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 

The Berliner Philharmoniker in Hill Auditorium, November 2022.

For the first time in UMS’s 146-year history, Anton Bruckner’s Symphony No. 5 takes center stage. This piece will be performed on November 24 in Hill Auditorium by the legendary Berliner Philharmoniker. This is an exciting opportunity for Ann Arbor to experience this symphony under the baton of chief conductor Kirill Petrenko.

Petrenko, who has gained acclaim for his dynamic interpretations and deep understanding of the symphonic repertoire, is a champion of this monumental work. His extensive experience leading orchestras worldwide and his dedication to bringing both classic and overlooked composers to life make this concert an unmissable experience.

Bruckner composed his Fifth Symphony during an especially difficult period of his life. 

“My life has lost all joy and pleasure,” he famously wrote to a friend at the time.

Yet, from this challenging place, he created one of his most ambitious masterpieces, weaving together a vibrant display of motifs and themes. The symphony culminates in a finale that is both powerful and transformative, echoing the grandeur of Beethoven’s Ninth and the intricate counterpoint of Mozart’s Jupiter Symphony.

This symphony is immense but thorough. It is a challenging piece of repertoire for a musician to perform, mentally and physically. If this is your first time experiencing Bruckner, then hearing the Berliner Philharmoniker is a perfect introduction.

The Berliner Philharmoniker’s performances of this piece this season have already garnered a radiant media spotlight:

“Petrenko’s triumph was making the work’s logic and architecture clear while enhancing its mysteries, its direct access to a brain thinking unlike any of ours… So much in the Fifth is dependent on the brass, and the Berliners were immaculate: each voice came through distinctly, which can be hard when you’re thundering out a chorale and competing with hurrying strings. As the symphony progressed, Petrenko darted about his podium, swinging his arms wide, and he seemed to be enjoying himself. We certainly were. ★★★★★”– The Financial Times

Kirill Petrenko by Monika Rittershaus

On November 24, make sure to arrive at Hill Auditorium with enough time to settle in before the performance begins. You won’t want to miss a moment of this grand symphonic 79 minute journey. There are many details to catch in this expansive piece of repertoire, and this brief listening guide will help you prepare for it.

Introduction: Adagio – Allegro (B♭ major)

The symphony opens with a chilling pizzicato from the cellos and basses, followed by a stirring chorale from the upper strings that may cause you to lean forward in your seat. But Bruckner is known for extreme and sudden dynamic contrast, employing the brass section for powerful chorales very suddenly after a gentle moment. 

“It’s the tone quality that hits you first with the Berlin Philharmonic: like a shot of adrenaline if you’re in the direct firing line of the superb lower brass.” – The Guardian

The brass boldly lead the way, while the woodwinds and strings join in for the full tutti orchestral sound that is uniquely Bruckner. Here is a preview from the Philharmonkier’s recent performance in their Digital Concert Hall: 

In the Allegro section, listen for the violas and cellos taking the lead, transitioning into an overlapping melody with the oboe. The dotted eighth-sixteenth motif unapologetically recurs throughout the movement. The brass provides a stunning blend and balance with every entry, aiding the orchestra into the movement’s breath-taking conclusion. 

Adagio: Sehr langsam (D minor)

The second movement begins gently with pizzicato strings, leading to a haunting yet captivating oboe melody. This is soon joined by a bassoon, creating a beautiful duet filled with tension. As the movement unfolds, it transforms into a charming yet heroic ballad, showcasing a sense of optimism.

Scherzo: Molto vivace (D minor)

The third movement is a scherzo that, unlike its sibling movements, does not start with pizzicato. The strings start in an unrelenting waltz motion that persists until the trio,  which is in a duple meter. 

The trio section is gentle, curious, and hopeful, reminiscent at times of pastoral music with frequent stirring swells in the brass. But it is brief — just about two minutes to be exact. We then return to the beginning of the Scherzo and its beloved triple meter until the very end, creating a symmetrical listen for the audience.

Finale: Adagio – Allegro moderato (B♭ major)

Finally, the fourth movement opens in an adagio fashion similar to the first movement, only this time with a solo clarinet gently interjecting.

