Ovation | Summer 2015

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OVATION! news, events and activities of opera colorado | summer 2015

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FROM THE GENERAL DIRECTOR

by G R E G CaR PE nTE R

A

nother great Opera Colorado season has come to a close. Our productions of Madama Butterfly and The Magic Flute were resounding artistic accomplishments and our ticket sales far exceeded expectations. Thank you for helping us to make the 20142015 Season a tremendous success!

Now, we focus on the future, as we get ready to open a new opera season and celebrate our Honoree Ellie Caulkins and the 10th Anniversary of the opening of the Ellie Caulkins Opera House. Yes, it is difficult to believe that 10 years have passed since we moved from performances in Boettcher Concert Hall and the Buell Theatre to our home at The Ellie. To mark this occasion and to honor Ellie Caulkins we will present a 10th Anniversary Celebration on September

Gately, who was last with us for The Marriage of Figaro and The Barber of Seville. Aida is sure to be a triumphal opening to the new season!

The season will round out in May of 2016 with the much anticipated world premiere of Lori Laitman’s The Scarlet Letter. In March we presented a one-hour reading of the educational touring version of the full-length opera, which was enthusiastically received by the audience and has begun to create significant buzz. Leading up to the premiere, we will host a series of A List events designed to engage the community in discussions about Nathaniel Hawthorne’s famous novel, poetry readings and discussions with the librettist David Mason, and panel discussions about religious dogma and the repression of women in society. We will have more information about the A List events in the fall and we hope you will join us as we prepare for The Scarlet Letter.

It is also a great pleasure to welcome Ari Pelto as the first Music Director in the history of Opera Colorado. Ari has been

“Now, we focus on the future, as we get ready to open a new opera season and celebrate our Honoree Ellie Caulkins and the 10th Anniversary of the opening of the Ellie Caulkins Opera House.”

– Greg Carpenter 19, 2015. The centerpiece of the evening will be a concert with the Opera Colorado Orchestra featuring some of the artists who have appeared with Opera Colorado over the past 10 years, and previewing a few that might be joining us in future seasons. The Ellie Celebration will begin with a festive cocktail party and end with dinner and dancing.

Shortly after the Celebration we will officially open the 2015-2016 Season with Verdi’s Aida. It has been 20 years since our patrons experienced Aida in downtown Denver and we are thrilled to present a beautiful production with all of the pageantry, ballet and costuming that accompanies Verdi’s operatic masterpiece. We have assembled an exciting cast for the production led by one of our favorite directors David

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our Artistic Advisor over the past two years and we now have the exciting opportunity to create this new position to help us craft an expanded artistic vision for the future of Opera Colorado. Ari will be conducting both of our 2015-2016 productions and will take the Music Director reigns in July of 2016.

I look forward to seeing you and your friends often in the 2015-2016 Season.

Greg Carpenter General Director

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10 YEARS AND COUNTING Please join me in celebrating a decade of artistry in Denver’s legendary grand opera house.

by E LLi E CaU LK i n s

A

s we prepare to celebrate the 10th anniversary of the opera house, I find myself reflecting on how lucky I am to be part of its history. It all started when, as a stay-athome mother of four kids, I decided to go back to school as an English major at the University of Colorado, Denver.

When I sat down in a class called “Opera as Drama,” the professor played a few popular selections for us nonmusicians—the “Triumphal March” from Aida, the love duet from La Bohéme, and a patriotic song from Don Carlo— and asked us to write down how they made us feel. I knew I was hooked. I didn’t know how to read a “libretto” or who the famous singers were; I just knew I had found the thing that I loved.

Eventually, I got involved with the Metropolitan Opera and its auditions program for young singers, and when Nat Merrill came to Denver wanting to start a new opera company in-the-round at Boettcher Concert Hall, I jumped into that, too. We did marvelous productions with famous singers, but performing in-the-round had its challenges.

