Program Book [PDF] - University Musical Society

UMS PRESENTS
Oresteia of
Aeschylus
L’Agamemnon ∙ Les Choéphores ∙ Les Euménides
Composed by
Darius Milhaud
A co-production with the U-M School of Music, Theatre & Dance
Thursday Evening, April 4, 2013 at 7:30
Hill Auditorium • Ann Arbor
57th Performance of the 134th Annual Season
134th Annual Choral Union Series
Photo: Mask of Agamemnon, photographer: Gian Berto Vanni/CORBIS.
3

ORESTEIA OF AESCHYLUS winter 2013 ums
ARTISTIC FORCES
Kenneth Kiesler, Conductor
University Symphony Orchestra
Kenneth Kiesler, Music Director
UMS Choral Union and U-M Chamber Choir
Jerry Blackstone, Conductor
U-M University Choir
Eugene Rogers, Conductor
U-M Orpheus Singers
Graduate Student Conductors
U-M Percussion Ensemble
Joseph Gramley and Jonathan Ovalle, Co-Directors
Lori Phillips, Soprano (Clytemnestra, Ghost of Clytemnestra)
Dan Kempson, Baritone (Orestes)
Sidney Outlaw, Baritone (Apollo)
Sophie Delphis, Speaker (Leader of the Slave Women)
Brenda Rae, Soprano (Athena, A Slave Woman)
Tamara Mumford, Mezzo-Soprano (Athena)
Jennifer Lane, Contralto (Athena)
Julianna Di Giacomo, Soprano (Pythia, Oracle of Apollo’s Temple at Delphi)
Kristin Eder, Mezzo-Soprano (Electra)
Funded in part by a grant from Michigan Council for Arts and Cultural Affairs.
Special thanks to the U-M Provost’s Office and the Office of the Vice President for Research for their
generous support of this concert.
Media partnership is provided by WGTE 91.3.
Special thanks to Mark Clague, Kenneth Kiesler, William Bolcom, Ruth Scodel, Ralph Williams, Jerry
Blackstone, and Sophie Delphis for their participation in events surrounding this performance.
Special thanks to Sophie Delphis, Ruth Scodel, Amy Pistone, John Posch, and Evelyn Adkins for their work
on the translation used in the supertitles for this evening’s performance.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of
lobby floral art for this evening’s performance.
4

Program
Darius Milhaud
Oresteia of Aeschylus
be present
L’Agamemnon
Les Choéphores
I. Funeral Lamentation
II. Libation
III. Incantation
IV. Omens
V. Exhortation
VI. Justice and Light
VII. Conclusion
INTERMISSION
Les Euménides
Act I
Act II
Act III
This evening's performance is approximately three hours in duration.
winter 2013
Grateful thanks to Alexander Pollock and the Peace Jubilee Brass Band for providing the saxhorns used in
this evening’s performance.
Special thanks to Nadège Foofat and Brianne Dolce for their contributions to this event.
Julianna Di Giacomo and Tamara Mumford appear by arrangement with Opus 3 Artists.
Lori Phillips appears by arrangement with Uzan International Artists.
Brenda Rae and Sidney Outlaw appear by arrangement with Columbia Artists Management, Inc.
Jennifer Lane appears by arrangement with Guy Barzilay Artists.
Dan Kempson appears by arrangement with Barrett Vantage Artists.
Kristin Eder and Sophie Delphis appear by direct arrangement with the artists.
5

ORESTEIA OF AESCHYLUS winter 2013 ums
Cast of characters
Clytemnestra/Ghost of Clytemnestra
(Lori Phillips, Soprano)
• Wife of Agamemnon (second marriages
for both).
• Mother of Orestes, Iphigenia, (deceased) and
Electra (and Chrysothemis, not present in
this story).
• Informally “married” to Aegisthus while
Agamemnon is fighting the Trojan War.
Orestes (Dan Kempson, Baritone)
• Son of Agamemnon and Clytemnestra, who
has been exiled by his mother. Younger
brother of Electra.
Apollo (Phoebus Apollo) (Sidney Outlaw,
Baritone)
• Oracular god of Delphi. God of light, sun,
truth and prophecy, healing, plague, music,
and poetry.
Leader of the Slave Women (Sophie Delphis,
speaker)
Athena (Pallas Athena) (Trio: Brenda Rae,
Soprano; Tamara Mumford; Mezzo-Soprano;
Jennifer Lane, Contralto)
• Patron Goddess and protector of Athens,
companion of heroes. Goddess of wisdom,
courage, law, justice, civilization, just
warfare, mathematics, strength, strategy,
the arts, crafts, and skill.
Menelaus
(marr. Helen)
Pythia, Oracle of Apollo’s Temple at Delphi
(Julianna Di Giacomo, Soprano)
• Oracle of Delphi who predicts the future.
The most prestigious and authoritative
oracle among the Greeks.
Electra (Kristin Eder, Mezzo-Soprano)
• Daughter of Agamemnon and Clytemnestra.
Older sister of Orestes.
• Loyal to Agamemnon during Clytemnestra’s
ruling and affair with Aegisthus.
Elders (Men of the Chorus)
• Older men of Argos who served as advisors to
King Agamemnon.
Slave women of The Choéphori
(Les Choéphores) (Women of the Chorus)
• Women who have been captured, born, or
forced into slavery for the royal family of
Argos.
The Assembled People of Athens
(Choirs)
• Assembly of people that represent the
people of Athens.
Furies (Women of the Chorus)
• Female spirits/deities of vengeance. Spirits
of the underworld. Avengers of those who
swear false oaths.
House of Argos Family Tree
Atreus
(Ancestors: Tantalus, Pelops, and Pleisthenes)
Agamemnon
(marr. Clytemnestra)
(brothers)
Orestes Iphigenia Electra
Thyestes
Aegisthus
(“marr.” Clytemnestra)
6