Bruckner briefly sends us into the familiar dotted eighth-sixteenth Allegro section from before, but later interrupts himself with the second movement’s creeping oboe melody for just a few bars. The Allegro section returns with the strings repeating our familiar dotted eighth-sixteenth theme to each other, overlapping to create a captivating fugue. This movement is constantly changing as themes come and go before we even realize they have happened.

The final pages of this movement are nothing short of epic; the entire orchestra cries in emotionally complex harmonies that lead to a simple yet bold B-flat major chord.

Don’t miss your chance to witness Bruckner’s Fifth Symphony performed by the Berliner Philharmoniker. It is a work that not only reflects the struggles of its composer but also stands as a testament to resilience and artistic brilliance. Join us for an evening that promises to resonate long after the final note fades.

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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.

O, rocks!

We all have those projects that we take on to prove something to others or to ourselves. In anticipation of Elevator Repair Service’s production of Ulysses, I spent the summer reading the James Joyce novel.

Spoiler Alert: If you haven’t read Ulysses, I’m here to assure you that you can still enjoy the theatrical adaptation of the novel, which, as its director notes, “uses only Joyce’s words, but not all of them.” (While the audio version of Ulysses clocks in at over 18 hours, the stage production is only 2 hours and 40 minutes, including intermission.)

When I began, I was only tangentially aware of Ulysses‘s reputation (it is considered by many the second most difficult book in the English language, the first being Finnegan’s Wake, also by James Joyce). But by the time I realized what I had taken on, pride left me no choice but to follow through.

Overview

Ulysses was, in short, a difficult read but ultimately a rewarding one. The text is dense, references erudite and dated, and perspectives shifting between a character’s internal monologue to a third person narrator without a line break or punctuation to distinguish between them. James Joyce himself bragged,

“I’ve put in so many enigmas and puzzles that it will keep the professors busy for centuries arguing over what I meant, and that’s the only way of insuring one’s immortality.”

Professors have indeed spent a century arguing over it, with some scholars dedicating their entire careers to studying the book.¹

As a bit of background, James Joyce spent about seven years writing Ulysses. First published in its entirety in 1922, it has been celebrated as a modernist masterpiece and an achievement in Irish literature. At the same time, its controversial descriptions of sexuality caused it to be banned and censored across the globe, including in the United States.

The novel is grounded in Dublin and takes place on a single day, June 16, 1904. In honor of the book and its protagonist, June 16 is dubbed “Bloomsday” — a holiday that is still celebrated with readings of the novel and tours along the exact routes its characters took.

Characters and Plot

There are three main characters in Ulysses. Our protagonist is Leopold Bloom, a Jewish husband, father, and advertising agent who spends his day wandering about in Dublin, trying to distract himself from his knowledge that his wife’s lover will be paying her a visit while he’s out.

We also spend time with Stephen Dedalus, a struggling teacher and a stand-in character for Joyce himself. Finally, Leopold’s wife, Molly, who narrates the final chapter, delivering a lengthy, punctuationless stream of consciousness monologue (which I’m told is quite a tour-de-force in the staged production!).

We follow Bloom throughout his day as he wanders, attends a funeral, sells newspaper ads, and tries to avoid thinking of the affair Molly is having that afternoon. There’s a lot more that I’m glossing over, but Ulysses’s plot often feels more like a series of events in a trenchcoat. Why then is this novel such a classic? 

Let’s start with The Odyssey.

The Odyssey

Ulysses is inspired by and directly parallels Homer’s epic poem. Indeed the title “Ulysses” is the Latinisation of the name Odysseus. Every chapter in Joyce’s book is named for a segment of The Odyssey, and the plot’s structure mirrors its events.

Furthermore, each character in Joyce’s novel has a direct parallel to one of Homer’s, though Joyce twists some of the expectations created by these parallels. Bloom, who spends his entire day roaming around Dublin before finally retreating home, is our Odysseus, who spends 10 years facing various perils on his long journey home.

But instead of loyal wife Penelope waiting for him, Bloom has Molly, whom he knows is actively cheating on him. Stephen Dedalus fills the role of Odysseus’ son Telemachus. Stephen is estranged from his father, and Bloom had a son who died as a baby (a factor in his fraying relationship with Molly), and the two develop a filial sort of connection over time. All secondary and minor characters have an Odyssey counterpart as well.