Buell Theatre’s acoustics are more suited to Broadway

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shows than to opera, and the historic Quigg Newton Denver Municipal Auditorium (built in 1908 to host the Democratic National Convention and used again 100 years later for the historic 2008 DNC) was in danger of being condemned for civic safety violations. Thankfully, in 2002, the citizens of Denver voted to pass a $75 million bond issue and allocate $25 million of the General Fund to finance the renovation of the aging Auditorium Theatre into what is now this world-class opera house where we produce classic and contemporary works with state-ofthe-art technical and acoustical features. Thank you, Denver, for your generosity and vision in making that happen.

But that was not quite enough to make the building spectacular for opera. Fundraising began to assure that all the “bells and whistles” would be included. That’s when Jack Finlaw, Jeremy Shamos and others, including, of course, our Mayor—now Governor—John Hickenlooper (always an arts advocate and friend of my children), secretly met with my husband George to ask him to make a contribution

Ellie Caulkins and Family at the Hotel Teatro, January 2004.

to help convert the building from a place for graduations, wrestling matches, and conventions into a true lyric opera house. In January 2004, when my husband and I walked into the Hotel Teatro to attend what I thought was going to be a routine meeting on construction progress, I looked around and saw all these well-known people and thought, “Uh-oh, this is going to be a fundraiser and George is going to hate it.” I was absolutely stunned when the mayor

“Opera is a hard business; here in Denver it will always compete with major league sports and the mountains, but we know that opera can touch your heart and bring you magic.”

– Ellie Caulkins

unveiled a plaque that said “The Ellie Caulkins Opera House, Given by her family.” It was a magical moment for me, even if not precisely accurate, as it was really the wonderful voters of Denver who paid for most of it.

Opening night in September 2005 presented some of the opera world’s stars, including soprano Renée Fleming and bass-baritone James Morris. Now, 10 years later on September 19, 2015, we will host another gala evening with some of our favorite artists—past, present, and future.

As we reflect on our colorful history and look forward to all that is yet to come, let’s also enjoy what we are lucky to have today: an opera company that honors tradition and welcomes innovation. Opera is a hard business; here in Denver, it will always compete with major league sports and the mountains, but we know that opera can touch your heart and bring you magic. I have always said opera is eternal, and anyone who hears La Bohéme for the first time will be as smitten as I was.

Today, Opera Colorado enjoys good health. Through our Young Artists and our robust education programs, as well as mainstage and smaller venue productions, we will continue to offer performances that move us all to a “better place.” That is what grand opera done grandly can do. Our mission is to keep opera vibrant and to share the experience with a wider audience than ever before. We have great opportunities here in Denver and beyond. I know this opera house will always be our home, and on the eve of its 10th anniversary, it is time to throw a party. I hope you will join us. Bravo, Opera Colorado!

summer 2015

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ARI PELTO APPOINTED OPERA COLORADO’S FIRST MUSIC DIRECTOR by oPE Ra CoLoRad o

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ast month, Opera Colorado appointed Ari Pelto as the first Music Director in its history. Pelto will serve as Music Director Designee beginning July 1, 2015 and take the helm as Music Director beginning July 1, 2016. Ari Pelto will fill an important new role with the Company as he partners with General Director Greg Carpenter to further Opera Colorado’s mission, increase and diversify our programming and repertory, build the national scope of the Young Artists program and further extend Opera Colorado’s reach into the community.

Opera Colorado also recently extended Greg Carpenter’s role as General Director through 2018 with a renewed contract.

As Greg Carpenter put it, “This is an exciting moment in the history of Opera Colorado. Our hard work over the past few years has provided us with the necessary platform so that we may take risks and find ways to reach a variety of audiences. As we look to the future, we need an artistic leader who can continue to push the genre forward.”

Pelto’s long relationship with Opera Colorado began in 2013 with his appointment as Artistic Advisor following his acclaimed debut conducting Don Giovanni. He has also conducted at opera companies across the country including New York City Opera, Opera Theatre of St. Louis, Boston Lyric Opera, Minnesota Opera, Portland Opera and Utah Opera.

our community of supporters and they too have welcomed him as part of our family. He is the exact partner I need in creating an exhilarating future for Opera Colorado.”

