The Jazz at Lincoln Center Orchestra’s February 2026 residency brought music, inspiration, and community connection to life, featuring engaging conversations with Wynton Marsalis, student performances, and visits that left a lasting mark on audiences of all ages.

Wynton Marsalis in Conversation

Celeste Watkins-Hayes, dean of the U-M Ford School of Public Policy, joined renowned musician Wynton Marsalis for a public conversation reflecting on America at 250 and the role of music in shaping culture and civic life. Their wide-ranging discussion invited the audience to consider how the arts influence national identity, foster dialogue, and help imagine the country’s future.

School Day Performance

The Jazz at Lincoln Center Orchestra brought the energy of live jazz to a packed school-day performance and livestream, welcoming approximately 2,300 students, teachers, and chaperones from more than 30 schools and seven homeschools, spanning grades K–12. The daytime concert introduced young audiences to the excitement of big band music in an engaging, educational setting.

During the post-show Q&A, a first grader bravely asked to play music together with the band, sparking an impromptu rendition of “Baby Shark” that had the entire auditorium singing and clapping along. In the video clip below, watch how this joyful moment perfectly captured the spirit of the day: interactive, inspiring, and filled with the shared power of live music.

The Jungle performance with USO

The U-M School of Music, Theatre & Dance’s University Student Orchestra took center stage in a landmark collaboration with the JLCO, performing Marsalis’s Symphony No. 4, “The Jungle,” under the baton of USO Music Director Ken Kiesler. For the student musicians, the project offered a rare opportunity to rehearse and perform alongside world-class jazz artists in a large-scale, genre-blending work.

Learn more about “The Jungle” and how Marsalis draws inspiration from New York City’s vibrant, turbulent, electrifying pulse.

Children’s Hospital performance

JLCO musicians joined U-M Jazz students for a special performance at Sophie’s Place at C.S. Mott Children’s Hospital, sharing live music with patients, families, and healthcare workers. For those unable to attend in person, the performance was streamed directly into patient rooms, bringing the energy and joy of jazz throughout the hospital.

Coaching and Class Visits

In addition to their performances, musicians from the JLCO spent time in classrooms and rehearsal spaces across the community, connecting directly with young artists and students. At Duke Ellington Middle School, Community High School, and Huron High School, three student jazz bands performed for the visiting artists, receiving real-time feedback, mentorship, and encouragement. JLCO members also worked with the U-M Band Ensemble and the Washtenaw Community College jazz ensemble, sharing professional insights and engaging students in collaborative musical exchange.

JLCO Vice President Todd Stoll participated in a class visit exploring “Hot Takes vs. Deep Dives: Arts Journalism and Criticism in the Digital Age,” expanding the conversation to include how we evaluate and discuss the arts today.

Every visit by Wynton Marsalis and the Jazz at Lincoln Center Orchestra creates unforgettable memories and experiences for students and community members across generations. This year’s JLCO residency turned classrooms, stages, and hospital rooms into vibrant spaces of learning and laughter, proving the power of jazz to inspire and unite audiences.

Thank you to our generous supporters who continue to make this extraordinary partnership possible.

Title Sponsor

Presenting Sponsors

Menakka and Essel Bailey
Gil Omenn and Martha Darling

Principal Sponsors

James and Nancy Stanley

Supporting Sponsors

UMS Medical Community Endowment Fund
Anthony Reffells

Patron Sponsors

Ken and Penny Fischer

Funded in Part By

Media Partners

WEMU 89.1 FM
WRCJ 90.9 FM
WGTE 91.3 FM
Michigan Public 91.7 FM
WDET 101.9 FM
Ann Arbor’s 107one

Martha Graham Dance Company returned to the Power Center stage to celebrate its 100th anniversary with three unforgettable performances and a dynamic lineup of events. The week brought together company dancers, U-M students, and audiences from beyond campus through a special lobby art installation, a book signing, and dance workshops for all skill levels. From stage to studio to shared spaces, the Martha Graham Dance Company made its presence unmistakable. Take a look back at this action-packed week.

Three Different Programs, Featuring U-M students

To highlight the breadth of Martha Graham’s repertoire, the company presented three distinct programs over the course of the weekend. Friday and Sunday performances featured Panorama, performed by 30 first-year University of Michigan School of Music, Theatre & Dance students, while Sunday’s program also included Appalachian Spring accompanied by live music from the U-M Contemporary Directions Ensemble. With a different program each night, audiences were inspired to return—35 households attended all three performances, and 78 households experienced two.

School Day Performance

In addition to their public performances, the company performed Appalachian Spring and We the People for 600+ K-12 students from nine Southeast Michigan schools.

Lobby Installation

Peter Sparling, U-M professor emeritus and former Martha Graham principal dancer, celebrated the company’s visit with Doom-Eager: Paintings for Martha, a Power Center lobby exhibition inspired by Night Journey and Graham’s tragic heroines.

Martha Graham at 100 Book Signing

A special book signing at Literati Bookstore celebrated Martha Graham Dance Company: 100 Years, the photography book by Ann Arbor natives Deborah Ory and Ken Brower of NYC Dance Project, with remarks from the photographers alongside Sparling.

You Can Dance!

Rehearsal Director Blakeley White-McGuire and MGDC dancer Meagan King led a free You Can Dance! workshop for community members of all ages and skill levels, exploring movement inspired by Martha Graham’s iconic style in an accessible, welcoming environment.

Masterclasses and Workshops

Artist facilitators Seycon Nadia and Cara Graninger brought Martha Graham’s legacy to life in 12 school workshops across Southeast Michigan, guiding students to create their own pieces inspired by her innovative dance style. MGDC artists engaged with students across multiple academic contexts through performances, conversations, and classroom visits. White-McGuire participated in a 30-minute moderated conversation in the course Community Matters, exploring the intersections of community engagement and community impact through dance. MGDC apprentice dancer Grace Sautter visited both the American Culture course Dance in America and the UMS-sponsored Engaging Performance class, leading Q&A sessions with students in each setting. In addition, SMTD dance majors participated in a masterclass hosted by White-McGuire and observed a portion of an MGDC rehearsal on the Friday prior to the performance.

Thank You to Our Sponsors

UMS first presented the Martha Graham Dance Company in 1970, and they remain one of our closest artistic partners. We are grateful to our generous supporters who helped make this residency possible.

Title Sponsor

The Ehrenberg Family Charitable Foundation

Principal Sponsors

Herbert S. and Carol L. Amster Endowment Fund

Ken Fischer Legacy Endowment Fund

Supporting Sponsors

Ilene H. Forsyth Theater Endowment Fund

Claire L. Turcotte

Funded in Part by

Harry A. and Margaret D. Towsley Foundation

Media Partners

Michigan Public

Martha Darling and Gil Omenn

Martha Darling and Gil Omenn have lived in Ann Arbor for more than 25 years and have been avid arts supporters in our community, serving on the boards of UMS and the Ann Arbor Symphony Orchestra and a fixture at performances. Their 25/26 season support includes a performance sponsorship of the Fauré Piano Quartets on Thursday, February 12, featuring violinist James Ehnes, violist Jonathan Vinocour, cellist Raphael Bell, and pianist Inon Barnatan. We spoke to Martha and Gil about their background in the arts and many years of friendship with James Ehnes, who they affectionately know as “Jimmy.”

