm
• Branford Marsalis Quartet – February 19 // 7:30 pm
• Shamel Pitts | TRIBE’s BLACK HOLE: Trilogy and Triathlon – March 14-15 // 8:00 pm
• Peeping Tom’s Triptych – March 28-29 // 7:30 pm
• Les Arts Florissants – April 9 // 7:30 pm

These performances constitute the course’s primary “texts”, and the full package of tickets is available to students enrolled in the course for the reduced rate of $90. Additional funds are available for students who need financial support.

Engaging Performance is made possible through a partnership between the University of Michigan and the University Musical Society (UMS).

Some responses have been edited for clarity and brevity, and not all answers have been included in this article. 

Thank You to Our Supporters

The Ehrenberg Family Charitable Fund 

Janice McCoy “Printing Say Nice Things”. Photo: Flint Institute of Arts

UMS is pleased to welcome Janice McCoy as this season’s Flint Artist in Residence. As an artist, Janice seeks to create dialogue between people and the natural world, using flora, fauna, and man-made objects as visual symbols driving dramatic storylines.

Born and raised in Michigan, her fine art studio focuses on drawing, printmaking, painting, and the intersectionality between these practices. Janice attended the University of Michigan-Flint from 2012-18 and holds two degrees in Visual Arts Education (BS) and General Studio Art (BFA). She currently works full-time at the Flint Institute of Art Museum + Art School as the 2-D Programs Manager and is an active member of the Buckham Fine Arts Project.

Janice hopes that her residency will bring attention to the necessity of creative work as part of being human, especially in her exploration of the Flint community and landscape and her education on the process and power of printmaking.

UMS University Programs Manager Maddy Wildman recently interviewed Janice about her hopes for the residency, personal connections to Flint, and overall artistic process.

What is your connection to Flint, MI and how will it inspire your work during this residency?

I’ve lived in Flint for 12 years now, and this is one of my top 10 favorite places on earth. When I first moved here to study biology at UM-Flint, I don’t think I quite got it, but after a year of living here, I started to value the connections that I was able to make. The people here are so authentic, honest, and generous with what they have, and they all possess a real sense of scrappy problem solving, trying to do better or to be better.

I’m an artist because I moved to Flint. I came from a small town, and the notion of a “working artist” or anyone in the arts beyond a high school art teacher was foreign to me. When I took a general education credit in art here, with an instructor who was a working and teaching artist, I saw for the first time someone who was able to support their life making art, and something just clicked.

The community has provided so much support and inspiration for me, be it the teaching staff at UM-Flint or the people in the community who are a part of institutions like Buckham Gallery, Greater Flint Arts Council, and MW Gallery. At this point I feel the need to represent Flint and give back to Flint in any ways that I can, helping others who are a little bit further back in their path with recognizing that they might want to be an artist, that they want to do creative work.

I hope to create something that does justice to Flint and all of its complexities, something that represents the spirit of Flint. I hope that by sharing what I do it’ll give people something new to consider about Flint, something interesting that they’ve never seen before, or even inspire them to be creative.

You plan to host a public printmaking demonstration at the end of the residency. How does printmaking differ from other forms you work in? What value do you think programming like this has for the community?

Printmaking is a really cool medium that a lot of people don’t know about. The multiplicity of the practice is appealing for both artists and collectors because you can sell prints at a much lower price point than something like paintings or drawings. You can also get a lot of different results from utilizing marking, shape and color layering, and combining various methods. Because of this, it’s naturally a very experimental medium. And it also has such a big communication role in social movements, as well as in technology and development.

There’s always a nice atmosphere with printmaking and printmakers too; everyone is willing to share information about their process and their materials. Unlike the “solitary artist” archetype, printmaking opens doors to a vibrant, hands-on community.

Artist Janice McCoy holding “Your Flint River Is Alive”. Photo: Matthew Osmon

Your work has previously explored residents’ connection to the Flint River. Might this show up in the work of this residency, and if so, how?

I’ve always been interested in natural forms like plants and animals, mostly because I grew up in such a rural area. In moving to an urban area, I therefore gravitated towards those green spaces where I could see glimpses of a natural environment.