These parallels are interesting, but they alone do not make a masterpiece. It’s time to talk schema.

Schema

Each chapter — or “episode” — in Ulysses is written in its own style and corresponds with its own art, organ of the body, color, and more. If it sounds complicated, that’s because it is. Joyce kindly wrote two tables (referred to as schema) to help his friends understand the book, the Linati schema and the Gilbert schema, which break it down.

Of all these columns, I found the technic, or style, to be both the most interesting and readily apparent. Some of Joyce’s narrative styles are well-established techniques like monologue or catechism.

My favorite technic was found in Chapter 11, “Sirens.” “Fuga per canonem” is the Latin term used for a musical round. As befits its title, this chapter is filled with music. The first 62 lines appear to be utter nonsense. But these act as the chapter’s overture. Everything that shows up in these first 62 lines reappears later, with meaning provided by context. The chapter is also filled with onomatopoeia, repeating words and meanings, lending it a lyrical quality.

What’s the Point?

All of this begs the question: why on earth did Joyce do all this?

These techniques elevate a story about the banalities of daily existence to the status of an epic. As Joyce described in a letter to his brother, he was “converting the bread of everyday life into something that has a permanent artistic life of its own.” A day’s wandering is ultimately no different than a 10-year journey, which is just a series of many individual days. Our ordinary lives are art, just as much as any story.

That’s the poetic answer. But of course, Joyce also used Ulysses to show off his own writing ability and cement his place in history. And I’ve not even touched on the multitude of themes he addresses within its pages, including nationalism, antisemitism, religion, and sexuality.

The Enduring Allure of Ulysses

The more time and effort you put into reading and studying Ulysses, the more you’ll get out of it. But in part, it’s meant to fly over readers’ heads. Despite the book being around for over a century, plenty of mysteries remain that will no doubt keep scholars active for another 100 years.

Looking ahead, I’m so excited to see Elevator Repair Service’s take on the classic novel. I expect the theatrical form will make it far easier to understand the events on the page, eliminating the struggle of determining the speaker (though with seven actors playing more than two dozen roles, there will no doubt still be some confusion!). The play promises to take audiences on a fast-forward tour of the novel, with stops in all 18 episodes. Listen carefully and see if you can spot the difference in writing styles, or sit back and let the chaos and artistry of this amazing and unconventional theater company wash over you.

And if you’ve never read the novel, you’ll at least be able to say you’ve experienced it. October 19-20, 2024 at the Power Center in Ann Arbor.

Get Tickets

1. Patrick Hastings’ UlyssesGuide.com was an invaluable resource that aided in my own comprehension.

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!

Learn More

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

With a generous gift of $5 million, University of Michigan alumna Eileen Weiser and her husband Richard “Dick” Caldarazzo establish the Weiser Caldarazzo Iconic Artists Endowment Fund at UMS. The fund will support two performances annually by significant artists or ensembles recognized as icons in today’s vibrant performing arts scene.

UMS Board of Directors co-chairs Brian Willen and Christina Kim, Dick Caldarazzo and Eileen Weiser, and UMS president Matthew VanBesien

Having served on Michigan’s State Board of Education, the National Assessment Governing Board, the Presidential Scholars Commission, the Education Commission of the States, the 21st Century Education Commission, and as an appointee on the Michigan Council for Arts and Cultural Affairs, the gift aligns with Weiser’s priorities of supporting student enrichment and achievement.

Weiser also holds piano performance degrees from Michigan State University (B.M.1972) and the University of Michigan (M.M., 1975), giving her a first-hand appreciation of how the performing arts support a vibrant cultural community in Southeast Michigan.

“The performing arts are precious to both of us for the haven they provide from everyday life. We treasure how the arts challenge us, make us laugh or cry, provoke new thoughts and ideas while lifting up our emotions. They are essential to creating tolerance, strengthening our humanity, and helping people find balance in our increasingly complex world.”
—Eileen Weiser

Weiser serves on U-M boards including the School of Education Dean’s Advisory Council and the UMS Campaign Council. She has supported UMS over the years, most recently serving as a Title Sponsor in helping to fund the presentation of Itzhak Perlman & Friends in December 2023 and Emanuel Ax, Leonidas Kavakos, and Yo-Yo Ma in January 2024.