Zeus
(god)
WIVES OF ARGOS ANCESTRY
Leda
(mortal)
Leda
(mortal)
Tyndareus
(mortal)
be present
Helen
(HALF SISTERS)
Clytemnestra
BACKGROUND
Agamemnon and his brother Menelaus
wage war on Troy after Paris of Troy
kidnaps Menelaus’s wife Helen. To
rule in his stead, Agamemnon leaves
behind Clytemnestra (his wife whom
he forced into marriage after killing
her first husband, the King of Lydia).
At the beginning of the battle of Troy,
Agamemnon deceives Clytemnestra
into sending their daughter, Iphigenia,
to him where his ships are wind-bound.
Instead of marrying her to Achilles as
promised, he slaughters her and offers
her as a sacrificial appeasement to the
goddess Artemis who is angry about the
impending Trojan War.
SYNOPSIS
There is a sentiment of unease; the
people of Argos are angry about the
10- year long Trojan War and the lives
lost in battle for the sake of exacting
revenge on Troy for the abduction
of Helen. In Agamemnon’s absence,
Clytemnestra took his cousin Aegisthus
as her “husband” and co-ruler, to the
dismay of the people. King Agamemnon
returns at the conclusion of the war with
his war-prize Cassandra, daughter of
Troy, who predicts her own death and
the impending tragedies that will befall
the House of Argos. At Agamemnon’s
return, Clytemnestra, furious for the
betrayals, dupes him into taking a
bath. She traps him, using his robe as a
net, and kills him with a double- edged
axe or knife.
Agamemnon
Scene: The palace-front at Argos.
Clytemnestra has just killed
Agamemnon. The Elders (Agamemnon’s
counselors) mourn his death and
confront Clytemnestra. She justifies
her actions by recounting Agamemnon’s
murder of her first husband, and the
sacrificial slaughter of their own
daughter, Iphigenia. Clytemnestra hopes
that by killing Agamemnon, she has
stopped “the curse of blood revenge” of
the House of Tantalus.
Les Choéphores
Scene: The funeral tomb of Agamemnon,
later moves back to the palace-front of
Argos.
Orestes returns from exile to avenge the
death of his father (Agamemnon). He is
greeted and supported by Electra, his
youngest sister, and the slave women
who support him in his efforts to
perpetrate revenge on Clytemnestra and
Aegisthus.
Les Euménides
Act I
Scene: The front of the temple of Apollo
at Delphi.
The Prophetess finds Orestes, covered in
blood and surrounded by sleeping furies,
at the temple of Delphi. Clytemnestra
winter 2013
7

ORESTEIA OF AESCHYLUS winter 2013 ums
8
incites the furies to wake and take
revenge for her murder. Apollo tells
Orestes to escape to Athena’s temple in
Athens. The furies wake and follow in
pursuit.
Act II
Scene: Athens, before a shrine and
ancient image of Pallas Athena.
Athena is called upon to decide the fate
of Orestes and whether he will suffer
the wrath of the furies or be forgiven for
his deed.
Act III
Athena holds a grand trial (the first
of its kind) where Orestes is called to
A Note from the Conductor
Kenneth Kiesler
testify to his actions, and Apollo is a
witness for the defense. The furies want
his death as vengeance for his killing
of Clytemnestra. The jury is made up
of chosen people of Athens with gods
casting their votes as well. The vote is
a draw, but Athena casts the deciding
ballot, which acquits Orestes and spares
him from death on the grounds that he
was justified because the mother is not a
true parent, only a vessel for the seed of
the father. Athena then persuades the
ancient furies to transform their fearbased
relationship with humankind
into a benevolent and constructive force
for good.
In 2004, a package with three impressively oversized scores arrived in my studio with
this note from the publisher: “Sent at the request of William Bolcom.” They revealed
Milhaud’s setting of Claudel’s French translation of Aeschylus’ Oresteian tragedy,
packed with powerful music and words, several roles for principal singers, and multiple
choruses. There were also the somewhat unusual occurrences of rhythmically notated
dramatic speaking, and the distribution of one role, the goddess Athena, to a trio of
singers. As the three hand-delivered scores constituted the three acts of just the final
component in the trilogy, Les Euménides, I could only guess at the magnitude of the
entire piece.
L’Agamemnon’s fairly customary turn-of-the-century orchestra is expanded in
Les Choéphores with the quite uncustomary supplement of 15 percussionists. Les
Choéphores requires substantial speaking parts for the chorus and the leader of the
slave women. In Les Euménides, Milhaud enriches the palate still further by adding
two quartets: one of saxophones and one of saxhorns — 19th-century valved brass
instruments once common in military bands but that almost never join an orchestra or
accompany a choir.
The music is often as tightly woven and magnificently shaded as a tapestry.
Musical threads of 3, 7, and 11 beats (or 4, 5, 3, and 9 beats) intertwine. The texture of
this audible fabric is made expressive and variegated by weaving differently colored
or “pitched” threads into mini or sub-tapestries that occur simultaneously in different
keys. What at first sounds dissonant, self-competing, and dense, over time becomes
familiar language, much as a new dialect of jazz or “world music.” (Milhaud and Claudel
had the transformative experience of a two–year visit to Brazil, where they researched
and transcribed folk music.)

Milhaud’s trilogy after Aeschylus has, for me, reopened and broadened the rich
realm of Greek mythology. The themes of passion and jealousy, violence and revenge,
and prudence and propriety still resound within us and in our world. Topics of sexual
and gender parity, family relationships, balance of power, and influence in a world of
haves and have-nots, not to mention loyalty, steadfastness, allegiance, obedience to
those in power, and the economic and social stratification of society — all continue to
vex us and show how deeply our human nature connects us to our predecessors. They
remind us how far — for all our progress — we still have to go.
It may surprise some to know that the musical preparation of this evening’s
performance has required many long hours of correcting engraving and printing
mistakes in the scores and orchestra parts, filling in passages missing from the vocal
scores, finding unusual instruments, and determining which percussion sounds
Milhaud might have known or used at the time.
We know and understand many Milhaud matters, yet there are still some enigmas
and peculiarities. While the first part was written in 1913, and all the separate works
were premiered shortly after they were completed, the vocal scores used by soloists
and choral singers each have a statement about the first performance of the complete
trilogy in 1927. However, they also state that the three pieces were performed in
different venues on different dates: Les Choéphores on March 8, L’Agamemnon on
April 14, and Les Euménides on November 27.
Tonight’s occasion is imbued with significance, as it celebrates the centennial of
the great hall that has been home to hundreds, if not thousands, of performances given
by the extraordinary students who have been mentored and taught by the dedicated
faculty of the U-M School of Music, Theatre & Dance, and led by my current conducting
colleagues and our predecessors. Tonight also celebrates the benevolence, spirit, and
genius of William Bolcom, the distinguished and brilliant composer and Professor
Emeritus who studied with Darius Milhaud, and invited me and others to bring his
vision of a performance at U-M into reality with tonight’s concert.
be present
winter 2013
On Milhaud
William Bolcom
I studied with Darius Milhaud at Aspen, California, and Paris between 1957 and 1960.
In the midst of my Conservatoire years, he played a recording of the trilogy, L’Orestie,
using the Claudel translation from the Aeschylus, at a group lesson at his house. It
blew me out of the ballpark. Its power and savagery and profundity would have a deep
effect on me.
L’Orestie inspired me to finish my Songs of Innocence and of Experience, which
I’d been sketching since 1956; buying time to do this was a primary reason for our
moving to Ann Arbor. I am proud that the U-M School of Music (which was its name
before the current moniker) had seen fit to undertake my magnum opus in 2004,
and doubly proud that — nine years to the day of that April 4 performance! — the U-M
School of Music, Theatre & Dance is facing the enormous challenge of presenting and
recording my mentor and friend Darius Milhaud’s magnum opus. It is a magnificent
tribute to the great work it is.
9

