MAY 3 • 6 • 9 • 11
CARMEN ELLIE CAULKINS OPERA HOUSE 2014
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FROM THE GENERAL DIRECTOR AND CHAIRMAN OF THE BOARD
WELCOME TO THE 2014 SEASON I
t is always a pleasure to welcome you to another season of exhilarating opera performances at Opera Colorado. We have an exceptional 2014 season planned for you and we thank you for your generous support and enthusiasm. You make everything we do possible. Over the past twelve months we have been working diligently to restructure Opera Colorado, positioning it for long-term financial viability and artistic achievement. We have embraced significant challenge and made many difficult decisions, all of which have proven successful in stabilizing our financial health and allowing us to plan exciting programming for future seasons. During the 2014 season we will rediscover two timeless classics, Verdi’s Rigoletto and Bizet’s Carmen. Both productions feature world-class casts led by extraordinary directors and conductors. In keeping with our artistic vision, Rigoletto will be presented in an opulent classic production while Carmen will take a fresh, stark look at the sexually charged and ultimately violent relationship between the sultry Carmen and the increasingly reckless Don José. This is truly a season of great drama filled with all the defining elements that make a compelling opera experience: lust, revenge, obsession and murder. What more could you want? While our productions at the Ellie Caulkins Opera House are the most recognized part of Opera Colorado, we also present Education and Community Engagement Programs which reach over 35,500 students of all ages throughout the Denver Metro Area and Rocky Mountain Region. Opera Colorado’s Young Artists are at the heart of these programs, presenting our tour productions of Romeo and Juliet and The Barber of Seville in schools and community centers from Cheyenne, Wyoming to the western slopes of Colorado. This season you will have the opportunity to hear our Young Artists featured in both Rigoletto and Carmen. As we bring together extraordinary singing artists, conductors, directors, designers and the Opera Colorado Orchestra and Chorus for productions in 2014, we invite you to join us as we are transported to the exhilarating world of grand opera. Thank you for making Opera Colorado an important part of your life.
Greg Carpenter General Director
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Michael Hughes Chairman
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OPERA IN THE CLASSROOM
UNEXPECTED CONNECTIONS By Cherity Koepke
O
pera Colorado’s vibrant and impactful array of education programming reaches more than 35,500 students of all ages each season and includes everything from touring performances in schools, to programs at the Ellie Caulkins Opera House and our inschool residency program Generation OC. We’re sharing the magic of opera in every way possible – however sometimes in order to do so we have to sneak in the back door. As hard as it is for those of us who love opera to believe, not everyone is open to the idea of bringing it into the classroom. There are some roadblocks that we have to navigate and Opera Colorado offers a special program just for these situations: In-School Workshops. Each year, Opera Colorado enters classrooms to give workshops on a wide variety of subjects, some of which you would expect (teaching choirs, performance skills, vocal projection or opera history) and some unexpected ones, workshops that seem to defy logic. These include understanding gender stereotypes, Shakespeare, and even bullying and teambuilding. “Why is Opera Colorado teaching workshops on this?” you may be asking. The answer might actually surprise you. First, we’re building audiences for the future and we will utilize any opportunity to expose students to opera. Second, as one of the most collaborative art forms, opera offers connections with almost any subject matter or curriculum. Here are some of the unexpected workshops we offer, making connections with opera. Gender Stereotypes: Believe it or not, we regularly receive requests for this workshop. It connects directly to opera’s history. If you look at a timeline of opera, it’s always been somewhat of a rule breaker and has faced tremendous stereotypes – some continue to this day (think of the woman in the horned hat). In spite of these obstacles, opera has endured and continues to challenge people’s perceptions. In opera we broke the ultimate gender rule by putting women on 8
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stage. We even put them in pants singing the role of a man! Students connect with the idea of challenging rules. By talking about opera’s history, its present and its future, we facilitate an honest conversation about stereotypes and how they impact our world. Understanding Shakespeare: Let’s be honest…Shakespeare isn’t always easy to understand. That’s where one of our most popular workshops comes in. We use opera to help students understand emotions that they aren’t grasping through the text. Since Shakespeare and opera have a strong connection, we compare the text of the play with samples of the opera. Opera clearly portrays human emotions; students can easily grab onto the big ideas and this increases their overall level of comprehension. Romeo and Juliet by Gounod is a favorite workshop because much of the libretto was taken directly from Shakespeare’s play. Bullying and Teambuilding: Wait…What? That’s right. Opera Colorado conducts In-School Workshops each season on these two topics. It’s actually a natural fit because of the nature of opera. There are countless plots that address choices and consequences (which are at the core of bullying), and it’s usually