What were early performing arts experiences that helped form your love for the arts today?

Martha Darling (MD): I grew up in Los Angeles, where the year-round weather allowed kids to be outside playing games and sports. But I do remember going to downtown Los Angeles for the Civic Light Opera to see Broadway shows from the time that I was about 12. Touring and remounting shows then was a big deal, and we went to 6-8 shows a year. I think my first show was Peter Pan with Mary Martin, and we also saw first-class runs with the stars of the day: Damn Yankees with Jerry Lewis, a lot of Rogers and Hammerstein, including South Pacific with Mary Martin, and Lerner and Lowe. It was live music, and looking back I realize how terrifically lucky I was to have these experiences. I took the “statutory” three years of piano when I was a kid, but I was a swimmer and not really interested in music until I got to Reed College, where friends introduced me to Bach, Beethoven, Brahms, and so on, opening my eyes to discovery.

Gil Omenn (GO): I came to music much earlier. I started with piano from both of my parents, then clarinet, oboe and alto sax throughout school. In high school, I played oboe in the Youth Orchestra connected to The Philadelphia Orchestra and alto sax in the Bands of Tomorrow Competition of Greater Philadelphia. I played clarinet in the Princeton Marching Band and even made the cover of Sports Illustrated! Then I played piano for the Second Year Show at Harvard Medical School. I served on the boards of the Seattle Symphony and the Seattle Youth Symphony Orchestra. After coming to Ann Arbor in 1997 as Executive Vice President for Medical Affairs and CEO of the University of Michigan Health System, I helped start the Life Sciences Orchestra, which just played its 25th anniversary concert in Hill Auditorium.

Martha, you met violinist James Ehnes when you lived in Seattle. How did you end up there?

MD: After college in Oregon, I did graduate work at Princeton in international economics. After a brief stint working as a field organizer for Movement for a New Congress, I spent four years in Paris doing consulting work for the Organization for Economic Cooperation and Development, an outgrowth of the Organization for European Economic Cooperation, which managed European reconstruction through the Marshall Plan. One of the things I explored as part of that work was the policy implications of the role of women in the economy. After four years, I was ready to return to the United States and took a position at a think tank in Seattle. A few months before I left Paris, a friend made a connection to a friend of his from Seattle who was passing through Paris as part of his White House fellowship. That was how I met Gil over 50 years ago. We were in Seattle for a few years, then moved to DC, and then back to Seattle in 1982 for 15 years before we came to Ann Arbor.

And James Ehnes?

We’ve known him so long we call him “Jimmy.” When he was 19, he came to the Seattle Chamber Music Festival (SCMF), which was founded by a good friend of ours, Toby Saks, a cellist who had been with the New York Philharmonic. Toby had a vision to create a chamber music festival and invite young musicians who had just graduated from the country’s leading music schools. Jimmy made his first appearance in 1995.

The festival continues to be terrific for both the musicians and the audiences. So many artists we’ve seen at UMS were people we first saw at the Seattle Chamber Music Festival — Inon Barnatan, Anton Nel, Richard O’Neill (now with the Takács Quartet), and many others. Jimmy became the artistic director of the Festival eight years ago, and we still spend every July in Seattle for it.

James Ehnes performing with pianist Inon Barnatan:

Do you have a favorite memory of James Ehnes, whether in concert or personally?

We used to play softball together — Jimmy is a great baseball fan! Last summer, the SCMF put together a small ensemble to play the National Anthem at a Seattle Mariners game, and Jimmy got to throw the first pitch — a dream come true for him! Just like with music, he practiced a lot to ensure that his throw made it to the catcher without bouncing. We were thrilled for him. He recently joined the faculty at Indiana University as a violin professor.

Those of us who were in the audience for James Ehnes’s concert in Rackham a couple of years ago remember how delightful and engaging he was in introducing each piece and really developing a great rapport with the audience.

I think you’ll see that in their performance this month, too. The four members of this quartet all know each other from Seattle.

Funny that you mention that — Inon Barnatan told us that they first performed one of the Fauré quartets together there, and they had such a great time that they decided to take the concert on the road. It’s not part of a larger tour, so we were thrilled to be able to find a date when all four of their calendars aligned.

They are always interested in exploring the works of new and lesser-known composers and know how to spread the joy about music. Each year, Jimmy commissions a new work for the festival — the last one was a duo for violin and mandolin with Chris Thile — and he loves to introduce people to pieces they haven’t heard before. Our horizons have been stretched throughout the past 40 years because of a range of outstanding composers that have appeared on the SCMF and UMS programs.

All of us at UMS thank Martha Darling and Gil Omenn for their ongoing support of great music in our community. We invite you join them (and Jimmy!) in our wonderful presentation of French masterworks by Fauré on Thursday, February 12, 2026.

More Info & Tickets

Estonian Philharmonic Chamber Choir

On Friday, February 13, 2026, Hill Auditorium will reverberate with some of the most deeply spiritual and profoundly moving choral music of the past half-century as the Estonian Philharmonic Chamber Choir presents an all-Pärt program in honor of Arvo Pärt’s 90th birthday.

Learn more about Pärt’s uniquely minimalist compositional style and preview some of the works that will be performed:

The Man Behind the Music

Arvo Pärt was born in 1935 in Paide, Estonia, and over his long career has become one of the most influential and widely performed living composers in the world. Early in his life he studied and experimented with serialism and avant-garde techniques, even writing atonal and 12-tone works in the 1960s, but these styles eventually felt constricting to him. In the early 1970s he entered a period of deep reflection and study, immersing himself in Gregorian chant, early polyphony, and Renaissance music, that transformed his artistic trajectory.

Out of this period emerged the signature compositional language that defines his music today: tintinnabuli, a term Pärt coined from the Latin tintinnabulum, meaning “a little bell.”

What Is Tintinnabuli?

At its heart, tintinnabuli is about reduction and clarity. Instead of dense harmonic complexity, Pärt builds his music from a few simple elements (often a melody line and a supporting voice that arpeggiates the triad), creating an almost hypnotic interplay of sound and silence. The effect is minimalist in the purest sense: every note matters, and every pause shapes meaning. In Pärt’s own words, “I have discovered that it is enough when a single note is beautifully played. This one note, or a silent beat, or a moment of silence, comforts me.”

This technique has made his music highly distinctive — meditative, luminous, and, for many listeners, deeply spiritual.

Choral Works That Transcend Time

This concert program taps into the full range of Pärt’s choral genius, ranging from ancient liturgical texts to works that feel entirely timeless.

Sieben Magnificat-Antiphonen – A set of short prayers that frame the traditional “Magnificat” text with luminous, bell-like sonorities.

Missa Syllabica – A unique setting of the mass ordinary that showcases Pärt’s ability to blend meditative restraint with profound emotional weight.