ORESTEIA OF AESCHYLUS winter 2013 ums
10
Oresteia of Aeschylus
L’Agamemnon (1913)
Les Choéphores (1915–6)
Les Euménides (1917–23)
Darius Milhaud
Born September 4, 1892 in Marseilles,
France
Died June 22, 1974 in Geneva,
Switzerland
Translated to French by Paul Claudel
from the English translation by A. W.
Verrall.
Darius Milhaud was an important
member of the musical avant-garde in
early 20th-century Paris. Provençal and
Jewish by birth, he maintained these and
numerous other identities in his music
and his life. A lifelong interest in classical
mythology and drama, a wide knowledge
of French music history, and his
utilization of modern theoretical trends
all played a role in the composition of his
early operatic trilogy, L’Orestie. These
complex works draw from Milhaud’s
numerous identities and interests
in a dramatic, rhythmic expression of
Aeschylus’s classic story.
Milhaud’s lifelong collaboration
with the Catholic poet Paul Claudel
played a critical role in the composer’s
operatic style. The collaboration
resulted in many of Milhaud’s bestknown
works, including the Orestie
trilogy and Christophe Colomb (1930).
The style developed by Milhaud and
Claudel was influenced prominently by
Claudel’s belief that every element of a
dramatic work, including music, should
exist to serve the poetry. The Orestie
trilogy displays this attention to the
text through the expressive, syncopated
rhythm of the vocal parts.
Musically, Milhaud saw himself as
part of a great French tradition which
extended back from Satie and Debussy
to Bizet and even to Couperin. Among
his contemporaries, Milhaud associated
most strongly with the fellow members
of Les Six (Georges Auric, Louis Durey,
Arthur Honegger, Milhaud, Francis
Poulenc, and Germaine Tailleferre), a
group of composers brought together by
Jean Cocteau in the 1920s in an effort to
forge a new French modernist musical
aesthetic during the interwar period.
Despite his integration into the
French tradition, Milhaud prominently
incorporated other national styles into
his own. In a life-changing experience
in 1917, Milhaud and Claudel traveled
to Brazil on a diplomatic mission. After
his diplomatic service, Milhaud began
to incorporate Brazilian folk music into
his compositions, most famously in the
1919 ballet Le boeuf sur le toit (The
Ox on the Roof), but also seen here in
Les Euménides. As a composer already
drawn to rhythmic expression, Milhaud
was particularly interested in the
rhythmic complexity of Brazilian music.
In addition to innovative rhythmic
elements, the Orestie trilogy exhibits
complex harmonic techniques,
particularly polytonality, in which
Milhaud layered two or more harmonic
areas simultaneously. Milhaud’s use
of polytonality is particularly clear in
the finale of Les Euménides, which is
structured around repeated polytonal
patterns. Although this polytonality may
sound dissonant, Milhaud believed that it
gave him more varied ways of expressing
sweetness in addition to violence.
Because the three parts of the
Orestie trilogy were written over a 10-
year period, each work has a distinct
style. In L’ Agamemnon, written when
Milhaud was only 21, the rhythm of the
vocal parts is used to express the drama
of the poetry, while in Les Choéphores
and especially in Les Euménides, the
drama is furthered by spoken sections

Photo: Christian Steiner
and an increasingly complex harmonic
language. The trilogy, taken as a whole,
provides a glimpse into the interaction
between modern and traditional, as well
as between the French and the foreign,
which characterized the music of early
20th-century Paris.
Program note by Ethan Allred.
artists
Winner of the prestigious
American Prize in
Conducting for 2011,
Kenneth Kiesler is one of the
most prominent conductors of his
generation and one of the world’s most
sought-after mentors of conductors. Of
his debut with The Chamber Orchestra
of Paris, critic Roger Bouchard stated,
“there do exist great American
conductors, and Kiesler is one of them!
Standing on behalf of the music he
serves, he conducts from memory with
unaffected gestures both precise and
passionate. Nothing is unnecessary in his
conducting; yet everything is there. Very
beautiful work!”
He has conducted the National
Symphony Orchestra at the Kennedy
Center, Chicago Symphony at Orchestra
Hall, and the orchestras of Utah, Detroit,
Indianapolis, San
Diego, New Jersey,
Jerusalem, Haifa,
Osaka, Pusan
Daejon, Hang Zhou,
Jalisco Philharmonic
in Mexico, and The
Chamber Orchestra of Paris, among
many others; and at the Aspen,
Meadowbrook, Skaneateles, Sewanee,
and Atlantic music festivals. He has led
numerous world premieres and
recordings with the BBC, Third Angle,
and University of Michigan Symphony
and Opera. His stage performances
include Bright Sheng’s The Silver River
in Singapore, Peter Grimes and Il Turco in
Italia at Opera Theatre of St. Louis with
the St. Louis Symphony, and Appalachian
Spring with the Martha Graham
Company. He is Conductor Laureate of
the Illinois Symphony Orchestra where
as music director from 1980–2000, he
led debuts at Lincoln Center and Carnegie
Hall, and won several distinguished
awards. He returned as Music Advisor
for the 2010–11 and 2011–12 seasons.
Director of orchestras and professor
of conducting at U-M since 1995, his
students have won major competitions
such as the Maazel/Vilar, Eduardo Mata,
and Nicolai Malko, and hold positions
with major orchestras, opera companies,
and music schools worldwide. He is
Director of the National Arts Centre
Conductors Program (Canada) and
the Conductors Retreat at Medomak
(Maine), as well as the conducting
programs of International Masterclasses
Berlin. He has led intensive conducting
courses in Paris, Berlin, Leipzig, Moscow,
New York, and Oxford University, for the
Ministry of Culture in Mexico, and the
Royal Academy of Music in London. He
will soon lead a class for conductors from
across Latin America in São Paulo, Brazil.
Maestro Kiesler was
silver medalist at the 1986 Stokowski
Competition at Avery Fisher Hall, and
recipient of the American Symphony
Orchestra League’s Helen M. Thompson
Award for outstanding American music
director under age 35 in 1988. His
teachers include Carlo Maria Giulini,
Fiora Contino, Julius Herford, Erich
Leinsdorf, John Nelson, and James
Wimer. He was a selected conductor
in the Leonard Bernstein American
Conductors Program and the Carnegie
Hall Centenary conducting class
be present
winter 2013
11