Greg Carpenter and Ari Pelto will be responsible for selecting repertoire for mainstage productions and new works for development, determining the talent for each production and establishing a creative vision for Opera Colorado’s future that both sustains the quality of work presented and broadens the Company’s presence. Maestro Pelto will continue to conduct several productions each year,

“I’m deeply honored to take the musical reins of Opera Colorado and I look forward to a long and productive partnership with Greg Carpenter, bringing high-level and inspired work to Denver.”

– Ari Pelto “From the first moments rehearsing Don Giovanni with the singers, orchestra and chorus of Opera Colorado in the spring of 2013, I knew this was a company to love,” said Ari Pelto. “I’m deeply honored to take the musical reins of Opera Colorado and I look forward to a long and productive partnership with Greg Carpenter, bringing high-level and inspired work to Denver.”

“Working with Ari over the past two years has been one of the most rewarding experiences of my tenure at Opera Colorado” said Greg Carpenter. He is a talented conductor who is admired by both the singers and the Opera Colorado Orchestra, and his musical network is vast. Ari has embraced

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including the upcoming world premiere of the new American opera The Scarlet Letter in 2016.

“Greg Carpenter and Ari Pelto have been a vital part of Opera Colorado’s success, presenting excellent programming that has been positively received by our community, actively engaging our youth in educational programming and simultaneously building a solid financial foundation for our growth moving forward,” said Michael Bock, Chairman of Opera Colorado’s Board of Directors. “We are all thrilled to now extend Greg’s role as General Director and bring Ari on board as our first Music Director as we look towards the future and continued evolution of Opera Colorado.”

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OPERA COLORADO, MY HOME by b R ETT s PRaG U E

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n January of 2013 I was living in New York City, working 40 hours a week at Starbucks, spending my days off at a church choir gig and doing odd jobs; all while trying to keep the dream of singing alive. It had become such an exhausting existence that I had to cut down on the pursuit of my dream, just to survive. I loathed myself for it. After all, why was I there, if not to steadfastly chase my dream? I had one last audition for the season, and I thought my life. So, I hopped on a plane and headed for Denver.

The audition did not go as planned. I tripped down a few stairs upon entering the room, and proceeded to forget the introduction I was supposed to deliver before my first piece.

To make matters worse, in my second aria, I completely botched the lyrics, which were in English. Needless to say, I left knowing I wouldn’t get the job. Then, a few hours later, I got a phone call from Cherity Koepke, Director of the Young Artists program, that not only changed the trajectory of my career, it changed my life.

After my first season as a young artist, I was lucky to be invited back for a second season. For those of you wondering, the second audition went much better than the first. I managed not to trip or forget any lyrics. The past two years have helped me recapture the life I dreamed of living. Thanks to this program, and the people I have worked with throughout, I have rediscovered my passion for this art form, my innate talents and the joy that comes from feeling

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comfortable in my own skin.

These lessons did not come easy, I promise you. From day one, everything I thought I knew was challenged and pushed to the limit. In order to survive this program, I had to step out of my comfort zone and accept the premise that Cherity and General Director Greg Carpenter had my best interests in mind. This was a mighty struggle for me and my cynicism. A struggle made easier thanks in great part to the incredible community of Opera Colorado.

Many of you reading this know the rigors of our program, and the wonderful opportunities provided to us. I cannot overemphasize the paramount significance of constant performance, in what I have learned in the program. The lessons in acting and singing I have gleaned from daily community shows and performing in the mainstage productions are immeasurable. Greater development cannot be found in a studio. Yet, it is my personal growth, in tandem with my professional progress, of which I am the most proud. Thanks to my mentors at Opera Colorado, I have acquired essential attributes necessary to be a good person, in any pursuit. The models provided to me by Cherity, Greg, Ari Pelto, Music Director Designee, and many others, have given me a new sense of humility, integrity, professionalism and kindness. The way I was welcomed into this community by the many volunteers, board members and staff allowed me the freedom to leave the pessimistic cynic behind and rediscover the beauty of a life dedicated to art.