Summa – Originally a secular vocal work, this piece exemplifies Pärt’s ability to find sacred resonance even outside liturgical texts.

The Deer’s Cry – Later choral work that unfolds as prayers and invocations set to music of astonishing stillness and depth.

Magnificat – Pärt’s setting of the ancient Latin text, a work that marries chant-inspired lines with his signature tintinnabuli harmonies to create an exquisitely balanced reflection on joy and supplication.

Other selections like Nunc dimittis further extend his choral palette, drawing on both Christian liturgical tradition and a more universal sense of spiritual yearning.

A Rare Performance

Hearing these works live with the Estonian Philharmonic Chamber Choir, under the direction of Tõnu Kaljuste, is a rare opportunity. This ensemble has become synonymous with Pärt’s music, as they have premiered and recorded many of these works and are especially attuned to the subtle interplay of tonality and silence that defines his style. Named by BBC Music Magazine as one of the world’s top choirs, their sound is at once radiant and introspective, perfect for revealing the emotional and spiritual layers beneath Pärt’s deceptively simple scores.

Pärt’s music invites us to slow down, to listen more closely, and to let sound and silence work together to open spaces inside ourselves. Join us Friday, February 13 for an unforgettable, transcendent concert experience.

Get Tickets

Tickets start at just $20 (+ fees); $15-20 student tickets available.

Bonus: Estonian Pronunciation Guide

Ever wonder how to properly pronounce the ‘ä’ in Pärt? This handy 5-minute guide will help you brush up on your Finnish and Estonian composer names! (Jump to the 2:50 mark to skip to “Arvo Pärt”)

What does it sound like to put the heartbeat of a city into music? To capture the complexity of a metropolis where dazzling energy, deep inequalities, collision and connection live side by side? That’s the ambition behind Wynton Marsalis’s Symphony No. 4, “The Jungle,” and it’s coming to life in a one-of-a-kind collaboration, Friday, February 6 in Hill Auditorium. Marsalis and the Jazz at Lincoln Center Orchestra will be joined by the University of Michigan Symphony Orchestra under the direction of conductor Kenneth Kiesler.

Commissioned by the New York Philharmonic and premiered in 2016, “The Jungle” is one of Marsalis’s most daring works: a full-length symphony scored for “jazz ensemble and symphony orchestra” that draws its inspiration from New York City’s vibrant, turbulent, electrifying pulse.

A Musical Mosaic of City Life

Marsalis has said that New York is “the most fluid, pressure-packed, and cosmopolitan metropolis the modern world has ever seen,” and “The Jungle” is his musical portrait of a dense mosaic of cultural collisions and contradictions.

Rather than a conventional symphony rooted purely in classical traditions, “The Jungle” blurs boundaries. It weaves big band jazz rhythms, blues inflections, improvised passages, and orchestral color into a tapestry that evokes both the grit and the romance of the city. The symphony unfolds in six movements, each capturing a different facet of urban life:

The Big Scream (Black Elk Speaks) — an explosive opening that feels like the voice of the city itself

The Big Show — a movement that revels in spectacle and restless motion

Lost in Sight (Post-Pastoral) — a reflective interlude amidst frenetic activity

La Esquina – a nod to the multicultural corners that make urban neighborhoods come alive

Us – a moment of shared humanity and collective voice

Struggle in the Digital Market – a driving, incisive finale that speaks to competitive modern life

Together, these movements paint an immersive sonic world that’s equal parts raw energy and deep reflection, as a soundtrack for the modern condition.

A Meditation on Humanity

Beyond its musical innovation, “The Jungle” is a work with social conscience. As Marsalis himself has noted, it doesn’t shy away from paradoxes of urban life: the wealth alongside poverty, hope tinged with struggle, and the pressing question of how we live together in an increasingly complex world.

In a time when many of us think about cities not only as physical spaces but as crossroads of culture, conflict, aspiration, and imagination, “The Jungle” feels deeply relevant as a sonic exploration of society itself.

Experience It Live

“The Jungle” has been performed only a handful of times in the United States since its premiere. Its ferocity, precision, and soul will be on display in this live performance at Hill Auditorium on Friday February 6, 2026.

More Info & Tickets

Duke Ellington

The Jazz at Lincoln Center Orchestra with Wynton Marsalis returns to Hill Auditorium on Saturday, Feburary 7, 2026, with an unforgettable tribute to one of jazz’s greatest figures and cultural explorers, Duke Ellington. Their Duke in Africa program celebrates the legacy of Ellington’s groundbreaking music and his transformative 1966 trip to Dakar, Senegal.

Discover the history and sounds behind this historic musical journey.

Why Dakar Mattered

In the spring of 1966, Duke Ellington and his orchestra embarked on a journey that would become one of the most inspiring chapters in his long career. They traveled to Dakar, Senegal, to perform at the First World Festival of Negro Arts (Festival Mondial des Arts Nègres), a monumental cultural gathering that brought together artists, writers, musicians, and thinkers from Africa and the diaspora.

Founded under the leadership of Senegalese president and poet Léopold Sédar Senghor, the festival was conceived as a celebration of Black creativity and cultural achievement at a time when many African nations were recently independent and reasserting identity on the world stage. The event featured luminaries such as Josephine Baker, Aimé Césaire, James Baldwin, and Wole Soyinka, and Ellington was among the musical heroes who helped define the festival’s sound and spirit.

For Ellington, the trip was a musical homecoming. Years before, he had been composing jazz that drew from African musical ideas, long imagining the rhythms and textures of the continent in his work. In his own writings and recollections, Ellington described arriving in Africa as a profound affirmation: after decades of writing music influenced by African sounds, standing in Africa itself was a revelation.

Listen to a 1966 interview with Duke Ellington in UNESCO’s archives. (26 minutes)

Music Born from the Journey

The Dakar experience fueled Ellington’s creativity in ways that echo through jazz history, as the trip intensified his engagement with African themes and rhythms. Pieces like Afro-Bossa and Togo Brava Suite, which blend jazz orchestration with global influences, embody the sense of musical cross-pollination that Ellington championed.

Ellington’s composition African Flower (originally titled “La Plus Belle Africaine”) has been directly linked to his conceptualization of African influence in his music and was associated with the festival in Dakar.

Experience Duke’s Legacy Live

This February, hear the Jazz at Lincoln Center Orchestra channel Duke Ellington’s adventurous spirit with precision, energy, and deep reverence for jazz’s roots. Don’t miss this special opportunity to journey through Ellington’s most evocative compositions with some of today’s greatest jazz musicians!

Get Tickets

Tickets start at just $26 (+ fees) with $15–20 student tickets available.

UMS is delighted to host México’s Orquesta Sinfónica de Minería for their return to Hill Auditorium on January 21, along with Venezuelan trumpet virtuoso Pacho Flores for his UMS debut. Together, they will perform Haydn’s Trumpet Concerto in E-flat Major and Paquito D’Rivera’s Latin Grammy-winning Venezuelan Concerto. The program will also feature major composers Silvestre Revueltas, Alberto Ginastera, and Arturo Márquez.