“The University Musical Society has provided amazing performance opportunities for 146 years. We are grateful that we can help ensure that tradition of excellence for the future, both for the performers they nurture and the joy they bring to our community.”
—Dick Caldarazzo

Hailing from Chicago, Caldarazzo (U-M LSA ‘70, DePaul ‘75 J.D.) played offensive guard for the Michigan Wolverines in the 1970 Rose Bowl under the legendary Bo Schembechler. A Michigan Man through and through, Caldarazzo values upholding the distinctive “Leaders and Best” culture at Michigan — and establishing this new endowment at UMS does just that.

This is the first gift that Weiser and her husband Caldarazzo are making together, and the largest gift that UMS has ever received since its founding in 1879.

“As all of us at UMS look forward to our 150th season in 2028-29, and all the exciting things we are planning, it is incredibly gratifying to have this extraordinary commitment from Eileen Weiser and Dick Caldarazzo — two fervent believers in the arts and culture, UMS, and the University of Michigan,” Matthew VanBesien UMS president, noted. “Their support helps ensure we can always invite the world’s most iconic and important artists and ensembles to perform on our stages and for the benefit of our students and the broader community.”

There’s nothing like hearing a great orchestra in the acoustic beauty of Hill Auditorium….and UMS’s 24/25 Season welcomes many opportunities to experience it!

Preview the orchestral all-stars of our 24/25 Choral Union Series, featuring two different programs by the Berliner Philharmoniker, phenomenal soloists, Prokofiev’s triumphant film score, and so much more!

London Philharmonic Orchestra

Fri Oct 18 at 7:30 pm

The London Philharmonic returns to Hill Auditorium after 13 years — with UMS debuts by principal conductor Edward Gardner and violinist Patricia Kopatchinskaja — in a program of Shostakovich, Sibelius, and works by composer-in-residence Tania León and Benjamin Britten.

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Berliner Philharmoniker with Hilary Hahn, violin

Sat Nov 23 at 7:30 pm

In the first of two concerts by the Berliner Philharmoniker, violinist Hilary Hahn makes her first Ann Arbor appearance in two decades, performing Korngold’s heart-tugging violin concerto. Also on the program: Rachmaninoff’s first orchestral masterpiece, Isle of the Dead, and Dvořák’s dramatic Symphony No. 7.

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Berliner Philharmoniker: Bruckner 5

Sun Nov 24 at 4 pm

The Berliner Philharmoniker and chief conductor Kirill Petrenko perform Bruckner’s monumental Symphony No. 5, which explores themes of struggle, redemption, and spiritual transcendence, with rich brass chorales in the final movement.

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Film with Live Orchestra: Prokofiev’s Alexander Nevsky

Sat Mar 22 at 7:30 pm

The 1938 Soviet historical drama was directed by Sergei Eisenstein with a score written by Sergei Prokofiev. It depicts the attempted invasion of Novgorod in the 13th century by Knights of the Holy Roman Empire and their defeat by Prince Alexander, aka Alexander Nevsky. The film and music were a true collaboration in that some of the film was shot to Prokofiev’s music and some of Prokofiev’s music was composed to Eistenstein’s footage.

The Ann Arbor Symphony Orchestra will be joined by the mighty UMS Choral Union, led by conductor Scott Hanoian.

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Les Arts Florissants: Vivaldi’s Four Seasons at 300

Wed Apr 9 at 7:30 pm

When first published in 1725, nobody could imagine that Vivaldi’s Four Seasons would become some of the most frequently-heard music of all time! Violin sensation Théotime Langlois de Swarte joins acclaimed early music ensemble Les Arts Florissants in a performance that frames Vivaldi’s iconic concertos in a new light. The program invites questions about the fleeting cyclical nature of our existence, our relationship with nature, and the eternal renewal of earth’s cycles, now being modified by climate change.