A few years ago, I did a project with Buckham Fine Arts Project/Buckham Gallery and the Flint River Watershed Coalition called On-Screen. For this project, we created prints for different nonprofits in the community that might be lesser known, bringing awareness to their mission and to the work that they’re doing. It was important to me to bring attention to the fact that the river has an ecosystem; it’s not just barren. There are many misconceptions regarding bodies of water that have been abused in industrial environments; the Flint River has long been associated with sewage, industrial waste, lead poisoning, bacteria which led to Legionnaires’ disease, and more. This is entirely understandable and valid for people who have been through a traumatic event like the Flint Water Crisis, but that event and its consequences was largely caused by human error and government mismanagement. When you look at the condition of the river, that is a little more nuanced. Organizations like the Flint River Watershed Coalition are charged with care of the river and surrounding areas, encouraging programming and use of the river, and helping change people’s perception of the river to encourage public recreation. The Flint River still supports an ecosystem and that’s what I tried to highlight with Your Flint River Is Alive.

As I was thinking about this residency over the past few months, I walked along the river quite a few times and noticed the recent redevelopment efforts. There are several groups trying to clean up both the river and its reputation, promoting efforts to remove decaying infrastructure, to be able to walk up to the river, to introduce recreation along the river. There’s still a lot of work to do, obviously with the physical aspects to the river but also with changing the community’s mind about the river. With the work in this residency, I want to explore the history of the river, how it got to where it was, how people feel about the river, and what the river could be and is moving towards.

In practical terms, I have been thinking about different print techniques and how they could be introduced to support the ideas in my body of work. For instance, I am considering how to use river water as a tool in the printmaking process, experimenting with trays of river water, placing the ink on top to create these organic patterns depending on the wind and the weather. There’s also such an abundance of plant life around the river, so I think there’s potential for impression printing to be done, capturing the texture and the shape of the local greenery.

“It Is What It Is,” 2023. Hand Carved Linoleum

Some of your recent prints feature nihilistic themes and statements, e.g. “It is what it is” and “Screaming Crying Throwing Up”. What are your motivations and goals in exploring these themes?

Most of the time when you see a letterpress relief print in a workshop setting, the text content is aspirational and meaningful, which makes sense as people want to surround themselves with positivity. As I was thinking about the different messages that I was seeing online and the general feeling about the world at that time, sometimes it seems overwhelmingly negative in an almost comical way. So I thought it would be funny to carve and print out all of these ideas. The multiplicity of having a message printed so many times as part of one piece, it seemed to parallel the repetition of something trending online, how it hits you over and over and over again.

I wonder why negativity and apathy seem to be our only ways to respond today, both offline and online. I think part of it is that people get overwhelmed, with their lives, with the sheer amount of information out there, or with the kinds of suffering they see through the media. When we relate to all of these emotions and responses, sometimes we can only laugh — no matter how overwhelmingly unfunny these problems are.

I see two major themes in some of your recent work: one of the natural world, flora and fauna and its relationship with humans, and another of internet cultural references and the proliferation of memes. Some may view these themes as unrelated or even opposed. Are they opposed to you? Are they related? What do you find in the tension (or lack thereof) between these ideas?

I do believe that there is a tension between these themes, and I like that tension. They’re both part of the 2024 human experience, and as we continue venturing into these online spaces we’ve created as a society — social media, virtual reality, and artificial intelligence — tension between how we utilize technology and our connection to the real world will continue to grow.

I don’t think that technology and the natural world are completely at odds, though. As with much of life, we have to find a conscious balance between these categories. They exist within the same sort of ecosystem even if they don’t naturally overlap, and so each of us are responsible for our own prioritization and responsibility for maintaining the usefulness of this tension and balance in our lives.

Can you share some of your artistic heroes and how their work has impacted yours?

In regards to letterpress, one artist I like is Amos Kennedy, a Detroit-based artist with a special knowledge of texture and unconventional printing. His works are steeped in historical or social justice. I admire how he prints very intuitively with the layering of type and shapes, almost looking like paintings because of how rich and colorful the outcomes are.

I’m also a big fan of Caledonia Curry, who uses the street name Swoon. She combines printmaking, sculpture and painting to create these massive installations, often incorporating the natural world into her work.

Finally, Robert Rauschenberg has explored a variety of types of printing, as well as combining them with other artistic mediums. All three of them seem to be expanding the definition of printing, taking risks and being bold, and for me, that’s inspirational.