Recognized internationally as one of the most exciting brass soloists of his generation, Flores seamlessly connects the worlds of classical tradition, contemporary music, and Latin-American influence. Flores first rose to global prominence with an incredible series of competition wins, including First Prize at the Maurice André International Trumpet Competition — regarded as the most prestigious trumpet competition in the world — as well as First Prizes at the Philip Jones and Città di Porcia competitions.

Photo by Juan Martinez

Trained in Venezuela’s acclaimed El Sistema (Orchestra System for Youth and Children), Flores has been widely celebrated for his performances, recitals, and recordings as a soloist. He is confident in both classical and popular styles, bringing vibrant energy to every interpretation.

As a soloist, Flores has appeared with many of the world’s leading orchestras — including the Simón Bolívar Symphony Orchestra, NHK Symphony Orchestra, Arctic Philharmonic Orchestra, Symphony Orchestra of Tokyo, and Düsseldorf Symphony Orchestra — and has graced famed venues such as Carnegie Hall, Salle Pleyel in Paris, and Opera City in Tokyo.

Flores has a stunning recording career as a Deutsche Grammophon recording artist. Most notable of his career is his album Cantos y Revueltas. Hear Flores perform the title composition, which he also composed, with the Real Filharmonía de Galicia:

Flores’s impressive range also extends into writing and performing his own transcriptions. In March 2024, he joined the Minnesota Orchestra for a Latin-American program, performing his own transcription of a showpiece originally for violin — Pablo de Sarasate’s Zigeunerweisen.

In addition to his solo work, Flores is a founding member of the Simón Bolívar Brass Quintet, bringing his alluring musicianship to brass chamber music worldwide. He has also served as principal trumpet in top orchestras such as the Simón Bolívar Symphony Orchestra and the Saito Kinen Orchestra, working with iconic conductors including Claudio Abbado, Sir Simon Rattle, Seiji Ozawa, and Gustavo Dudamel.

Flores is also a dedicated educator, serving as the founding director of the Latin-American Trumpet Academy in Venezuela, where he mentors young players and champions contemporary repertoire through premieres and commissioned works.

UMS patrons will get an exclusive opportunity to witness his flexible virtuosity from Haydn to D’Rivera right in Hill Auditorium. Witness this magical experience on Wednesday, January 21, 2026 at 7:30 pm for an enthralling program.

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2025 delivered unforgettable memories to UMS audiences, both on and off our stages! As the year comes to a close, let’s take a look back at some of our favorite moments:

Seong-Jin Cho’s Debut

Seong-Jin Cho in Hill Auditorium, February 7, 2025. Photo by Peter Smith Photography.

Renowned pianist Seong-Jin Cho made a spectacular Ann Arbor debut to a sold-out audience in Hill Auditorium, performing the complete solo piano works of Maurice Ravel. UMS was proud to be the only Midwest presenter of his limited U.S. tour, which complemented the release of his acclaimed Ravel album (streaming now on Apple Music and Spotify).

An Engaging No Safety Net

Audience member playing asses.masses in the Walgreen Drama Center. Photo by Peter Smith Photography.

UMS’s biennial No Safety Net series concluded with two interactive theatrical experiences that tackle issues relevant to our time.

Nate — A One Man Show, starred creator Natalie Palamides in drag, provocatively engaging the audience with themes of toxic masculinity and consent. The brilliant show premiered at the Edinburgh Fringe Festival and was later released as a Netflix special produced by Amy Poehler.

Audience members enjoyed asses.masses as a spectator, a player, or both, in a 7+ hour gaming-as-theater event! Created by Milton Lim and Patrick Blenkarn, asses.masses is an experience that confronts modern-day challenges — labor, technophobia, and sharing the load of revolution — wittingly told through unemployed donkeys that demand humans surrender their machines and give them their jobs back.

A Legend Returned

Left to Right: Marcel, Rami, and Sary Khalife in Hill Auditorium, April 5, 2025. Photo by Peter Smith Photography.

Legendary Lebanese composer, singer, and oud master Marcel Khalife returned to Ann Arbor for the first time in 20 years, joined by his son, virtuoso pianist Rami Khalife, and his nephew, cellist Sary Khalife. The cross-generational trio performed a selection of Marcel’s revered classics that endeared him to millions in the Arab World, alongside original works, and the program was streamed to a global audience on YouTube. Watch on Demand

Going for the Gold

Yunchan Lim in Hill Auditorium, April 23, 2025. Photo by Peter Smith Photography.

Since winning gold at the Van Cliburn International Piano Competition in 2022, Yunchan Lim has risen to stardom in the musical world. In his much-anticipated UMS recital debut, he magnificently presented Bach’s Goldberg Variations — a remarkable feat by a pianist so early in his career!

This performance marked only the fifth time in UMS’s 146-year history that the Goldbergs have been played. Previous performances were by Glenn Gould in 1959 (who was only 27 at the time!), William Doppmann in 1965, Murray Perahia in 2000, and András Schiff in 2013. Each artist brought insight and maturity to this intricate, deeply expressive piece.

Celebrating the Ypsi Community

Detroit Party Marching Band. Photo by Peter Smith

To conclude our April 2025 residency at the Ypsilanti Freighthouse, UMS joined forces with the Riverside Arts Center and FestiFools to create a free artistic celebration that perfectly encapsulated the love and support of the Ypsi community. In a puppet-accompanied processional alongside the Detroit Party Marching Band, the crowd journeyed from Riverside to the Freighthouse, where the party continued with live music by Djangophonique.

Art-Making…Under Pressure!

Flint Print-Making Block Party. Photo by Cliff Hughes.

On May 10, The Flint art community came together to celebrate printmaking on large and unique scales. Curated and produced by Janice McCoy, UMS’s Flint Artist-in-Residence, the event showcased the design work that artists throughout the region have carved into plywood using various techniques, including traditional hand tools and precision laser cutting. During the event, the artists collaborated to apply black ink to the blocks and then prepared them for press on muslin under the force of a steamroller!

Verdi’s Requiem with the Detroit Symphony Orchestra

Verdi’s Requiem with the Detroit Symphony Orchestra and UMS Choral Union. Photo by Peter Smith Photography.

The 25/26 season kicked off with an electrifying presentation of Verdi’s Requiem from the Detroit Symphony Orchestra and UMS Choral Union. The performance featured five exciting UMS debuts by international artists: the DSO’s Italian music director Jader Bignamini, South African soprano Vuvu Mpofu, American mezzo-soprano Sasha Cooke, Mexican American tenor René Barbera, and Chinese bass-baritone Shenyang.

Nigamon/Tunai

Waira Nina and Émilie Monnet laugh during post-show Q&A. Photo by Peter Smith.

Nigamon/Tunai brought a voice to the natural world on the Power Center stage. Audience members sat up close and personal on stage with artists Émilie Monnet and Waira Nina and became immersed about Indigenous ancestral knowledge. The week also had the artists participating in multiple events during U-M’s climate week, with Monnet and Nina leading a guided walk at Harvest Vest, contributing to a discussion on approaches to art-making in an environmentally just world, and Monnet speaking at the Penny Stamps Speaker Series.