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24/25 Season Ticket packages are on sale now! You can experience these performances in our 10-concert Choral Union Series for as little as $140. 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 the Power Center — 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!

Learn More

With adventurous and exciting performers from the US and Europe, UMS’s 24/25 theater lineup is not for the faint of heart! It showcases opportunities to dig deep into our inner selves, reflect on our own values, and see shades of gray in a world that all too often presents itself in black and white.

Explore the artists and works coming to campus in the new season…and prepare to be moved!

Fight Night

Ontroerend Goed

Wed-Sun Sep 25-29 // Power Center

An interactive exploration of why we vote the way we do…

Five candidates. One winner. You decide who survives. On the brink of a presidential election, Belgium’s extraordinary Ontroerend Goed offers a fun and thought-provoking, examination of free will and politics that puts electronic voting devices — and the candidates’ fates — directly into the hands of audience members. Leave your politics at the door — this resolutely political show contains no identifiable political message, ideology, or social or economic reality, but draws attention to how the battle for our attention, sympathy, and approval reveal surprising and superficial snap judgments. Each performance is different depending on who is in the audience.

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Ulysses

Elevator Repair Service

Sat-Sun Oct 19-20 // Power Center

A madcap adaptation of James Joyce’s masterpiece…

Building on a rich history of staging modernist texts, Elevator Repair Service takes on this mammoth work of 21st-century literature (in an abridged version!) for their UMS debut. Seven performers sit down for a sober reading but soon find themselves guzzling pints, getting in brawls, and committing debaucheries as they careen on a fast-forward tour through Joyce’s funhouse of styles. With madcap antics and a densely layered sound design, Elevator Repair Service presents an eclectic sampling from Joyce’s life-affirming masterpiece.

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Nate — A One Man Show

Written by and starring Natalie Palamides

Wed-Sun Feb 5-9 // Arthur Miller Theatre

A deconstruction of toxic masculinity…

Meet Nate, “a hypermasculine, adrenaline-fueled, protein powder enthusiast … a man’s man” (NPR) performed by Natalie Palamides in drag. Palamides premiered the show to wide acclaim at the Edinburgh Fringe Festival in 2018 before Amy Poehler produced it as a Netflix special. Nate careens between making the audience laugh and making them uncomfortable, earnestly asking for permission while manipulating audience members to comply with absurd requests. The constant mixed signals come to a head with conflicting interpretations of consent — though perhaps not in the ways you would expect. This clever and provocative deconstruction of toxic masculinity sticks with you long after the performance ends.

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TRIPTYCH

Peeping Tom

Fri-Sat Mar 28-29 // Power Center

A suspense-filled universe…

In this noirish labyrinth of missing doors, lost rooms, and hidden floors — scenes you’d expect from the brain of David Lynch — time, memory, and premonition revolve around the illusions, utopias, and lost loves of characters who act out their own enigmatic fiction, continually drifting away and searching for one another. Originally created for Nederlands Dans Theater, Triptych is performed by the acclaimed Belgian dance-theater company Peeping Tom.

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24/25 Season Ticket packages are on sale now! You can experience these four works for as little as $130 with a Theater Series subscription. 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 the Power Center — 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!

Learn More

Each year, UMS and the University of Michigan School of Music, Theatre & Dance select students for a unique internship experience. Students are paired with internationally renowned artists and companies, including dance, theater, and music ensembles.

The 21st Century Artist Internship is a highly competitive program developed to prepare students for new demands that working artists face in the contemporary marketplace.

This summer, interns will develop industry contacts, hands-on work experience, and deep connections with internationally recognized performing artists. And upon their return to campus, the interns continue their work via a one-credit independent study where they serve as campus ambassadors, educators, and marketers to support their respective artists during their visit to Ann Arbor in UMS’s 2024/25 season.

The 21st Century Artist Internship program is made possible in part by Tim and Sally Petersen.