All this to say that the heart of my artistic practice is the people I’m directly talking to and working with in Flint. Having exchanges about what it’s like to make work and to be an artist inspires me to create and evolve, and being a teacher is also fundamental to my work. Talking with students, friends and colleagues about art or the things they’re thinking about and struggling with is the crux of the human experience, and it helps me to find my voice.

Explore more of Janice’s work at janicemccoy.com or on Instagram.

After a summer break, it was a joy to return to the Ypsilanti Freighthouse for a three-week residency of performances and events in September. In total, over 1,300 people registered or purchased tickets to attend nine public events at the Freighthouse, and we welcomed every second-grade student in Ypsilanti Public Schools!

This residency was all about celebrating cherished traditions — from the history and footwork of Detroit Jit to the movements and sounds of South America and Eastern Europe. Enjoy this recap of our memorable month:

Week 1

Will you have this dance?

Robins and larks (dance partners to the right and left) gathered ‘round for a lively evening of Contra Dance. Participants promenaded, did the do-si-do, and participated in a variety of traditional folk moves with English and Scottish roots, featuring live music by AACTMAD (Ann Arbor Community for Traditional Music and Dance).

Contra Dancing at the Freighthouse

Noise can be beautiful

Sonic textures and stunning projections came together in an unforgettable Friday the 13th event showcasing the diverse subgenre of Noise Music. WDET journalist and DJ Liz Warner hosted the packed evening and mixed beats between sets by three Michigan Noise artists: Monster Island, Infinite River, and Dr. Pete Larson. The party continued after the Freighthouse concert with even more noise music at Ziggy’s in downtown Ypsi.

Infinite River performing in ‘Beautiful Noise’

Browse through more photos on our Instagram post:

 

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Bringing the world to Ypsi

Guitar, violin, oud, percussion, and synthesizer transported listeners to Eastern Europe and beyond in an evening with the Dave Sharp Worlds Quartet. The ensemble is a favorite among Detroit Jazz Festival and Concert of Colors attendees, and it was a joy to present them at the Freighthouse for the first time.

Setting up to film a UMS Live Session with Dave Sharp Worlds Quartet

The day after their performance, the quartet returned to the Freighthouse to record and film a digital-exclusive UMS Live Session, which will be available for streaming in the coming months. Sign up for our Digital Presentations and Livestreams email to get a reminder once it’s online!

Week 2

Moving to the music

Hailing from Colombia, the all-female salsa sextet Las Guaracheras performed to a sold-out audience at the Freighthouse as part of their US tour. Their music was filled with so much energy and joy that the audience couldn’t help but get on their feet to dance!

Freighthouse crowd dancing to Las Guaracheras

Always full of surprises

We never know who or what to expect when we host Open Mic nights…and they never disappoint! Our free, fan-favorite event returned, welcoming community members to take the stage and share their talents. Across two and a half hours, more than 20 performers showcased Diabolo juggling, comedy, poetry, guitar, original songs, and more.

Flip through some snapshots of the evening:

 

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Special thank you to Tyler Rindo, music teacher at Estabrook Elementary School in Ypsilanti, for hosting the evening!

The FreightHouse of Jit

Detroit-based House of Jit brought an explosive performance to the Freighthouse in Michael Manson’s Rhythm of the Feet, which showcased the history and exhilarating footwork of the Detroit dance style.

House of Jit in ‘Rhythm of the Feet’

 

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The following morning, House of Jit hosted families in a dance party for kids of all ages.

Week 3

From the Crescent City to Ypsi

More than 200 young students — representing every second-grade classroom in Ypsilanti Public Schools — joined special performances by Jazzy Ash and The Leaping Lizards. Ash and crew led a New Orleans-inspired musical adventure that reimagined traditional songs, rhythms, and rhymes handed down by African-American communities for a new generation.

Jazzy Ash and The Leaping Lizards

The next day, Jazzy Ash and The Leaping Lizards welcomed more than 50 families to sing along and get on their feet during two free public performances.

Closing time with Kittel & Co

Finally, GRAMMY-nominated composer Jeremy Kittel and his ensemble blended classical and acoustic roots with Celtic and bluegrass aesthetics, and folk and jazz sensibilities. Kittel & Co brought a spirited concert to the Freighthouse on violin, mandolin, guitar, bass, and hammered dulcimer.