Movement with Ballet BC

High school students pose with Ballet BC dancers after class visit.

Vancouver’s trailblazing Ballet BC thrilled audiences with its highly anticipated UMS debut this past October, delivering two programs that earned standing ovations. Beyond their captivating performances at the Power Center, company members engaged deeply with the Ann Arbor community, sharing their passion for dance across campus and beyond. From masterclasses and classroom visits to a school-day performance and a community dance workshop, Ballet BC made a memorable and inspiring impact on dancers and dance lovers of all ages! Read more about their Ann Arbor visit

Philharmonia + VR Experience

Community member participates in VR experience at Cahoots. Photo by Eric Woodhams.

Patrons could take the stage themselves and experience the Philharmonia Orchestra’s “Virtual Orchestra” in several public opportunities, exploring the symphony from a musician’s-eye view and hearing music from different perspectives through Spatial Audio.

Herbie Hancock

Herbie Hancock points out to the crowd at Hill Auditorium. Photo by Peter Smith.

Legendary jazz and funk pianist Herbie Hancock returned to Hill Auditorium, performing a mix of iconic hits and innovative compositions that showcase his decades-long influence on acoustic and electronic jazz. An audience member says, “One of the best experiences of my life. I grew up listening to Herbie on Sunday mornings with my dad. To be able to take him to the show and co-experience joy in that way was absolutely priceless!”

Scott Hanoian’s 10th UMS Messiah

December 2025 saw UMS Choral Union music director Scott Hanoian celebrating his 10th UMS performance of Handel’s Messiah, marking over a decade of inspiring leadership, innovative projects, and community-building efforts. Read more

UMS tour to Edinburgh, August 2023

The Edinburgh Fringe Festival is one of the world’s largest celebrations of live performance, transforming Scotland every August into a whirlwind of new ideas, bold artistry, and global creativity. Each year, members of the UMS team travel to Edinburgh to immerse themselves in the festival, discovering innovative performances and forging relationships with artists whose work might one day make its way to Michigan.

In August 2023, UMS had the joy of leading a special donor tour to the Fringe. Among the many wonderful performances our group experienced, one production was a particular standout: Dimanche, created by the Belgium-based companies Chaliwaté and Focus.

A masterful blend of puppetry, physical theater, video, and clowning, Dimanche approaches the realities of climate change with wit, wonder, and deep humanity. It’s inventive and laugh-out-loud funny, yet emotionally resonant in the same way that makes the film WALL-E so charming and beloved. It’s a story that sneaks up on your heart, even as it sparks your imagination.

This season, we’re thrilled to finally bring Dimanche to Ann Arbor for six performances at the Power Center, January 7–11, 2026. Below, enjoy reflections from participants on the 2023 Fringe tour and get a first look at the production’s trailer — a glimpse of the unforgettable experience that awaits.

“Seeing Dimanche was truly a unique theatrical experience. Most climate change awareness pieces are full of talk. This one has none! Only real action and wondrous surprises. Mime, puppetry, acting, and stagecraft deliver the message of our changing climate — touching our spirits and minds through the range of our senses! Don’t miss it.” — Neil Hawkins

“Dimanche is one of the most visually inventive stage productions I have ever seen, blending, physical theater, miniature sets, and precise puppetry. It is a brilliant statement about the world sliding toward climate catastrophe. The darkly comic presentation is both wonderfully entertaining and thought provoking.” — Laurence Baker

“When we saw Dimanche in Scotland, it blew us away. The artists use all the tools that make a night out at a live performance truly special. And the stories they tell tackle serious subjects with humor while also making you think.” — David Leichtman

“Climate Change can be difficult to discuss and sometimes words fail me but words were not needed to convey emotion and open us to the questions they raise. Dimanche immerses us in their world with vignettes that explore our changing climate. We really enjoyed their show when we saw it in Edinburgh and are thrilled that audiences, including students, will get a chance to experience it and think about the issues they raise.” — Bill Phillips

Thank You to Our Performance Sponsors

Presenting Sponsor
Stephen and Rosamund Forrest Family Foundation, in support of programming focused on climate change and the environment

Principal Sponsors
Neil and Annmarie Hawkins

Supporting Sponsors
Victor J. Strecher and Jeri L. Rosenberg

This weekend marks a milestone for UMS Choral Union music director and conductor, Scott Hanoian, as he takes the podium for his 10th UMS presentation of Handel’s Messiah, a tradition that has been at the root of UMS since its founding in 1879.

Please enjoy these messages of congratulations from the UMS community:

Scott made his UMS debut on December 5, 2015 as conductor and music director of Handel’s Messiah, leading the Ann Arbor Symphony Orchestra (A2SO) and UMS Choral Union at Hill Auditorium. Only six years later, Scott would unexpectedly find himself navigating choral singing in one of the first public UMS presentations coming out of the COVID-19 Pandemic in December 2021.

Scott has inspired audiences — and artists — in memorable performances of Western Classical choral works presented at Hill Auditorium, including last March’s UMS presentation of Prokofiev’s Alexander Nevsky Live with the UMS Choral Union and A2SO, marking Scott’s conducting debut synchronizing film and accompanying score; 2019’s Britten War Requiem with the UMS Choral Union, A2SO, and Ann Arbor Youth Chorale; and 2016’s mixed-choral program, Love is Strong as Death.

Throughout the past 11 years, Scott has remarkably served as chorus master of the UMS Choral Union, delivering exciting choir preparations for esteemed international conductors including Jader Bignamini, Dennis Russell Davies, Iván Fischer, Alan Gilbert, Earl Lee, Yannick Nézet-Séguin, Jeffrey Schindler, Leonard Slatkin, Alain Trudel, and Osmo Vänskä.

At the heart of Scott’s work is his commitment to community. Summer Sings, a UMS series of community music-making events leading as many as 250 singers from southeastern Michigan, northern Ohio, and Canada in great choral repertoire with some of the nation’s most respected choral conductors and outstanding soloists, exemplifies his commitment. Scott has worked tirelessly to develop relationships between chorus members and audiences and to value an investment in community on an equal platform at his acclaimed presentations.

His passion — and humor — on the podium has resulted in Scott being an especially beloved leader of the 150+ members of the UMS Choral Union. Scott annually gifts homemade pickles to UMS Choral Union staff at every Messiah and has even welcomed a service animal into the chorus, a Samoyed named Maya.

Please join UMS in congratulating Scott on his myriad accomplishments and artistic successes in serving the UMS Choral Union over the past 11 years!

UMS’s annual presentation of Handel’s Messiah is a beloved holiday tradition for the Ann Arbor community. This year, we are especially excited to welcome back four outstanding singers who first graced the Hill Auditorium stage together in 2022. Our 2025 performances will joined by Sherezade Panthaki, Aryeh Nussbaum Cohen, Miles Mykkanen, and Enrico Lagasca.

Learn more about their incredible voices below, and hear them December 6-7 in Hill Auditorium!