ORESTEIA OF AESCHYLUS winter 2013 ums
with Pierre Boulez and Ensemble
InterContemporain.
Maestro Kiesler is included in
Steven Sherman’s book, Leonard
Bernstein at Work: the Final Years,
Jeannine Wagar’s book Conductors in
Conversation: Fifteen Contemporary
Conductors Discuss Their Lives and
Profession, Shostakovich Reconsidered
by Allan Ho, and David Saler’s Serving
Genius, the biography of the great Italian
conductor, Carlo Maria Giulini.
The Indianapolis News said: “Kiesler
is a man with a musical mind at work.
He reads, interprets, and conducts
idiomatically, in the spirit in which a
given work was written.”
Lori Phillips (Soprano) is widely
acknowledged as one of the most
innovative and expressive voices in
the operatic industry. She made her
Metropolitan Opera debut as Senta in
Der Fliegende Holländer, which was
broadcast live on Sirius Satellite Radio.
With the Metropolitan Opera she has
returned for productions of Wozzeck,
Hänsel und Gretel, Mussorgsky’s
Khovanshchina, Il Tabarro, and
Turandot. Ms. Phillips also recently
made her role debut as Brünnhilde in
Die Walküre with Hawaii Opera Theater.
Opera News said, “Soprano Lori Phillips
was a terrific Brünnhilde: her voice
started out in excellent form and kept
getting better, her clarion upper register
sending chills down one’s spine.” Up next,
Ms. Phillips returns to the Metropolitan
Opera and Seattle Opera to cover the
role of Brünnhilde in the Ring cycle. Ms.
Phillips’ noted performances also include
her signature role of Turandot at the
Seattle Opera, Atlanta Opera, New York
City Opera at Lincoln Center, Opera Lyra
Ottawa, Portland Opera, Nashville Opera,
and Opera Carolina; Ariane in Ariane et
Barbe-bleue with the Vancouver Opera,
L’Opera de Nice, and Opéra National de
Paris (Bastille) on tour in Japan; Gertrude
in Hänsel und Gretel for Dallas Opera;
Lady Macbeth in Macbeth with Arizona
Opera; Leonora in Fidelio with Portland
Opera; Leonora in Il Trovatore with
Florentine Opera; Amelia in Un Ballo in
Maschera for Opera Memphis, Seattle
Opera, and Vancouver Opera; Minnie in
La Fanciulla del West with Utah Opera;
the title role of Aida at Hawaii Opera
Theater; Maddalena in Andrea Chenier
with the Nashville Opera; and Santuzza
in Cavalleria Rusticana with Vancouver
Opera and Opéra de Québec.
Dan Kempson’s (Baritone) 2012–13
season includes Figaro in Il barbiere di
Siviglia with Shreveport Opera, Anthony
in Sweeney Todd with St. Petersburg
Opera, soloist in Carmina Burana
with Wichita Symphony Orchestra,
and Alwan in the world premiere of
Mohammed Fairouz’s Sumeida’s Song
at Prototype Festival in New York City.
In summer 2013 he joins the Apprentice
Program of Santa Fe Opera for their
production of Le nozze di Figaro. Recent
highlights include Belcore in L’elisir
d’amore (Mississippi Opera), Figaro in Il
barbiere di Siviglia (Imperial Symphony
Orchestra), a recital (Father Ryan Arts
Center, Pittsburgh), Messiah (Danbury
Chamber Orchestra), selections from
Haydn’s The Creation (Pittsburgh
Symphony), Brahms’s Requiem (Erie
Philharmonic), and Marco in Gianni
Schicchi and Thomas Putnam in The
Crucible (Chautauqua Institution). As
Resident Artist with Pittsburgh Opera
he sang Argante in Rinaldo, Fiorello in
Il barbiere di Siviglia, Tarquinius in The
Rape of Lucretia, Moralès in Carmen,
and Count Almaviva in Le nozze di
12

Figaro. In San Francisco Opera’s Merola
Opera Program he sang Figaro from
Il barbiere di Siviglia, Fluth from The
Merry Wives of Windsor, and the title
role in Thomas’s Hamlet. He made his
debut with Fort Worth Opera in Glass’s
Hydrogen Jukebox.
Lauded by The New York Times as a
“terrific singer” and The San Francisco
Chronicle as “an opera powerhouse,”
Sidney Outlaw (Baritone) delights
audiences in the US and abroad with his
rich and versatile baritone and engaging
stage presence. A graduate of the Merola
Opera Program and former member of
the Gerdine Young Artist Program at
Opera Theatre of Saint Louis, the rising
American baritone is the featured
recitalist with Warren Jones at Carnegie
Hall this season, performs Elijah with
the New York Choral Society, and will
be featured in the role of Burton in
Abilene Opera Association’s The Hotel
Casablanca. He travels to Guinea as a
US Arts Envoy this season, where he will
perform a program of American music
in honor of Black History Month and
in remembrance of Dr. Martin Luther
King. He closes the season with concerts
of Dallapiccola’s Il Prigioniero with the
New York Philharmonic and sings the
role of Schaunard in La Bohème with the
Ash Lawn Festival. Mr. Outlaw’s awards
include Second Prize (2011 Gerda Lissner
Foundation Awards), national semifinalist
(Metropolitan Opera National
Council Auditions), finalist (George
London Foundation), and Grand Prize
in the Florida Grand Opera/YPO Vocal
Competition. He holds a master’s degree
in vocal performance from The Juilliard
School and is a graduate of the University
of North Carolina at Greensboro.
Mezzo-Soprano Sophie Delphis
(Speaker) was born in Paris, France and
raised partially in the California Bay
Area. She received her bachelor’s degree
with honors from the New England
Conservatory of Music in Boston and is
currently pursuing her master’s degree
in voice performance at the University
of Michigan. Her recent operatic roles
include Zerlina (Don Giovanni), Sœur
Mathilde (Dialogues des Carmelites),
Valetto (L’Incoronazione di Poppea),
and Lazuli (L’Étoile). She has performed
recital programs and fundraiser concerts
for the French-American Cultural
Society, the Palo Alto Fortnightly
Music Club, and the Opera Academy
of California. In addition, she enjoys
collaborating with young composers and
improvisers on new works in Boston and
Ann Arbor. She is currently a student of
Melody Racine.
Brenda Rae (Soprano) is currently
a member of the ensemble at Oper
Frankfurt. This season, she will sing the
role of Zerbinetta in Ariadne auf Naxos
for her debut with the Hamburgische
Staatsoper, followed by a debut at the
Paris Opera as Anne Trulove in The Rake’s
Progress. Ms. Rae makes a return to the
US with two important debuts: Polissena
in Radamisto at Carnegie Hall (as part of
a European and American tour with The
English Concert and Harry Bicket) and
in the summer as Violetta in La Traviata
at the Santa Fe Opera. In Frankfurt, Ms.
Rae will continue her exploration of the
Baroque repertoire with her debut as
Cleopatra in a new production of Giulio
Cesare and will sing the title role in
Donizetti’s Maria Stuarda in concert. In
the spring, she will return to Bordeaux
for Pamina in Die Zauberflöte. Further
European concert dates of Radamisto
will include London, Paris, Birmingham,
be present
winter 2013
13