Nic Gareiss dancing alongside Kittel & Co

They were joined by special guest Nic Gareiss, whose percussive dance was beautifully woven into the music.

Thank you to our generous sponsors, and to everyone who joined us for our September residency at the Freighthouse. Sign up for our Ypsilanti Freighthouse interest list and be first to learn about our April 2025 lineup as soon as it’s announced.

The September 2024 Ypsilanti Freighthouse residency was supported by Menakka and Essel Bailey, and Linh and Dug Song.

Family Programming Presenting Sponsor

Promotional Partner

UMS’s residencies at the Ypsilanti Freighthouse welcome audiences to uncommon performances in collaboration with artists and partners deeply rooted in the community.

On September 13, we invite you to join us for a “night crawl” of Noise Music in two pillar concert spaces in Ypsi. Start at the Freighthouse in Depot Town for Beautiful Noise — an immersive concert experience featuring members of the Michigan noise and punk scene — then head downtown to Ziggy’s where the celebration continues with iconic band Wolf Eyes.

Note that entry/admission is sold separately for each venue.

Infinite River

Meditation. Metal. And everything in between…

If you’re new to the genre, noise music embraces unconventional sounds and sonic textures that might be considered “noise” in a traditional sense. Rather than focusing on melody, harmony, or rhythm, it explores the aesthetic and artistic potential of sound itself. This can include everything from static and feedback to industrial sounds and manipulated recordings.

Many noise musicians are interested in the conceptual and philosophical aspects of sound and challenge perceptions of what constitutes music. Take a deeper dive into the diverse soundscapes of Noise on our playlist, available on Apple Music or Spotify:

It’s all about the live experience…

Noise music is best experienced live, when you can truly immerse yourself in the sonic worlds crafted by each artist. This September night crawl in Ypsi is the perfect opportunity to hear a ton of local talent contributing to the noise scene. Learn more about the participating artists of Beautiful Noise at the Ypsi Freighthouse and get Pay-What-You-Wish tickets starting at just $5.

Tickets to Ziggy’s late-night sets are available through Eventbrite.

K12 classes arriving at Hill Auditorium

Imagine yourself walking into Hill Auditorium at 10:45 am on a weekday…

The streets are lined with yellow school buses, and kids stream into the venue. The lobby is buzzing with the chatter of young voices and teachers ushering classes to their seats. Inside the auditorium, you can feel the excitement and anticipation building, which comes to a peak as the artists take the stage and are greeted by the yells and cheers of more than 2,000 children. THIS is a UMS School Day Performance!

K-12 educational opportunities are core pieces of UMS’s mission that require significant resources. This year, a generous group of friends took a creative approach to show their support: Bill and Caitlin Beuche, Amanda and Bennett Borsuk, Laura and Brian Hayden, Omari Rush, and Preeti and Tim Schaden decided to combine their individual donations to be able to sponsor a UMS School Day Performance in honor of their friend and UMS Board Co-Chair, Christina Kim.

Christina Kim, UMS Board Co-Chair welcomes K-12 students to Hill Auditorium alongside UMS staff members Anné Renforth and Cayenne Harris.

UMS School Day Performances are wonderful examples of the extensive Learning & Engagement programming offered by UMS. From music to theater to modern dance, these performances feature some of the world’s best artists and use the arts to ignite student imagination and support student growth and development.

“Our children attended UMS school day performances when they were younger. It is such an important opportunity for youngsters to experience performing art in ways they may not otherwise so they can see a world beyond their own. I love that we have that in our community. I am also so proud of the work Christina is doing and how much she gives back. Doing this felt like the perfect way to honor and support an amazing organization and individual all at once.”
– Preeti Schaden

The Schaden Family with Christina Kim’s kids

“By leveraging the world-class performers it presents to provide exposure to kids who, in many cases, aren’t getting enough music in their lives, UMS can help to forment creativity and inspire the next generation of performers and fans. That’s crucial to the survival of our great cultural institutions.”
– Bill Beuche

“As a former staff member at UMS who managed K-12 education programming, I have witnessed firsthand the impact of arts education and integration in young children’s lives. It is a full circle moment for me to now have an opportunity to philanthropically support these important endeavors at UMS and honor Christina’s outstanding contribution to the organization.”
– Omari Rush

Charles and Christina Kim with Omari Rush

“To savor music in this way can inspire a lifelong love of music and enhance their desire to learn more about it. Many will recall these performances for their entire lives. We make this donation in honor of Christina Kim, a dear friend, who has dedicated much to support UMS in their tireless effort to bring Ann Arbor together through music.”
– Amanda Borsuk

Bennett and Amanda Borsuk with Christina and Charles Kim.