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Sherezade Panthaki, soprano

Sherezade Panthaki, soprano, enjoys ongoing international collaborations with conductors Nicholas McGegan, Masaaki Suzuki, Mark Morris and more. Recent engagements include early music and oratorio performances with the New York Philharmonic, Philharmonia Baroque Orchestra, Bach Collegium Japan, Wiener Akademie (Austria), NDR Hannover Radiophilharmonie (Germany), the Los Angeles Philharmonic, the Boston Early Music Festival, and the Tafelmusik Baroque Orchestra (Canada).

Born and raised in India, Ms. Panthaki holds graduate degrees from the Yale School of Music and the University of Illinois. She is a founding member of the Kaleidoscope Vocal Ensemble, celebrating racial and ethnic diversity in performances and educational programs of early and new music. Ms. Panthaki is a renown clinician, has taught voice at Yale University, and currently heads the Vocal program at Mount Holyoke College.

Listen to Sherezade Panthaki sing “Rejoice Greatly, O Daughter of Zion” from Handel’s Messiah here:

Aryeh Nussbaum Cohen, countertenor

Countertenor Aryeh Nussbaum Cohen brings his “astonishingly beautiful,” “golden toned” (The Guardian) instrument to a broad range of repertoire spanning the Baroque to the contemporary. Acclaimed as both a “young star” and “complete artist” by the New York Times and as “extravagantly gifted… poised to redefine what’s possible for singers of this distinctive voice type” by the San Francisco Chronicle, Mr. Nussbaum Cohen’s passion for creating performances of great vocal beauty and dramatic intensity have earned him a reputation as “a redefining force in the countertenor field” (Limelight).

Mr. Nussbaum Cohen finds a close affinity between the ancient musical traditions of his Jewish heritage and the Baroque works composing much of his operatic repertoire. Equally invigorated performing new works, Nussbaum Cohen’s first commercial recording project – the world premiere of Kenneth Fuchs’ “Poems of Life” performed with the London Symphony Orchestra under JoAnn Falletta – was honored with a GRAMMY® Award for Best Classical Compendium in 2019; and his interpretation of the Refugee’s aria from Jonathan Dove’s Flight provided the centerpiece for his extensive catalogue of competition successes, including winning the Grand Prize at the 2017 Metropolitan Opera Laffont Competition, top prizes in Houston Grand Opera’s Eleanor McCollum Competition and the Dallas Opera Guild Competition, a George and Nora London Foundation Award, the Richard Tucker Study Grant and Career Grant, and in 2024, top prize in the Gerda Lissner Foundation’s International Vocal Competition.

Listen to Aryeh Nussbaum Cohen sing “Dull Delay, in Piercing Anguish” from Handel’s Jephtha here:

Miles Mykkanen, tenor

The career of exuberant young Finnish-American tenor Miles Mykkanen was launched with a national win of the Metropolitan Opera Laffont Competition in 2019. He has since impressed with a series of important debuts on the world’s major stages, including the Metropolitan Opera, Bayerische Staatsoper, Canadian Opera Company, and Royal Opera House Covent Garden, where The i declared his performance “the most beautiful singing of the evening” and Opera Magazine dubbed it “so striking and brilliant” that “he managed toturn the Steersman into a principal character.”

In a pivotal 25/26 season, Mykkanen stars as Sam Clay in The Amazing Adventures of Kavalier & Clay for the Metropolitan Opera’s opening night gala and house premiere run, conducted by Met Music Director Yannick Nézet-Séguin. Mykkanen returns to the house after this season as The Groom in the first Met production of Kaija Saariaho’s Innocence. Elsewhere, he makes two dual house and role debuts: as Leukippos in Strauss rarity Daphne at Seattle Opera, and as Tamino in Barrie Kosky’s silent film-inspired production of The Magic Flute at LA Opera. He also brings his flexible tenor to Beethoven’s Symphony No.9 with Cleveland Orchestra, led by Franz Welser-Möst, and to Handel’s Messiah with Chicago’s Music of the Baroque, conducted by Dame Jane Glover, and the University Musical Society in Ann Arbor. He marks his first appearance at the Maastricht Festival in the Netherlands as soloist in a unique Carmina Burana featuring acclaimed piano duo Lucas and Arthur Jussen, among other appearances still to be announced.

Hear a selection from Miles Mykkanen below:

Enrico Lagasca, bass-baritone

Filipino-American bass-baritone Enrico Lagasca is an in-demand vocalist – having performed more than a hundred oratorios, new-music works, opera roles, song cycles, and collections. His “smooth, dark bass voice” can be heard on six Grammy Award-nominated recordings.

Amid the wide-ranging demands of his repertoire, critics note Enrico’s larger-than-life presence. “Bass-baritone Enrico Lagasca summoned nearly as much volume as everyone else onstage put together.” Storytelling is at the center of his artistry. He has been described as having “an oratorio voice that strikes fear of God in the hearts of the audience.” His performance of St. Matthew’s Passion at Saint Thomas’s Church was described as “an outpouring of devotion and grief as elegant as it was moving.”

Soloist highlights of recent seasons include Haydn’s Lord Nelson Mass with Voices of Ascension in New York, Handel’s Messiah at Ann Arbor’s University Musical Society and at Carnegie Hall with Musica Sacra, Bach’s Christmas Oratorio at Washington Bach Consort, and Mendelssohn’s Walpurgisnacht with the St. Louis Symphony. Enrico has collaborated with conductors such as Riccardo Muti, Zubin Mehta, Pablo Heras-Casado, Nicholas McGegan, Jane Glover, John Butt, John Nelson, Matthew Halls and Carl St. Clair.

Enrico’s passion extends beyond performing. He is dedicated to advocacy for the Queer community and Diversity, Equity and Inclusion. As a member of the Kaleidoscope Vocal Ensemble, a musical group committed to diversity and social justice, he participates in creative outreach programming for various communities with limited access to the arts. His performances of Craig Hella Johnson’s Considering Matthew Shepard reflect Enrico’s dedication to works that address the LGBTQ+ community.

Hear Enrico Lagasca perform The Trumpet Shall Sound from Handel’s Messiah:

Join us for this unforgettable holiday tradition and secure your tickets today!

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U-M students attending Fight Night. Photo by Peter Smith Photography.

TL;DR

A U-M course where students attend live music, theater, and dance shows, meet artists, and explore how performance shapes everyday life — no experience needed!

Students say: it opens your eyes to new art, shows that anything can be a performance, and changes how you see expression, identity, and meaning in the world.

What is Engaging Performance?

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. No previous arts experience needed!

From Students

“This class really changed how I see the performing arts and their role in my life. I got to experience performances I probably wouldn’t have gone to on my own, and it showed me how exciting it can be to try something new. I learned that every performance means something different, and it’s up to each viewer to find their own perspective.”

“Engaging Performance has taught me so much about the performing arts and how they surround our lives. Since taking this course, I’ve started noticing performances in everyday life that I never paid attention to before. The biggest lesson I’ve learned is that performing is a natural part of daily life, but it also takes incredible time and effort to do what the artists we saw were able to do. While this class hasn’t raised any major questions for me, I’m excited to keep learning about performance art and see how my understanding continues to grow.”