ORESTEIA OF AESCHYLUS winter 2013 ums
and Toulouse, and in the early summer
she will make her Schubertiade debut in
Schwarzenberg, Austria. In the future,
Ms. Rae will return to the Oper Frankfurt
and the Bayerische Staatsoper in leading
roles.
In 2007, Ms. Rae gave a recital at
Alice Tully Hall as a winner of the Juilliard
Vocal Arts Honors Recital. In January
2008, she gave a recital at Carnegie
Hall under the auspices of the Marilyn
Horne Foundation. Ms. Rae has been
awarded First Prize honors from the Licia
Albanese-Puccini Foundation, the Bel
Canto Foundation, and Wisconsin NATS.
She is also the recipient of a Shoshana
Foundation Richard F. Gold Grant from
Central City Opera, and grants from
the Giulio Gari Foundation and the
Annenberg Foundation. Ms. Rae received
her Artist Diploma from the Juilliard
Opera Center in 2008, her master’s degree
from The Juilliard School in 2006, and her
bachelor’s degree from the University of
Wisconsin-Madison in 2004.
This season, Tamara Mumford
(Mezzo-Soprano) tours the US and
Europe with Gustavo Dudamel and
the Los Angeles Philharmonic in
performances of John Adams’s The
Gospel According to the Other Mary, and
appears in Lincoln Center’s White Light
Festival in a performance of Mahler’s
Das Lied von der Erde. She also makes her
debuts with the San Francisco Symphony
Orchestra, Milwaukee Symphony
Orchestra, Eugene Symphony, and
Santa Barbara Symphony. A graduate
of the Metropolitan Opera’s Lindemann
Young Artist Development Program,
Ms. Mumford made her debut there
as Laura in Luisa Miller, and has since
appeared as Smeaton in the new
production of Anna Bolena, and in
productions of Rigoletto, Ariadne auf
Naxos, Il Trittico, Parsifal, Idomeneo,
Cavalleria Rusticana, Nixon in China,
The Queen of Spades, the complete Ring
cycle, and The Magic Flute. Other recent
opera engagements have included the
title role in the American premiere of
Henze’s Phaedra and the title role in The
Rape of Lucretia at the Opera Company
of Philadelphia, the title role in Dido
and Aeneas at the Glimmerglass Opera,
Ottavia in L’incoronazione di Poppea at
the Glyndebourne Opera Festival and
the BBC Proms, Isabella in L’Italiana in
Algeri at the Palm Beach Opera, the title
role in The Rape of Lucretia conducted
by Lorin Maazel at the Castleton Festival;
the title role in Carmen at the Crested
Butte Music Festival, Principessa in Suor
Angelica and Ciesca in Gianni Schicchi
with the Orchestra Sinfonica Giuseppe
Verdi di Milano in Italy; and the title role
in La Cenerentola at Utah Festival Opera.
Recognized in the US and abroad for her
stunning interpretations of repertoire
ranging from the early Baroque to that
of today’s composers, Jennifer
Lane (Contralto) has appeared with
distinguished festivals and concert
series worldwide in programs ranging
from recitals and chamber music to
oratorio and opera. These include San
Francisco Opera, the Metropolitan
Opera, Théâtre du Châtelet, L’Opéra
de Monte Carlo, New York City Opera,
Göttingen and Halle Handel Festspiels,
Aix-en-Provence, and the Palau de
la Musica in Barcelona. Many of her
nearly 50 recordings released on the
Harmonia Mundi USA, Naxos, Opus
111, CBC Records, Koch International,
Newport Classic, Arabesque, VOX, PGM,
Centaur, and Gaudeamus labels have
won awards, as have her two films: The
Opera Lover and Dido & Aeneas. Now
associate professor of voice at the
14

University of North Texas, Ms. Lane has
held positions at Stanford University
and the University of Kentucky. Her
students have won Metropolitan Opera
National Council, NATS, and other
competition prizes and awards. They
have participated in prestigious young
artist programs, served as teaching
fellows, and won graduate fellowships.
A number of them are nationally and
internationally active.
This season, Julianna Di Giacomo
(Soprano) makes her debuts at the Los
Angeles Opera as Donna Anna in Don
Giovanni, the Petruzelli e Teatri di Bari
as Desdemona in Otello, and the Opéra
National Montpellier in Les Roys d’Ys.
She also returns to the Teatro Real de
Madrid for the title role in Suor Angelica
and appears in concert with the Israel
Philharmonic and the Netherlands
Radio Philharmonic Orchestra.
Ms. Di Giacomo made her debut
at the Metropolitan Opera as Clotilde
in Norma and has since returned
for Lina in Stiffelio and Leonora in Il
Trovatore. Other recent North American
engagements have included her debut
with the Los Angeles Philharmonic in
performances of Mahler’s Symphony No.
8, conducted by Gustavo Dudamel, in both
Los Angeles and Caracas and broadcast
live to movie theaters in North and South
America; excerpts from Don Giovanni
with the New York Philharmonic; Il
Trovatore and Mathilde in Guillaume
Tell at the Caramoor International Music
Festival; Mme. Lidoine in Dialogues des
Carmelites at the Pittsburgh Opera;
Fiordiligi in Così fan tutte; and Donna
Elvira in Don Giovanni at the New York
City Opera. She made her Carnegie Hall
debut as Lucrezia in I due Foscari with
Eve Queler and the Opera Orchestra of
New York and returned for Rossini’s
Stabat Mater and as a featured recitalist
in the Opera Orchestra of New York’s
Rising Stars Series. She also appeared
at Lincoln Center as a featured soloist in
its Puccini 150th Birthday Celebration
gala concert, and most recently made
her Cincinnati May Festival debut in
a performance of Elijah conducted by
James Conlon.
Kristin Eder (Mezzo-Soprano)
enjoys an active career as a performer of
operatic, oratorio, and recital repertoire.
She has most recently appeared as a
guest artist with organizations including
the Tallahassee Symphony Orchestra,
the Illinois Symphony Orchestra,
the Oakland Choral Society, Ann
Arbor Cantata Singers, the Bozeman
Symphony, and the Adrian Symphony.
She has also performed with the Arbor
Opera Theater, the Metropolitan
Baroque Ensemble, and the U-M Opera
Theater. Ms. Eder’s operatic roles include
Jo in Little Women, the title role in
Gluck’s Armide, Dido and the Sorceress
in Dido and Aeneas, Marcellina in Le
Nozze di Figaro, Mercedes in Carmen,
and Florence Pike in Albert Herring.
In May 2011, Ms. Eder completed her
doctorate in vocal performance at the
University of Michigan, where she
also received master’s degrees in vocal
performance and choral conducting.
Her concert repertoire includes Handel’s
Messiah, Duruflé’s Requiem, Verdi’s
Requiem, Stravinsky’s Pulcinella,
Mozart’s Requiem and Mass in c minor as
well as all of Bach’s choral masterworks.
Ms. Eder resides in Ann Arbor with her
husband and two young daughters and
is currently a lecturer of vocal music at
U-M and an adjunct professor of vocal
and choral studies at Adrian College.
be present
winter 2013
15