“Strong school systems are important to any thriving community. I appreciate and support UMS’s programming that allows students throughout Southeast Michigan to be able to experience and appreciate the arts. (And of course it’s always fun to support a good friend who is doing great things for our community.)”
– Laura Hayden

K-12 students at a UMS School Day Performance

On February 24, 2025, “Friends of Christina Kim” will be recognized as a sponsor of Third Coast Percussion’s School Day Performance. This collaborative gift has offered a special opportunity for the group, many of whom have children of their own, to direct their support to an area of UMS’s programming that not only has great need but has been personally impactful, while at the same time highlighting Chritina Kim’s incredible leadership and impact on UMS.

Yunchan Lim wins first prize at the 2022 Van Cliburn International Piano Competition.

As the exciting 2024 Olympic Games begin in Paris, we revisit the spectacular international competition-winning performances by 24/25 season guest artists Seong-Jin Cho and Yunchan Lim — both of which have garnered millions of views online!

Seong-Jin Cho

South Korean pianist Seong-Jin Cho rose to fame within the global classical music world in 2015, after winning the 17th International Chopin Piano Competition and becoming the first pianist from his country to do so. Enjoy his performance of Chopin’s Piano Concerto No. 1 in e minor, from the final stage of the competition:

Cho will make his UMS debut in February 2025, in a marathon program of the complete solo piano works of Maurice Ravel, a celebration of the composer’s 150th birthday.

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Yunchan Lim

In June 2022, Yunchan Lim became the youngest person ever to win gold at the Van Cliburn International Piano Competition. Watch his unforgettable final-round performance of Sergei Rachmaninoff’s Piano Concerto No. 3 in d minor:

Last season, Lim made his UMS debut in a sold-out performance with the Orchestre de Paris. He will return to Hill Auditorium in April 2025 in a recital program featuring J.S. Bach’s masterful Goldberg Variations.

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Our 24/25 Chamber Arts Series welcomes back friends like the Takács Quartet (pictured above), plus the exciting UMS debuts of Branford Marsalis, the Escher Quartet, and the Rosamunde Quartet. Preview all six programs in Rackham Auditorium:

Escher Quartet

Sun Nov 10 at 4 pm

The Escher Quartet takes its name from the Dutch graphic artist M.C. Escher, inspired by his method of interplay between individual components working together to form a whole. Based in New York, Escher opens the Chamber Arts Series with a program featuring Mendelssohn’s last major composition, Béla Bartók’s second string quartet, and Dvořák’s joyful final string quartet, written shortly after he returned to Bohemia after a three-year stint in America.

Program

Felix Mendelssohn String Quartet No. 6 in f minor, Op. 80
Béla Bartók String Quartet No. 2, Op. 17, Sz. 67
Antonín Dvořák String Quartet No. 14 in A-flat Major, Op. 105

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Ariel Quartet with Alisa Weilerstein, cello
folk•lore

Thu Dec 12 at 7:30 pm

For centuries and across continents, folk music has influenced art music. This program, entitled folk·lore, explores the gray zone between the two styles through a dialogue between solo cello and string quartet, with all five artists performing an uninterrupted suite of traditional folk music from around the world.

The second half features one of the most influential works in the classical music repertoire: Schubert’s Cello Quintet in C Major, the last movement of which skillfully weaves together folk and art music through rhythmic and harmonic patterns characteristic of the Romani music of Hungary.

Program

Original works and transcriptions arranged by the Ariel Quartet and Alisa Weilerstein
Franz Schubert Cello Quintet in C Major, Op. 163, D. 956

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Caroline Shaw and Gabriel Kahane

Thu Jan 23 at 7:30 pm

Respected as both performers and contemporary composers, Caroline Shaw and Gabriel Kahane embark on their first large-scale collaboration after working together for more than a decade.