“Participating in Engaging Performance has significantly reshaped how I understand the role of performance in my life, both inside and outside the classroom. Before this class, I thought of performance mostly in terms of staged art—something done by trained professionals, separate from everyday life. Now, I see performance as a powerful mode of communication, protest, identity formation, and meaning-making that exists all around us. It’s not just about acting on a stage; it’s about how we express who we are, how we show up in social spaces, and how we challenge or reinforce systems of power.”

“I learned that performance, whether individual or group, is a deeply collaborative process. It involves a lot of brainstorming and hidden elements that aren’t always discussed. Every show—and even every moment on stage—requires incredible effort. It was amazing to gain a vocabulary that lets me look at a performance and explore what it might mean—healing, grief, protest, entertainment, and more.”

“Engaging Performance has positively changed how I see the performing arts in my life. After this class, I feel more knowledgeable about different types of performance and have grown to truly appreciate performance as a distinct art form. The biggest lesson I learned is that anything can be a performance. On the second day of class, we discussed the idea that everyone is performing in their everyday lives, which made me see the people around me in a new way—I’m really grateful for that perspective. A major question this class has raised for me is the meaning behind a single performance. Throughout the semester, we constantly discussed and debated the meaning of specific performances, which I think is one of the key points of performance: to make its audience think and wonder about what they are seeing and hearing.”

Winter 2026 Class Information

Term: Winter 2026 // Course Name: Engaging Performance
Course Listing: MUSPERF 200, ALA 260, ENGLISH 290
Instructor: Jason Fitzgerald
Credits: 3 Credits (Humanities Distribution)
Class Schedule: Tuesdays & Thursdays from 11:30 am – 1 pm

Course Listing

Students will attend live performances of:

• Martha Graham Dance Company – Friday, January 16
• Julia Keefe Indigenous Big Band – Thursday, January 29
• Estonian Philharmonic Chamber Choir – Friday, February 13
• Karajan Akademie – Friday, March 13
• GATZ – Friday-Sunday, March 27-29
• Jeremy Nedd – Friday-Saturday, April 3-4

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 $115. Additional funds are available to support students who cannot cover this cost.

Joe Malcoun is an early stage tech investor and co-founder of Cahoots, a coworking and event space in downtown Ann Arbor designed for connection and community. He’s also co-owner of The Blind Pig, a small but legendary Ann Arbor music venue that’s hosted a wide range of musicians over the years, from local up-and-coming acts to John Lennon to Nirvana.

Earlier this Fall, Joe and his wife, Caitlin Klein, sponsored UMS’s presentation of Nigamon/Tunai, an intimate, immersive theater work inviting audiences to listen and understand the knowledge and struggles of both the Anishinaabe people of the Great Lakes and the Inga peoples of the Colombian Amazon – a beautiful example of the power of the arts to transcend boundaries and connect people and ideas across cultures.

Joe joined the UMS Board of Directors in July 2025. We had the pleasure of chatting with Joe about the role the arts play in our community, what drew him to UMS, and what inspiration he offers to his peers.

What was your first experience with UMS?

You are really challenging my memory here, but I believe it was the Royal Shakespeare Theater performance in 2001. I was a grad student at U-M and a friend who was an English major was required to attend. He roped me in and I remember thinking, “This is a much more profound performance than I was expecting for a school assignment.”

What inspired you to begin to donate to UMS?

One night at dinner, Matthew VanBesien was sharing that he wanted to support some less conventional regional artists for a residency. One of the artists he mentioned was Tunde Olinarian, someone that my wife, Caitlin, and I have always been a fan of. We thought it was a great opportunity to make a more substantial contribution than we ever had previously. It was such an awesome project to be a part of. It pulled us into the UMS atmosphere and we saw how there are always performances that may be harder to sponsor, but programmatically significant and important. We just made that our thing.

We know you both are passionate about improving the quality of life in our community. How do you see your support of UMS aligning with this goal?

It’s so hard to articulate to people how incredibly impactful this very unique organization is on our community. Trying to describe the sophistication of performers and artists UMS is able to attract to our relatively small “market” is just so difficult to fully express. The access and exposure to events which otherwise would only be available to students and residents by traveling to larger markets is such an incredible gift.

Community members participating in Philharmonia Virtual Reality Experience at Cahoots, Joe’s event space.

What do you see as the role of the arts in community life?

[The arts] total enrichment of every other community activity and overall quality of life. Its impact ranges from advancing knowledge to pure recreation and is so important for us to build a thoughtful, supportive and productive community. Art is not a “nice to have.” History has fully proven it’s an absolute necessity and breeds innovation, creativity and community.

You’ve stated that you’re committed to engaging more younger professionals in the arts and in supporting local arts institutions. What message would you want to say to your peers?

We tend to obsess over the downside of getting older, [but] there happen to be some very awesome things about having more grey hairs in my beard. One of them is I actually have enough life experience—good and bad—to share with younger people, and it feels really good to do so. I’ve been so fortunate to have some spectacular mentors—in this community and elsewhere. Having the opportunity to be the mentor rather than the mentee has kept me excited about what’s next and hopeful that younger generations will right a lot of things we got wrong.

Vancouver’s innovative Ballet BC made its much-anticipated UMS debut this October, culminating in two programs that brought packed audiences to standing ovations. In addition to their stunning performances in the Power Center, company members shared their love of dance both on and off campus, and with community members of all ages. From masterclasses to classroom visits, a school day performance, and a community dance workshop, Ballet BC certainly left its mark on Ann Arbor! Enjoy a look back on an unforgettable week:

Classroom Visits and Masterclasses

Two of Ballet BC’s dancers, Sarah Pippin and Rae Srivastava, visited three classes across U-M’s campus, including courses in engineering, psychology, and literature. Sarah and Rae provided an overview of the company, their performance history, and the repertoire presented while in Ann Arbor. They also led masterclasses at the U-M School of Music, Theatre & Dance, Henry Ford High School, and the Flint School of Performing Arts, teaching students excerpts of Pieces of Tomorrow, choreographed by Ballet BC artistic director Medhi Walerski.

School Day Performance

Ballet BC’s School Day Performance of PASSING introduced grade 4-12 students to choreographer Johan Inger’s powerful exploration of human connection and emotion. Set to an evocative score, the piece moved through themes of vulnerability, relationships, and shared experience, with the audience laughing and delighting in the humorous moment when one dancer “gives birth” to 18 company members.

You Can Dance!

Along with the class visits and masterclasses, Ballet BC dancer Luca Afflitto hosted a free You Can Dance! event at Riverside Arts Center in Ypsilanti, welcoming community members of all ages and skill levels! Luca, from Genova, Italy, started dancing at 11 and trained at the Academie de Danse Princesse Grace in Monte Carlo. After performing with Ballett Zürich and earning the company’s Dance Prize, he joined Ballet BC in 2022, where he’s been lighting up the stage with works by some of today’s top choreographers—now heading into his fourth season with the company!