For these reasons, and many more, to which words do not do justice, Opera Colorado has become my professional home. Although my time as a Young Artist has come to an end, it is my fervent hope, and intention, to maintain strong ties to this company and community. Hopefully, the work I’ve done here and the relationships I’ve built will carry me to future success. If it does, I owe it to this magnificent company and the people who make it great. I look forward with joy to the next time I walk onto the Ellie stage, because in that moment I will know I am home.

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Join us in honoring Ellie Caulkins and Celebrating the 10th Anniversary of the Opening of the Ellie Caulkins Opera House Featuring opera favorites conducted by Maestro Ari Pelto with the Opera Colorado Orchestra.

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Pamela Armstrong, soprano Jonathan Boyd, tenor Sandy Piques Eddy, mezzo-soprano Dana Beth Miller, mezzo-soprano

Jay Hunter Morris, tenor Marco Nistico, baritone Eric Owens, bass Brett Sprague, tenor Monica Yunus, soprano

DATE

SATURDAY, SEPTEMBER 19, 2015 TIME

5:30PM Cocktail Reception 7PM Concert 8:30PM Dinner ATTIRE

Black Tie LOCATION

Ellie Caulkins Opera House 14th & Curtis Streets, Denver MORE INFORAMTION

Visit operacolorado.org or call Ellen Robinson at 303.698.1151.

OPENING NIGHT DINNER AT THE NICKEL Join Opera Colorado for opening night festivities. Enjoy an all-inclusive dining experience before the performance at The Nickel, located in Hotel Teatro (across the street from the Performing Arts Complex).

Cocktails begin at 5PM followed by a three-course meal.

After the performance, join Opera Colorado for a VIP Dessert Reception with the cast in the Chambers Grant Salon at the Ellie Caulkins Opera House.

Aida | Sat., November 7, 2015 | 5PM The Nickel | 1100 14th Street, Denver

$125 per person per dinner. Ticket to the opera sold separately.

Purchase Opening Night Dinner online at operacolorado.org or call Patron Services at 303.468.2030.

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HAPPENINGS AT OPERA COLORADO OPERA COLORADO ENSEMBLE AT CHERRY CREEK ARTS FESTIVAL

As a part of Cherry Creek Arts Festival, stop by the Grand Center Court inside Cherry Creek Shopping Center on the Fourth of July Weekend to hear Opera Colorado’s Ensemble perform favorites from classic opera repertoire.

Sun., July 5, 2015 | 1PM Cherry Creek Shopping Center Free performance, tickets not required.

More info at operacolorado.org

PATRON DAY

Be the first to get your single tickets for 2015-2016 performances.

Street parking is free downtown on Sundays. Come to Patron Day at the Performing Arts Complex, enjoy refreshments, purchase single or season tickets and make exchanges.

All with no handling fees.

Sun., August 2, 2015 | 11AM-3PM Ellie Caulkins Opera House

ELLIE CELEBRATION

Honoring Ellie Caulkins and celebrating the 10th anniversary of the opening of The Ellie Caulkins Opera House. Please join us for this performance featuring opera favorites performed with the Opera Colorado Orchestra.

Sat., September 19, 2015 Ellie Caulkins Opera House

YOUNG ARTISTS SHOWCASE

Help Opera Colorado welcome the 2015-2016 Young Artists to Colorado for their eight-month residency. Young Artists play a vital role as the voice and face of Opera Colorado in the community. They perform throughout the season in school and community centers across the State. Take advantage of this special opportunity to meet them, make them feel welcomed and to hear them sing.

Fri., October 2, 2015 5:30PM cocktails/6PM performance Studio Loft at the Ellie Caulkins Opera House General Admission $10 Free for Red Dot Patron and above donors.