They invite audiences to contemplate the joy, grief, wonder, and bewilderment that spring from a life oversaturated in information in a UMS co-commission inspired by Jorge Luis Borges’s 1939 short story, “The Library of Babel.” In this enigmatic narrative, Borges conjures a captivating and perplexing universe where the notion of infinity collides with the fragility of human understanding.

Program

Caroline Shaw and Gabriel Kahane The Library of Babel (UMS Co-Commission)
Additional works to be announced

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Branford Marsalis Chamber Project

Fri Feb 21 at 7:30 pm

Branford Marsalis brings his classical chops to Rackham Auditorium in a concert featuring two members of the U-M School of Music, Theatre & Dance community: saxophone professor Timothy McAllister and collaborative pianist Liz Ames.

The oldest son of pianist and educator Ellis Marsalis, Branford fully embraces both jazz and Western classical music, in addition to a burgeoning career as a composer. When asked a few years ago whether he finds classical music or jazz harder, the saxophonist said, “Classical is harder. Jazz is like a story that you personalize, but classical is a story where you can’t use your own words. It’s like reading Shakespeare or Chaucer. You have to develop the characters to make them believable, but the words aren’t yours, and you’re not going to change [them].”

Program

Claude Debussy Rhapsodie, L. 98
Sally Beamish “First Light” from Divertimenti for Two Soprano saxophones and Piano
Kelly-Marie Murphy Unstoppable Fear Machine
Additional works to be announced

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Rosamunde String Quartet

Wed Mar 12 at 7:30 pm

Founded in 2015, the Rosamunde String Quartet is composed of members from three of the world’s greatest orchestras: Noah Bendix-Balgley, the first concertmaster of the Berlin Philharmonic; Shanshan Yao, a concert violinist and former member of both the Pittsburgh Symphony and the New York Philharmonic; Teng Li, principal violist of the Los Angeles Philharmonic; and Nathan Vickery, cellist with the New York Philharmonic. By uniting their experiences, they create a distinctive sound and unanimity of expression, sharing their love of chamber music with each other and with audiences worldwide.

Program

Ludwig van Beethoven String Quartet No. 3 in D Major, Op. 18, No. 3
Béla Bartók String Quartet No. 3, Sz. 85
Franz Schubert String Quartet No. 14 in d minor, D. 810 (“Death and the Maiden”)

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Takács Quartet

Thu Apr 24 at 7:30 pm

“Classical music doesn’t get much more life-enhancing than this.” (The Guardian, London)

Since their UMS debut in 1984, the Takács Quartet’s nearly annual appearances are always a highlight of the Chamber Arts Series. This year, the cherished ensemble celebrates its 50th anniversary with a program that pairs Haydn and Beethoven, two innovators of the string quartet form, with Benjamin Britten’s rarely-performed String Quartet No. 2.

Program

Joseph Haydn String Quartet in C Major, Op. 54, No. 2
Benjamin Britten String Quartet No. 2 in C Major, Op. 36
Ludwig van Beethoven String Quartet No. 16 in F Major, Op. 135

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24/25 Season Ticket packages are on sale now! You can experience these performances in our 6-concert Chamber Arts for as little as $150. Or, craft a performance season as unique as you and save 10% with Series:You. Either way, you’ll get early access to the best seats in Rackham Auditorium — and at the best prices — before individual event tickets go on sale in August.

Subscribers save up to 17% over individual event prices and receive other great benefits as well, including discounts throughout the year to all UMS events, free exchange privileges, installment billing, and more!

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Howard Bond and Elida Malila

One of the great perks of working at UMS is hearing about our patrons’ cherished memories and the beautiful relationships that can blossom through shared arts experiences.

Howard Bond and his late wife, Margaret (1931-2022), met shortly before enrolling in Bowling Green State University, where she was (according to Howard) the piano star of the music department and came within a hair of graduating with the highest GPA in the whole of BGSU in 1952. They moved to Ann Arbor in 1962 and held season tickets for the UMS Choral Union series for several decades. Later in life, they added season tickets for the Detroit, Toledo, and Ann Arbor symphonies and reached a peak of attending 40 concerts annually.