ORESTEIA OF AESCHYLUS winter 2013 ums
The University Symphony
Orchestra (USO) is
considered one of the world’s
finest student orchestras. Under the
auspices of the School of Music, Theatre
& Dance, the USO serves as a training
ground for gifted young musicians,
many of whom go on to play in major
symphony orchestras, and for students
in U-M’s highly competitive and soughtafter
orchestral conducting program,
ranked number one in the United States.
Conducted by Kenneth Kiesler since 1995,
the USO has toured to the festivals of
Salzburg and Evian, premiered dozens of
new works by contemporary composers,
played the American premiere of James
P. Johnson’s The Dreamy Kid, and the
first performance since 1940 of the same
composer’s De Organizer. The USO has
several recordings currently available
including first-ever recordings of music
by Leslie Bassett, Michael Daugherty, and
William Bolcom on the Equilibrium label.
Four other CDs are available on the Naxos
label, including excerpts from operas by
David Amram, David Schiff, Abraham
Ellstein, and Paul Schoenfield.
In 2010, the USO released on
the Dorian Sono Luminus label its
recording of The Old Burying Ground, an
orchestral song cycle for soprano, tenor,
and folksinger by Evan Chambers. Its
reputation as one of the leading orchestras
of its kind was affirmed in 2005 when
the orchestra received the Grammy
Award for “Best Classical Album” for the
premiere recording of William Bolcom’s
Songs of Innocence and of Experience. In
2011, the USO was the recipient of the
prestigious American Prize in Orchestral
Performance. Last year the orchestra
released world premiere recordings
of Alberto Ginastera’s Three Piano
Concertos with Barbara Nissman on the
Pierian label.
The U-M Chamber Choir,
conducted by Jerry Blackstone,
Director of Choral Activities,
performs a broad spectrum of repertoire,
and frequently collaborates with
instrumental ensembles. Its 45 members
are graduate and undergraduate
students majoring in vocal performance,
music education, or conducting. Recent
appearances have included performances
at national and division conventions of the
American Choral Directors Association,
an appearance by special invitation at
the inaugural conference of the National
Collegiate Choral Organization, and
acclaimed performances with the Detroit
Symphony Orchestra at Orchestra Hall in
Detroit.
The U-M University
Choir, a 95-voice ensemble at
the U-M School of Music, Theatre
& Dance, is comprised of music majors
in vocal performance, music education,
piano, organ, composition, and theory.
They are conducted by Eugene Rogers,
Associate Director of Choirs.
The U-M Orpheus Singers
is a 25-voice ensemble comprised
of upper level undergraduate
students in vocal performance and music
education, and is led by graduate choral
conductors. They frequently appear with
instrumental ensembles and collaborate
with the Chamber and University Choirs
in the presentation of major works for
chorus and orchestra.
Formed by a group of local
university and townspeople who
gathered together for the study of
Handel’s Messiah, the UMS Choral
Union has performed with many of
16

the world’s distinguished orchestras
and conductors in its 134-year history.
First led by Professor Henry Simmons
Frieze and conducted by Professor Calvin
Cady, the group assumed the name The
Choral Union. Since its first performance
of Handel’s Messiah in December 1879,
the oratorio has been performed by the
UMS Choral Union in Ann Arbor annually.
Based in Ann Arbor under the aegis of
UMS, the 175-voice Choral Union, led by
music director Jerry Blackstone, is known
for its definitive performances of largescale
works for chorus and orchestra.
Seventeen years ago, the UMS Choral
Union further enriched that tradition
when it began appearing regularly with
the Detroit Symphony Orchestra (DSO).
Participation in the UMS Choral
Union remains open to all students
and adults by audition. For more
information on how to audition, please
email choralunion@umich.edu, call
734.763.8997, or visit www.ums.org/
about/ums-choral-union.
The U-M Percussion
Ensemble has commissioned,
performed, and recorded works
from a global array of musical cultures.
Many of the compositions premiered have
gone on to enter the standard percussion
canon, and the ensemble has numerous
recordings to its credit on a variety of
labels. The ensemble is co-directed by
assistant professors of percussion Joseph
Gramley and Jonathan Ovalle.
be present
UMS Archives
winter 2013
Tonight’s performance marks Maestro Kenneth Kiesler’s second appearance under
UMS auspices. Maestro Kiesler made his UMS debut in January 2004 conducting the
University Symphony Orchestra in the Hill Auditorium Re-Opening Celebration.
This evening’s performance marks the 57th appearance of the University
Symphony Orchestra under UMS auspices. The Orchestra made its UMS debut in
February 1880 under the baton of Calvin Cady and most recently performed under
UMS auspices in April 2004 as part of the Grammy Award-winning recording and
performance of William Bolcom’s Songs of Innocence and of Experience at Hill
Auditorium.
Tonight’s performance marks the 423rd performance of the UMS Choral
Union under UMS auspices. The UMS Choral Union made its debut in December
1879 in its first Ann Arbor performance of Handel’s Messiah. The Choral Union
most recently appeared in January 2013 with the Detroit Symphony Orchestra and
Maestro Leonard Slatkin in a celebration concert of the Frieze Memorial Organ at Hill
Auditorium.
The U-M Chamber Choir makes its third UMS appearance this evening,
following its March 2012 performance with Mason Bates and members of the San
Francisco Symphony in the American Mavericks Festival at Hill Auditorium. The
U-M University Choir and Orpheus Singers make their second UMS appearances,
following their most recent UMS performances in April 2004 as part of William
17

Continued from page 17
Bolcom’s Songs of Innocence and of Experience at Hill Auditorium.
Soprano Julianna Di Giacomo makes her second UMS appearance this evening,
following her UMS debut in December 2012 in Handel’s Messiah. Soprano Brenda
Rae also makes her second UMS appearance this evening, following her UMS debut
in February 2013 in Handel’s Radamisto with The English Concert and Harry Bicket.
Tonight marks contralto Jennifer Lane’s second UMS appearance, following her April
1995 UMS debut as a soloist with the Mark Morris Dance Group and Boston Baroque
Orchestra and Chorus.
UMS welcomes the U-M Percussion Ensemble and soloists Sophie Delphis, Lori
Phillips, Kristin Eder, Tamara Mumford, Dan Kempson, and Sidney Outlaw, who
make their UMS debuts this evening.
Please refer to your program book insert for complete rosters of all
performing ensembles in this evening’s performance.
You're
Invited.
2013–2014
Season
Announcement
Party
Friday, April 12, 4:30–7:30 pm
Michigan League