Buy tickets online at operacolorado.org or call 303.468.2030.

MEET THE ARTISTS

Come down to the Studio Loft at the Ellie Caulkins Opera House during the lunch hour to hear discussions about the production with General Director Greg Carpenter, the artists, conductor and director.

Aida Artists Wed., October 28, 2015 | 12PM Studio Loft at the Ellie Caulkins Opera House The Scarlet Letter Artists Wed., April 27, 2016 | 12PM Studio Loft at the Ellie Caulkins Opera House No reservations required. Free events.

FOR MORE AND UPDATED INFORMATION ABOUT PERFORMANCES AND EVENTS AT OPERA COLORADO, PLEASE VISIT OPERACOLORADO.ORG.

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DONOR EVENT

SITZPROBE BRUNCH & REHEARSAL

Sitzprobe n. German: A first on-stage rehearsal of an opera with singers and musicians but without scenery or costumes. Enjoy a buffet brunch at Kevin Taylor’s at the Opera House, then come to this exclusive insiders experience – the Sitzprobe rehearsal.

Aida Sun., November 1, 2015 12:30PM Brunch | 2PM Rehearsal Free for Red Dot Patron and above donors. $35 per person for all other donors Buy tickets online at operacolorado.org or call 303.468.2030.

FAMILY DAY AT THE OPERA

For the entire family! Starring Opera Colorado’s Young Artists performing the company’s touring production sung in English. Explore the wonders of opera and the opera house.

Sat. January 30, 2016 Ellie Caulkins Opera House Free to the public, RSVP required.

Tickets available online beginning October 5, 2015 Sponsored by PB & K Family Foundation.

YOUNG ARTISTS FAREWELL

Join Opera Colorado in saying farewell to the 2015-2016 Young Artists. Take advantage of this special opportunity to hear to them sing a short recital, and to observe first-hand their development over the course of their eight-month residency.

Sun., May 22, 2016 | 2PM Studio Loft at the Ellie Caulkins Opera House General Admission $10 Free for Red Dot Patron and above donors Buy tickets online at operacolorado.org or call 303.468.2030.

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BRINGING A CLASSIC TO THE STAGE Lori Laitman’s The Scarlet Letter to be delivered in Denver at last by dav i d m a s o n

C

reating a new opera is a bit like running for President—it costs a fortune, involves armies of devoted people and often results in ignominious defeat. The fact that Lori Laitman’s operatic adaptation of Hawthorne’s canonical novel, The Scarlet Letter, will be magnificently staged in Denver in May 2016 is nearly miraculous. I say nearly, because it isn’t being done by magic or with god-like powers. The work to make this opera happen is in the hands of talented, hardworking human beings—from fund raisers to set designers and builders to the creative team to the musicians who will embody Laitman’s gorgeous music. When I remember it’s my words they will be singing, not Hawthorne’s, I’m shocked.

Poets are used to working solo and can even grow fond of their obscurity, but in the past decade I have found it invigorating to collaborate with composers like Lori on new works for the stage. The Scarlet Letter was commissioned by the University of Central Arkansas through Robert Holden and the UCA opera program. Lori and I discussed several possible books, and landed on Hawthorne’s classic for two reasons: it was perfect for opera and it was free.

Lori is a rarity among composers for the manner in which she treats the written word as inspiration. Once we had our

book, I started thinking about the libretto. I knew Hawthorne’s dense thickets of prose had to be cut back to singable lines, and I knew we had to deal somehow with the passage of time in the story—the growth of Hester Prynne’s daughter, Pearl, and the conclusion where the entirety of the story recedes into the distant American past. Poetry and drama are ways of reshaping time, and music keeps time of its own—this was an opportunity to use everything we knew about our arts.