Howard’s career was in photography (see some of his work on The Art Institute of Chicago’s website), and he studied under renowned landscape photographer Ansel Adams. Margaret was a piano teacher and performer while also raising their two children, Susan Tobias and Brian Bond. In the 1960s, Howard began to sing in the UMS Choral Union, and continued to participate for nearly 40 years under directors Lester McCoy, Donald Bryant, and Thom Sheets.

Among all the great European and American orchestras with which the UMS Choral Union sang, Howard’s most memorable experience was singing Mahler’s 8th Symphony in Grand Rapids in 1997 (the concert was repeated in Ann Arbor). He recalls that Catherine Comet, the orchestra’s conductor, brought together a combined chorus from Ann Arbor and Grand Rapids and she did a fine job of conducting. However, she had the flu during the Grand Rapids performance. At the end, she staggered off the stage and was too ill to come out for a bow. Howard thought she was a hero.

After many loving decades together, Margaret sadly passed away in August 2022. Howard’s love of the arts endured despite the heartache of her loss, and he continued to attend UMS performances without his music-loving partner by his side.

The following May, Howard bought a ticket to see Mahler’s Symphony No. 2 at Hill Auditorium, which he had previously sung with the Detroit Symphony Orchestra. When Howard was seated, he saw that the adjacent seat was occupied by a woman who looked slightly familiar, but he didn’t know her name. He soon learned that she, Elida Malila, had played Rachmaninoff’s second piano concerto as a senior in high school and received a music degree from Michigan State.

Howard now has season tickets for those two exact seats (pictured above), and they have attended many other concerts together in the past year. “The frosting on the cake is that Elida was in the Choral Union at the same time I was, but we never met because the chorus is so large!”

Howard is an incredibly generous philanthropic supporter of UMS, and was excited to sponsor the Berliner Philharmoniker’s return in UMS’s 24/25 Season. He shared with us:

“My eyes lit up when I saw that the Berlin Philharmonic, probably Germany’s best, is scheduled for two concerts here this fall. I directed that my annual contribution be used to help sponsor them. I wonder how many Ann Arbor citizens realize how lucky we are that UMS makes these musical treats available to us.”

Applause for Yo-Yo Ma, Kayhan Kalhor, Carlos Miguel Prieto, and the Orchestra of the Americas after the preview premiere of Venus in the Mirror, June 11, 2024. Photo by Eric Bronson.

In the summer of 2023, Yo-Yo Ma’s management team approached UMS about an opportunity to host a one-of-a-kind musical gathering at the University of Michigan. This project would bring together talented young musicians from around the world to rehearse, workshop, and perform an all-new concerto in advance of its official world premiere at the Elbphilharmonie in Hamburg, Germany.

The Orchestra of the Americas, a Latin Grammy-winning ensemble led by conductor Carlos Miguel Prieto, would also invite approximately 20 students from the U-M School of Music, Theater & Dance in a week of workshops for this new double concerto, written for cello and kamancheh (spiked fiddle) by composer Kayhan Kalhor. The piece celebrates 25 years of musical friendship between Ma and Kalhor, who were both original members of the Silkroad Ensemble.

After months of complex planning and preparation during our 23/24 season, this project came fully to life with a weeklong residency and culminating performance in Hill Auditorium on June 11, 2024. Enjoy this recap of an unforgettable week!

Welcome to Ann Arbor

Thursday, June 6

More than 60 musicians from 18 countries arrived in Ann Arbor for the start of the residency. A morning orientation allowed the Orchestra of the Americas musicians to meet the participating U-M SMTD students and explore the beautiful University of Michigan campus.

A group of Orchestra of the Americas musicians in front of Hill Auditorium on their campus tour.

Sectional Rehearsals Across Campus

Thursday-Saturday, June 6-8

Musicians worked together over three days of sectional rehearsals led by faculty from OA and U-M SMTD, as well as OA conducting fellows. They ensured the collective ensemble was well prepared before the arrivals of conductor Carlos Miguel Prieto and soloists Yo-Yo Ma and Kayhan Kalhor.

In addition to the new Kalhor concerto, their performance repertoire included Gabriela Ortiz’s Téenek, plus Ottorino Respighi’s Roman Festivals and Pines of Rome.

 

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All Together On Stage

Sunday, June 9

After an exciting first rehearsal with the full orchestra and guest artists, Yo-Yo Ma joined the musicians for a quick photo op!