This Year’s Interns

Cristina Benn

Class of 2025
Major: Dance
Placement: TRIBE Multidisciplinary Visual Performances (New York City, NY)

Related UMS Performances
BLACK HOLE: Trilogy and Triathlon
Mar 14-15, 2025 // Power Center

Cristina “CiCi” Benn is a dancer, choreographer, and musician currently pursuing a Bachelor of Fine Arts in Dance, with a minor in Music and Performing Arts Entrepreneurship and Leadership. Since the age of 4, CiCi has performed both nationally and internationally, involving herself in art that tells diverse stories. As a choreographer, her most notable works include MUSKET’s Once On This Island, Detroit Music Hall’s Hastings Street, and most recently her own BFA Dance Concert Exultant Existence. From choreographing musicals to performing in concert halls, CiCi strives to create art that showcases the representation of Black and Latino art.

Renata Rangel

Class of 2025
Major: Percussion Performance
Placement: Berliner Philharmoniker (Berlin, Germany)

Related UMS Performances
Berliner Philharmoniker with Hilary Hahn, violin
Nov 23, 2024 // Hill Auditorium

Berliner Philharmoniker
Nov 24, 2024 // Hill Auditorium

Renata Rangel (she/her) is a dynamic Mexican-American percussionist hailing from Chicago. She is currently studying at the University of Michigan School of Music, where she is honing her craft as a percussion performance major, guided by the expert tutelage of Doug Perkins and Ian Antonio. Renata’s dedication to her artistry extends beyond performance, as she pursues a minor in performing arts management and entrepreneurship, further enriching her understanding of the backbone that holds down the arts world. She has performed captivating world premieres around the world, and whether it’s with the University of Michigan Percussion Ensemble touring the East Coast, performing on the mountains of Switzerland, or returning to her roots in Chicago, these collaborations leave a lasting impression. Beyond her accomplishments on stage, Renata is determined to drive meaningful change within the music industry. She envisions a future where classical music is accessible to all, making sure community music programs that she luckily grew up with are spread across everywhere. She is currently working on commissioning Mexican composers to help publish traditional marimba ensemble music, music that is not well known in American music schools.

Tyler Simpson Pouncéy

Class of 2025
Majors: Instrumental Music Education, American Culture
Placement: Jazz at Lincoln Center Orchestra (New York City, NY)

Related UMS Performances
Jazz at Lincoln Center Orchestra with Wynton Marsalis
Feb 1, 2025 // Hill Auditorium

Tyler Simpson Pouncéy (he/they), from Cerritos, CA, is a 3rd year at the University of Michigan studying Instrumental Music Education (BM) as well as Ethnic Studies (BA). Being a Black and queer instrumentalist, they have always prioritized the intersection of identities through the intersection of various art mediums. As an arts leader, they believe that the communities should be able to have artistic experiences even if for a brief glimpse of their life.

Involved in arts education in the surrounding Ann Arbor area, he has worked with Michigan Youth Ensembles, MPulse performing arts summer program as well as the National Association for Music Education at the university. As a student, he music directed In The Round’s Natasha, Pierre and the Great Comet of 1812 and has led the euphonium section of the Michigan Marching Band as well as their Business Staff.

With a passion for uplifting other artists and collaboration, Tyler continues to make interpersonal connections through artistic spaces via the unifying language of music. In a time where diversity should permeate all walks of life, he wants to be in the push for inclusive frameworks of the whole picture.

Maddie Vassalo

Class of 2025
Major: Interarts Performance
Placement: Ontroerend Goed (Ghent, Belgium)

Related UMS Performances
Fight Night
Sep 25-29, 2024 // Power Center

Maddie Vassalo is a rising senior at the University of Michigan from Washington DC, majoring in Interarts Performance with a minor in Computer Science. While her main concentrations are in game design, virtual production, and film, she has a wide range of experience in both the performing and visual arts, with background in technical direction, performance, stage management, animation, and garment design. While at Michigan, Maddie has been involved in numerous independent works, most recently a 40-minute virtual production film retelling the Greek myth of Iphis and Ianthe which she wrote, produced, and acted in, as well as creating the virtual backgrounds and real life set. Last year she co-directed and produced a devised theater piece called If the World Ends Tomorrow it’s all Your Fault which explored the pandemic’s impact through print media and photojournalism.

Maddie is especially interested in exploring the connections between STEM and the arts and is continuously looking for ways to integrate her interests in engineering and storytelling.