Re-reading the story, I could see it plain: big chorus scenes at the beginning (when Hester mounts the scaffold with her baby, bravely facing her accusers) and at the end when the truth comes out. I relished the chance to write Hester’s lullaby, demonstrating her love for Pearl at all costs, and a witch’s song, or mad song, when Mistress Hibbons confronts the hypocritical Reverend Dimmesdale in the forest:

The simple geometry of Hawthorne’s central relationships is cast into relief by the larger community–a very American story of individual aspiration in conflict with society.

The Forest set sketch for Opera Colorado’s world premiere. Set design by Erhard Rom.

“Who do you think you are? / I see you have been kissed. / You hide your dark desire. . . .” I could give Dimmesdale an anguished tenor aria for his dark night of the soul, and write a love duet for him and Hester in the forest. And I could write psychologically complex scenes, such as the confrontations between Hester and her husband, who is also a dissembler in the guise of Roger Chillingworth.

The simple geometry of Hawthorne’s central relationships is cast into relief by the larger community—a very American story of individual aspiration in conflict with society. But the community, in turn, is a constrained circle in the larger context of Nature—the sea these people have crossed to come to the New World, and the forest moving westward, populated by indigenous people visible at the fringes of the Christian settlement. Ultimately, both novel and opera question the nature of human beings. As Hester sings in Act Two: “Into the wilderness / the spirit goes. / No one can stop it being free.”

But the Calvinist in Dimmesdale can’t see a way clear—he’s already branded by his guilt: “Hester, I am not strong like you. / Hester, I’ll not live long like you.”

The job of the librettist is to give the composer words to set and dramatic situations, characters in conflict. I elected to use simple measures, often but not always accompanied by rhyme. The complex musical structures Lori Laitman has built for those words leave me deeply moved every time I hear them. Hearing the great singers cast for these roles in Denver and seeing the brilliant staging of Beth Greenberg and conducting of Ari Pelto will be a dream.

All of this was to have happened in 2013, of course, and when fundraising shortfalls caused a delay we had a taste of that ignominious defeat I mentioned earlier. Luckily for us all, Greg Carpenter and his staff have persevered. We have a superb cast, with Elizabeth Futral, Dominic Armstrong and Malcolm MacKenzie as Hester, Dimmesdale and Chillingworth. A veritable army of talented people is moving into place, eager to make an intense drama come alive. That’s the kind of courage and patience opera demands.

LORI LAITMAN MAY 7|10|13|15|2016 Hester and Pearl costume sketches for Opera Colorado’s world premiere. Costume design by Terese Wadden.

David Mason was poet laureate of Colorado from 2010 to 2014. His books include The Scarlet Libretto, Ludlow: A Verse Novel, and Sea Salt: Poems of a Decade.

For more information about Opera Colorado’s world premiere of The Scarlet Letter and A-List events, visit operacolorado.org. summer 2015

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rom September through May, Opera Colorado’s staff increases in size by five with the addition of the Young Artists. Many of you follow their development, watching as they hone their skills and grow into more experienced, mature artists. Before all of this, however, the Young Artists are chosen through an intense and extensive process.

Each season, Opera Colorado holds national auditions in Denver to select the Young Artists. Information packets are prepared for candidates that are specific to the upcoming season, including everything from the roles and repertoire needed to the housing and transportation details. This information is posted on a website called YAP Tracker (Young Artist Program), which serves as a resource for emerging artists to find out more about programs throughout the world. Through this site, artists submit their materials, and we contact applicants to schedule their auditions. Opera Colorado also posts the audition information on its website and Facebook page, as well as distributing it nationally to vocal programs.

Did you know that singers have to pay a fee to submit

an application? This little known fact about this business applies to everyone, regardless of whether or not they are selected for an audition. Opera Colorado’s fee is $35; some companies charge $75-$100. Why charge a fee?

The reasons are different for each company, but in Opera Colorado’s case, the fee covers our rental of the audition space, the accompanist hired for the audition and the YAP Tracker usage fees. The goal is to break even on costs, not to generate revenue.