 

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An Insider’s Perspective

Monday, June 10

U-M SMTD oboist Mark Doerr took over UMS’s Instagram account to give us an insider’s look (and listen!) of the final day of rehearsals with his colleagues. In this clip, he tackles a passage from Respighi’s Pines of Rome…

 

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A Packed Audience

Tuesday, June 11

Audiences began to fill the 3,500-seat Hill Auditorium in eager anticipation of the residency’s culminating performance. This concert sold out within a week of its public on-sale in January!

Audience filling Hill Auditorium. Photo by Peter Smith.

Venus in the Mirror Debuts

Yo-Yo Ma and Kayhan Kalhor brilliantly performed Venus in the Mirror, Kalhor’s new double concerto, in the first half of the program.

Kayhan Kalhor and Yo-Yo Ma. Photo by Eric Bronson.

Kalhor shared the following insights on his composition:

As a musician, I have always cherished the profound privilege of interpreting the voice of my musical culture and instrument in moments of solitude and alongside those I hold dear. Over the past 50 years, this freedom has enabled me to define my perception of life through the Arts.

Amidst a world in turmoil, a 25-year journey of friendship and collaboration with a remarkable individual is a milestone that calls for artistic commemoration.

This piece serves not only as a celebration of our bond but also as a reflection on the social interests and complexities in general and during the past few years, particularly the current situation and social nuances of my home country and the brave young Iranians, especially Iranian women.

The concerto, Venus in the Mirror, is a testament to peace and friendship. It was born out of a desire to create a moment of tranquility amid chaos and to explore the delicate balance of human existence. This theme resonates deeply in these complicated times.

A Thrilling Second Half

In the second half of the program, audiences were treated to Ottorino Respighi’s masterpieces Roman Festivals and Pines of Rome, which featured the sonic brilliance of antiphonal brass from the balcony.

Antiphonal brass in the Hill Auditorium balcony during Respighi’s Pines of Rome. Photo by Peter Smith.

An Encore Unlike Any Other!

Carlos Miguel Prieto and the Orchestra of the Americas kept the celebration going with two joyous encore pieces by Alberto Ginastera and Zequinha de Abreu, which had the crowd stomping their feet. The final encore featured improvised musical and dance solos by the musicians — an Orchestra of the Americas tradition at every concert they perform!

Improvised dance during the Orchestra of the Americas’ encore. Photo by Peter Smith.

In the final of several standing ovations, OA musicians proudly unfurled flags from their home countries in a fantastic sendoff, a visual commemoration of this unforgettable residency and week of cultural exchange.

Orchestra of the Americas musicians holding flags representing their home countries. Photo by Peter Smith.

Our Sincerest Appreciation

Every staff member at UMS played a significant role behind the scenes in bringing this residency to life. We especially thank our project leaders in Programming, Production, and Learning & Engagement teams for their tireless dedication over the past months:

Alex Gay, Director of Production
Cayenne Harris, Vice President, Learning & Engagement
Marissa Honig, Project Manager
Mark Jacobson, Vice President, Programming and Production

UMS has been supported by passionate university, individual, and corporate sponsors who were essential to making it possible for us to support this residency at the University of Michigan. We thank all of our sponsors for their incredible generosity and commitment to our mission of connecting audiences and artists in uncommon and engaging experiences.

Orchestra of the Americas residency sponsors with Kayhan Kalhor, Yo-Yo Ma, and Carlos Miguel Prieto. L-R: Mark Clague (Arts Initiative), Thea Glicksman, Menakka Bailey, Peter Schweitzer, Kayhan Kalhor, Yo-Yo Ma, Carlos Miguel Prieto, Rachel Feder, Dan Feder, Eileen Weiser, Dick Caldarazzo, Mike Martin, Brian Weisman

Presenting Sponsors

Matt and Nicole Lester
Menakka and Essel Bailey

Principal Sponsors

Martin Family Foundation
Elaine and Peter Schweitzer
Linh and Dug Song

Supporting Sponsors

Helga and Jerry Bilik
Stephen and Faith Brown
Rachel and Dan Feder
Shaomeng Wang and Ju-Yun Li
Ellie Serras
Brian Weisman
Dianne Widzinski
Jon and Sandy Willen

Patron Sponsors

Thea Glicksman