UMS PRESENTS
oresteia of
aeschylus
Kenneth Kiesler, Artistic Director
Nadège Foofat, Associate Conductor
This concert is a collaboration between the University of Michigan School of Music,
Theatre & Dance and UMS.
Christopher Kendall, Dean and Paul Boylan Collegiate Professor of Music, Theatre & Dance
Kenneth C. Fischer, President, UMS
University Symphony Orchestra
Kenneth Kiesler, Director of Orchestras and Conductor
Violin
Timothy Steeves**, Concertmaster
Ye Eun Kim*, Principal
Immanuel Abraham
Michael Bechtel
Daniel Brier
Caroline Buse
Celeste Carruth
Alexis Choi
Charlotte Crosmer
Ken Davis
Sophia Han
Caroline Hart
Cindy Hong
Kazato Inouye**
Janice Lee
Sharon Lee
Peiming Lin
Laura Longman
Janet Lyu*
Genevieve Micheletti
Verena Ochanine
Anna Piotrowski
Hoorig Poochikian
Adrianne Pope
Chauntee Ross
Alan Tilley
Elizabeth Tsung
Katie von Braun
Davis West**
Jing Xing
18A

Continued
Viola
Rachel Samson*, Principal
Erin Maughan^, Associate Principal
Clifton Boyd
Daniel Brown
Siobhan Cronin
Megan Lathan
Katherine Lawhead
Jack Mobley
Amy Pikler*
Chisato Suga
Jhena Vigrass
Samantha Yo
Cello
Horacio Contreras*, Principal
Matthew Armbruster*
Zan Berry
Caitlin Eger
Martin Guerra
Michael Harper
Eric Haugen
Amy Kim
James Perretta*
Nathaniel Pierce
Daniel Poceta
Jacobsen Woollen
Bass
Alexander Vaughn*, Principal
Michael Flinn
Zoe Kumagai
Christopher Livesay
Gillian Markwick
Jesse Seguin
Grecia Serrano-Navarro
Kohei Yamaguchi*
Flute
Carly Renner
Daniel Velasco
Hannah Weiss
Katherine Zhang
Oboe
Melissa Bosma
Alex Hayashi
Zach Pulse
Jennifer Roloff
Clarinet
Ryan King
Daniel Park
Matt Rynes
John Walters
Bassoon
Thomas Crespo
Michael Gieske
Nathaniel Hoshal
Tim McCarthy
Saxophone
Jonathan Hulting-Cohen
Micaela Acomb
Edward Goodman
Ji Hoon Kang
Horn
Colin Bianchi
Natalie Fritz
Adedeji Ogunfolu
Patrick Walle
Saxhorn
Matt Anderson
Greg Simon
Cody Halquist
Christopher Plaskota
Trumpet
Alex Carter
Peter Stammer
Stephanie Tuck
Spencer Wallin
Trombone
Jakob Hildebrandt
Micah Smiley
18B

Bass Trombone
Matthew Karatsu
Tuba
Nick Beltchev
Timpani/Percussion
Jonathan Brown
Matthew Geiger
Evan Laybourn
Arlo Shultis
Brian Young
Harp
Kristin Lloyd
Catherine Miller
**Concertmaster, *principal, and
^associate principal string players
rotate positions during the season. Wind
players rotate positions during the
concert.
Daniel Brier, Elim Chan, Saya Callner,
Elliot Moore, Rodrigo Ruiz, Yaniv Segal,
Assistant Conductors
Catherine Miller, Assistant
Personnel Manager
Matthew Anderson, Matthew
Karatsu, and Li Kuang, Equipment
Assistants
Celeste
Tzuyin Huang
U-M Chamber Choir
Jerry Blackstone, Director of Choirs and Conductor
Scott VanOrnum, Pianist
Soprano
Alison Aquilina
Nora Burgard
Marianne Gruzwalski
Kara Huckabone
Jaclyn Johnson
Paige Lucas
Meghan McLoughlin
Melissa Sondhi
Hannah Sparrow
Alto
Francesca Chiejina
Sophie Delphis
Natalie Doran
Lauren Jacob
Rachel McIntosh
Kate Nadolny
Amanda O’Toole
Kellie Rong
Kate Rosen
Katherine Sanford
Stephanie Schoenhofer
Alexandra Shaw
Tenor
Justin Berkowitz
George Case
Jonas Hacker
Timothy Keeler
Jonathan King
Michael Martin
Alan Nagel
Nicholas Nestorak
Nathan Reiff
Austin Stewart
Scott Walters
Jacob Wright
18C

Continued
Bass
Chase Bernhardt
John Boggs
Benjamin Brady
Nicholas Davis
Stephen Gusukuma
Jonathan Harris
John Hummel
Ronald Perkins, Jr.
Glen Thomas Rideout
Jonathan Schechner
Ryan Winslow
George Case, Glen Thomas Rideout,
Jonathan King, Assistant Conductors
John Hummel, Personnel Manager
Ronald Perkins, Jr., Equipment
Assistant
U-M University Choir
Eugene Rogers, Associate Director of Choirs and Conductor
David Gilliland, Pianist
Soprano
Shelby Avery
Jessica Barno
Megan Becker
Catherine Borland
Katherine Brill
Danni Feng
Kaci Friss
Paige Graham
Michal Harris
Melissa Hartman
Marina Hogue
Jayne Jaeger
Belinda Juang
Caroline Kagan
Siyuan Li
Christine Masell
Hidemi Minagawa
Christabel Nunoo
Claire Pegram
Allison Prost
Emily Reay
Hanna Schwimmer
Zoe Soumkine
Madeline Thibault
Allyson Williams
Alto
Melissa Angulo
Emma Azelborn
Sonya Belaya
Lyndsay Burke
Yihua Cao
Regan Chuhran
Breanna Ghostone
Marlena Hilderley
Grace Jackson
Shenika John Jordan
Mi-Eun Kim
Gabrielle Lewis
Sara Marquis
Natalie Moller
Ariana Newman
Tessa Patterson
Nina Peluso
Tanner Porter
Rena Steed
Christina Swanson
Alexa Wutt
Dalal Yassawi
Stephanie Yu
Mary Zelinski
18D