Once applications are submitted, we review them through a prescreening process. Each applicant gets attention regardless of their experience. We keep the process fair by giving everyone a chance to be considered. After the deadline for submitting applications has passed, the Company contacts each artist to inform them of their status – invited to the live audition, rejected or wait listed. It is a difficult process. Opera Colorado offers feedback from the auditions to each applicant who requests it in order to help them continue in their pursuits.

After all of the auditions are scheduled, logistical details continues on page 31

28

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Join Opera Colorado on October 2, 2015 at 6PM to Welcome the 2015-2016 Young Artists This Young Artists Showcase features a recital and reception in the Studio Loft of the Ellie Caulkins Opera House. (see page 20 for details) continued from page 28

for the big day must fall into place. This includes organizing volunteers to help candidates navigate the Ellie Caulkins Opera House, giving security a list of each person’s name, hiring the accompanist, organizing and printing materials for the candidates and the list goes on. Opera Colorado also uses proctors for auditions. A proctor manages the auditions outside of the room where the actual singing takes place.

They help welcome the candidates and sign them in, manage the warm up spaces, work with the judges to know when to send in the next singer, answer candidate’s questions and much more.

As a team Cherity Koepke, Director of the Young Artists Program; Greg Carpenter, General Director, and Opera Colorado’s newly announced Music Director Designee, Ari Pelto listen to every audition. This collaborative approach is an asset that sets Opera Colorado’s program apart from others. For the 2015-2016 season, Opera Colorado will have five Young Artists who were selected together, enabling a true team spirit – an essential ingredient for success.

Quickly after the completion of auditions, offers begin for the top choices. Opera Colorado will make offers within two to three days of auditions. This strategy has proven effective, top choices have been secured for the past three seasons, this season being no exception.

Once offers are accepted, letters of agreement and official contracts are sent to the successful candidates.

After all contracts are signed, Opera Colorado releases an announcement to the public of the upcoming Young Artists, and the next round of work begins.

Selecting the Young Artists is hard work on all fronts. For the 2015-2016 auditions, Opera Colorado received 303 applications, heard over 90 live auditions and selected five.

Opera Colorado’s 2015-2016 Young Artists will begin their residency on September 28, 2015. During their residency, you will have the opportunity to watch their development and follow their journey; a journey that will be made all the more dynamic by knowing how they got here.

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SEASON TICKETS ON SALE NOW OPERACOLORADO.ORG | 303.468.2030 The 2015-2016 Season is sponsored by Ken & Donna Barrow. The Scarlet Letter is sponsored by Kenneth and Donna Barrow, Dave and Pam Duke, NoĂŤl and Thomas Congdon, Jeremy and Susan Shamos, Joy Dinsdale, Daniel L. Ritchie, National Endowment for the Arts and Opera America.

BOARD

STAFF

oFFiCERs

Greg Carpenter General Director

Michael Bock Chairman Marcia Robinson President Michael Hughes Chair Emeritus Martha Tracey Treasurer Carol Crossin Whitley Secretary and Vice President Dirk deRoos Vice President diRECToRs

Ovation! Magazine and In-Theatre programs are produced for Opera Colorado

by The Publishing House.

Angie Flachman-Johnson Publisher Wilbur E. Flachman President & Founder Annette Allen Art Director Production Coordinator For advertising information 303-428-9529 www.pub-house.com www.coloradoartspubs.com

Bruce Allen Kenneth Barrow Sheila Bisenius Suzanne Dost Bucy Ellie Caulkins Lifetime Honorary Chair Dr. Larry Chan Mary Conroy Craig Johnson The Honorable Kenneth M. Laff William Maniatis Tracy McCarthy Muffy French Moore Kevin D. O’Connor Kent Rice Ex-Officio Gerald Saul Merrill Shields Shirley Smith Byron Watson Britney Weil Larry Zimmer

ADMINISTRATION

Darrel Curtice Director of Finance & Administration George Lopez Staff Accountant ARTISTIC

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Camille Spaccavento Joyce de Roos Molly Epstein Nicholas Geyer Rachel Perez Leah Podzimek Resnicow + Associates

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