A Fond Farewell

Ballet BC dancers shared the joy and love of their craft with audiences well beyond our Power Center performances, and we hope to welcome the company back to Ann Arbor in future seasons. Until then, we invite you to follow Ballet BC on Facebook and Instagram.

Thank You to Our Sponsors

Ballet BC’s debut performances were funded in part by the Harry A. and Margaret D. Towsley Foundation.

Nicknamed “Iceland’s Glenn Gould” by The New York Times and praised as “breathtakingly brilliant” by Gramophone, pianist Víkingur Ólafsson makes his much-anticipated UMS debut on October 24 with the Philharmonia Orchestra of London.

Ólafsson grew up in Reykjavík surrounded by music with his mother, Svana Víkingsdóttir, as his first piano teacher. In his youth, he also studied with Erla Stefánsdóttir and Peter Máté, before moving to New York City to study at The Juilliard School, where he earned both bachelor’s and master’s degrees under Jerome Lowenthal and Robert McDonald.

Ólafsson has become one of the most sought-after and heard classical artists of his generation, with his recordings amassing over a billion streams. His recent album of Bach’s Goldberg Variations captured a 2025 Grammy for Best Classical Instrumental Solo. Among his accolades, he is a past recipient of Album of the Year at the BBC Music Magazine Awards (2019), Artist of the Year at the Gramophone Awards (2019), and has received national recognition and the Order of the Falcon from his home country.

Víkingur has established a career that both respects tradition and embraces the new, with a command for repertoire that spans from J.S. Bach to Philip Glass.

Beyond his technical brilliance, Ólafsson brings a deeply personal, almost philosophical approach to the his playing, with interpretations described as “uncommonly sensitive” (Gramophone) and “mesmerizingly original” (The Guardian). With a reputation for performances that balance crystalline clarity with deep emotional insight, Ólafsson will be a perfect virtuosic match for Beethoven’s Piano Concerto No. 5 with the Philharmonia Orchestra.

The famous “Emperor” concerto opens with thunderous, kingly chords and unfurls into music of radiant strength and introspection — signatures of Beethoven’s “heroic” period of grand works. Preview its triumphant finale movement, in this recording by Glenn Gould:

Alongside the Philharmonia Orchestra and conductor Santtu-Matias Rouvali, Ólafsson will join a long list of legendary pianists who have set foot on the stage of Hill Auditorium. Join us on October 24 to hear a meeting of brilliant minds across centuries: Beethoven’s revolutionary fire and Ólafsson’s modern mastery, united in one unforgettable performance.

Tickets start at just $26 (+fees), with many student ticket discount opportunities available.

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More to Explore

Ólafsson appeared on NPR’s Tiny Desk series in 2024:

In an earlier 2020 interview with NPR, Ólafsson describes having synesthesia — an association of musical pitches with colors. 

Ólafsson signed an exclusive recording contract with Deutsche Grammophon in 2016, and his debut DG album was devoted to the music of Philip Glass (whose etudes are making an appearance later in UMS’s 25/26 season).

Ólafsson was interviewed by Rick Rubin, Grammy-winning record producer and co-founder of Def Jam Recordings:

Kicking off the fall season, we were thrilled to be back at the Ypsilanti Freighthouse in September for a three-week residency of exciting performances and community events. Over the course of the residency, we were proud to host 16 events at the Freighthouse, ranging from film to gospel music to indie rock.

This residency came alive through music, movement, and meaningful community connection. From lively line dancing to joyful family performances, each gathering celebrated creativity, tradition, and the vibrant Ypsilanti community. Let’s take a look back at the highlights!

Week 1

Dust Off Your Boots – It’s Time to Dance!

Cowboy boots were scootin’ and smiles were shinin’ as community members stepped into a lively evening of line dancing at the Freighthouse. Led by Ashley, participants learned basic dances to country classics.

Want more? You can find Ashley at Revel Run for more line dancing sessions – join her for the next session on October 17th!

Stories in Motion

The screen lit up with bold visions, tender truths, and powerful performances during this special night of Film Night with Independent Film Festival Ypsilanti (iFFY). Drawn from Michigan-ish (iFFY’s regional independent short film showcase), the program featured nine inspiring short films, ranging from intimate explorations of identity to unique queer narratives, all followed by an insightful panel featuring both filmmakers and performers.

Be sure to support iFFY’s annual festival taking place in April at Riverside Arts Center.

Detroit’s Gospel Voices Unite

Voices soared and hearts lifted as Detroit gospel legend Alvin Waddles and the all-female vocal quintet, Testimony Sings, brought a powerful afternoon of gospel music to the Freighthouse. Drawing from the rich musical culture of Detroit, the group filled the space with soulful harmonies that touched everyone in the room.

Week 2

Relax, Reflect, Renew

A soothing midweek calm settled over the Freighthouse as King Sophia and Sophiyah E. guided participants through a sonic meditation coupled with the sounds of looped cello and singing bowls. Participants unwinded with moments of stillness and renewal amid the busy week’s hustle. No better way to recharge!

Songs for Healing and Hope

Joy, music, and unity filled the Freighthouse as Joe Reilly and his band, The Community Gardeners, brought together families and community members to gather in song. Blending folk, soul, and storytelling, Joe offered a heartfelt performance that reminded us all to “put our feet in the river of goodness.”

Detroit Jazz, Reimagined

The Freighthouse pulsed with energy as GRAMMY-nominated bassist, cellist, and composer Noah Jackson returned to his Detroit roots for two intimate performances with his ensemble, Full Circle. From seasoned jazz fans to first-time listeners, the audience was drawn into an immaculate journey of sound.

Back to School with Birds of a Feather

The vibe was infectious as groups of elementary school students and area families gathered for four lively performances with Little Miss Ann and Suzi Shelton of Birds of a Feather. With back-to-school season in full swing, the beloved duo sang about friendship, bravery, and celebrating what makes us unique, inspiring our youngest community members.

Week 3

Spotlight on Ypsi

Voices rang out and laughter roared as Ypsi’s very own singers, comedians, and poets gathered for the fifth iteration of Open Mic Night at the Freighthouse. Hosted by indie-rock songwriter Kelly Hoppenjans, whose witty charm set the tone for the night, the community took the stage in a supportive environment to witness each others’ talents.

Unlikely Duets, Unfiltered Creativity

Ypsi-born indie rock musician Fred Thomas brought a fresh energy to the Freighthouse with Three Mirrors: Excursions in Collaboration, featuring an evening of unlikely collaborations between some of Ypsi’s most inventive sound artists. The audience was awed by the bold and beautiful musical conversations performed by six different unique artists/bands.

Movin and Groovin’ with Fun Girl Dance Company

Elementary school groups, as well as families had the chance to move and groove with joy as Fun Girl Dance Company, spearheaded by Ypsilanti’s very own Chloé Gray, brought together participants of all ages through performances and creative movement workshops, transforming the Freighthouse into a vibrant hub for unapologetic fun for all.

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 2026 lineup as soon as it’s announced.

The September 2025 Ypsilanti Freighthouse residency was supported by Linh and Dug Song.

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