Tenor
Cole Anderson
Achilles Bezanis
Alexander Bonoff
Paul Brumfield
Tom Cilluffo
Apoorv Dhir
Tomer Eres
Jason Gong
Lucas Grant
Jordan Harris
Kevin Harvey
Alexander Holmes
Samn Johnson
Daniel Kitzman
Elliot Krasny
Zac Lavender
Daniel Passino
Khris Sanchez
Adam Schwartz
Bass
Brendan Asante
Josh Boyd
Ammon Bratt
Daniel Braunstein
Morgan Byrd
Joseph Chang
Samuel Cummins
Matthew Dempsey
Andrew Earhart
Darren Fedewa
Paul Giessner
Alexander Greenzeig
Paul Grosvenor
Andrew Herbruck
Austin Hoeltzel
Colin Knapp
Jiyao Li
Michael Miller
Jesus Murillo
Marcus Peterson
Timothy Peterson
James Schmid
Rhemé Sloan
Daniel Stromfeld
Andrew Whang
Stephen Gusukuma, Assistant
Conductor
Daniel Kitzman, Personnel Manager
Marina Hogue, Khris Sanchez, and
Ben Zisook, Equipment Assistants
U-M orpheus singers
Jerry Blackstone, Director of Choirs
Scott VanOrnum, Pianist
Soprano
Sara Bonner
Jaclyn Johnson
Imani Mchunu
Lindsey Meekhof
Candace Pierce-Winters
Alexandria Strother
Alto
Marta Dominguez
Jenna Hane
Ashley Mulcahy
Olivia Nienhouse
Pavitra Ramachandran
Diana Sussman
Tenor
George Case
Timothy Keeler
Jonathan King
Nathan Reiff
Scott Walters
Bass
Gyuri Barabas
Stephen Gusukuma
18E

Continued
Glenn Healy
Glen Thomas Rideout
Robert Silversmith
Jeremy Williams
Stephen Gusukuma, Glen Thomas
Rideout, George Case, Jaclyn Johnson,
Nathan Reiff, William Scott Walters,
Jonathan King, Tim Keeler, Graduate
Student Conductors
William Scott Walters, Personnel
Manager
U-M Percussion Ensemble
Joseph Gramley and Jonathan Ovalle, Co-Directors
Jonathan Brown
Anthony DeMartinis
Gary Donald
Thomas Erickson
Matthew Geiger
Dylan Greene
Benjamin Krauss
Evan Laybourn
Patterson McKinney
Daniel Piccolo
Mackenzie Sato
Arlo Shultis
Christopher Sies
Brian Young
staff
Emily Avers, Director of Ensemble
Operations
Paul Feeny, Ensembles Production
Coordinator and Librarian
Rachel Francisco, Publicity
David Gilliland and Scott VanOrnum,
Rehearsal Pianists
Yaniv Segal, Surtitle Operator
Brianne Dolce, Surtitle Coordinator
Scan to see U-M students share behind-the-scenes moments
from the rehearsal process for Oresteia of Aeschylus.
Download a free QR code reader app on your smart phone,
point your camera at the code, and scan to see multimedia
content.
18F

UMs choral union
Jerry Blackstone, Music Director and Conductor
George Case, Assistant Conductor
Jean Schneider and Scott VanOrnum, Accompanists
Kathleen Operhall, Chorus Manager
Nancy K. Paul, Librarian
Donald Bryant, Conductor Emeritus
Soprano
Alison Aquilina
Jamie Bott
Debra Joy Brabenec
Ann K. Burke
Anne Busch
Ann Cain-Nielsen
Carol Callan
Susan F. Campbell
Cheryl D. Clarkson
Elizabeth Crabtree
Lauren Cunningham
Marie Ankenbruck Davis
Carrie Deierlein
Kristina Eden
Emilia Fracz
Jennifer Freese
Keiko Goto
Katharina Huang
Anne Jaskot
Emily Jennings
Jaclyn Johnson
Kyoung Kim
Alana Kirby
Karen Kirkpatrick
Kay Leopold
Patricia Lindemann
Loretta Lovalvo
Katherine Lu
Natalie Lueth
Sara McMullen-Laird
Carole C. McNamara
Toni Marie Micik #
Samantha Miller
Marina Musicus
Nancy K. Paul
Christie Peck
Sara J. Peth
Margaret Dearden Petersen
Julie Pierce
Jane Renas
Katharine Roller
Allie Schachter
Erin L. Scheffler- Franklin
Mary A. Schieve
Joy C. Schultz
Sujin Seo
Elizabeth Starr
Sue Ellen Straub
Virginia A. Thorne-Herrmann
Leah Urpa
Barbara Hertz Wallgren
Margie Warrick
Mary Wigton*
Alto
Paula Allison-England
Carol Barnhart
Dody Blackstone
Margy Boshoven
Anne Casper
Carole DeHart
Valerie Delekta
Elise Demitrack
Melissa Doyle
Sarah Fenstermaker
Grace K. Gheen
Johanna Grum
Kat Hagedorn
Linda Hagopian
Nancy Heaton
Carol Kraemer Hohnke
18G

Continued
Laura Holladay
Cynthia Lunan
Karla K. Manson #
Linda Selig Marshall
Sandra Lau Martins
Elizabeth Mathie
Beth McNally
Marilyn Meeker*
Carol Milstein
Kathleen Operhall
Hanna Martha Reincke
Cindy Shindledecker
Susan Sinta
Hanna Song
Katherine Spindler
Ruth A. Theobald
Carrie Throm
Alice E. Tremont
Barbara Trevethan
Cheryl Utiger
Crystal VanKooten
Alice VanWambeke
Katy Vaitkevicius
Yvonne Waschek
Iris Wei
Mary Beth Westin
Susan Wortman
Allison Anastasio Zeglis
Tenor
Gary Banks
George Case
Steven Fudge*
Randy Gilchrist
Arthur Gulick
Marius Jooste
Tim Keeler
Ezra Keshet
Bob Klaffke
Mark A. Krempski #
Richard Marsh
James Pecar
Chris Petersen
Kenneth Sieloff
Carl Smith
Patrick Tonks
Bass
Ethan Allred
William Baxter
William Boggs #
Nicholas Cagle
John Dryden
Charlie Dwyer
Don Faber
James Ferrara
Kenneth A. Freeman
Mark Goodhart
Stephen Gusukuma
Philip J. Gorman
Christopher Hampson
James Head
Robert Heyn
Jorge Iniguez-Lluhi
Zachery T. Kirkland
Joseph D. McCadden
James B. McCarthy
Gerald Miller
Fredy Nagher
Michael Pratt
James Rhodenhiser
Neil Shadle
William Shell
Donald Sizemore*
William Stevenson
Jack Tocco
Terril O. Tompkins
Thomas L. Trevethan
John Van Bolt
Paul Venema
* Section Leader
# Section Coach
18H