done in a way that is over the top and impactful. Think about Lucia’s madness and what caused it. What about Don José and Carmen? Their choices affected not only their lives, but everyone around them. Opera plots are powerful and when paired with music, they evoke strong opinions. That’s what we want – students to engage in meaningful conversation. By looking at these stories, students talk about issues they are facing in an expressive way, removed enough from reality to foster a safe environment for discussion. When they realize that opera inspires them, there’s a lasting connection to the art form. For teambuilding, we use the business of opera to teach students about working together. To establish a respectful, even playing field, we do some role playing. Students are placed into teams, which become an opera company faced with the challenge of presenting a production – organizing everything from marketing to development and more. To accomplish their assignment, students must stay organized, meet deadlines and communicate regularly. Often, they are surprised by what they accomplish as a team. The next time you hear about Opera Colorado workshops that sound odd or unrelated, rather than asking “why?” ask yourself “why not?” Sometimes we reach students through obvious connections, while other times we must think outside the box to find relevance in less obvious ways. This incredible art form not only entertains, it educates. Opera offers a gateway into far more than we can imagine and we want everyone to experience it. Edited by Rachel Perez
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CARMEN
MAY 3 | 6 | 9 | 11 2014 ROBERT WOOD, CONDUCTOR KATHLEEN BELCHER, DIRECTOR ALSO STARRING
JANAI BRUGGER
JAY HUNTER MORRIS
RYAN KUSTER
OPERACOLORADO.ORG/2014 • 303.468.2030
WHENCE
CARMEN? By Betsy Schwarm
... SHE, LIKE ALL WOMEN AND CATS, WHO WON’T COME IF YOU CALL THEM, AND DO COME IF YOU DON’T CALL THEM...
T
he title Carmen may refer to either of two great examples of the creative arts: the novella by French author Prosper Mérimée (1803-1870) or the opera by French composer Georges Bizet (1838-1875). The novella came first, in 1845; the opera followed thirty years later, premiering at the Paris SANDRA PIQUES EDDY AS CARMEN Opéra-Comique March 3, 1875, exactly three months before its composer’s death from a heart condition. In basic concept, the stories are strongly similar. Each has a fiery gypsy woman who works in a cigarette factory and counts a number of smugglers amongst her acquaintance. Each has a young army officer who walks away from his military service to be with that title character. Each has a charismatic bullfighter who acquires, if not Carmen’s whole heart, at least her temporary attentions. In both cases, the leading lady perishes when the young army officer, having failed to regain her affection, takes her life. To that point, the two Carmens are the same basic tale. However, in crafting the opera’s text, Bizet’s librettists, Henri Meilhac and Ludovic Halévy, made significant changes in the interest of dramatic flow and operatic practicalities. In Mérimée’s version, the dramatic incidents are related to an outside observer by the young army officer, who here has a last name, too, not just “Don José,” but “Don José Lizzarrabengoa.” Everything has happened in the past, and we are only hearing of it second hand through the narrator. Meilhac and Halévy recognized that such an approach would never work on the stage, for the audience would both need and want to see the action. Additionally, they judged that no opera would pass muster with only one prominent female character. Moreover, they reasoned that with a cast that included a woman of loose morals, a man who becomes a murderer, and another man who has little to recommend himself other than his bravery in the bullring, the story lacked opportunity for softer music – not to mention likeable personalities. So they added Micaela, the hometown sweetheart of Don José, whom he abandons
to take up with Carmen. The opera’s vision of her comes directly from Mérimée. The novelist did not include a Micaela in his story, but he does have Don José describe the girls of his home region of Navarre as having “blue skirts and long plaits of hair.” Michaela is almost always costumed in exactly that way, and her music makes her a tender soul, so one may imagine that Mérimée would be satisfied with her addition. Others of Mérimée’s lines carry over into the opera, if not in specific wording, at least in the gist of the thought. José admits to being “rather afraid of the Andalusian women,” with their “mingled sensuality and fierceness.” So when he first sees Carmen at her sultry best, he pretends not to notice her, which is exactly how the scene plays out in the opera. Furthermore, in describing that afternoon to his passive listener, José remarks wryly of Carmen, “she, like all women and cats, who won’t come if you call them, and do come if you don’t call them, stopped short in front of me and spoke to me.” So it happens, too, in the opera. Later in Mérimée’s tale, José observes “Indeed, nothing that she did ought ever to have astonished me.” The operatic José never expresses such a view, though indeed, one can hardly help wishing that he might have been so wise. Of course, if he were so wise, he would have walked away and the drama would have suffered by the change. Mérimée had crafted a work electric in its dramatic potential. It is much to Bizet’s credit that he recognized its operatic potential. Betsy Schwarm is the author of Operative Insights.
OPE RA COLORADO 2014
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A LOOK INSIDE OPERA COLORADO’S YOUNG ARTIST RESIDENCY By Brett Sprague
B
eing a young opera singer in today’s world is not easy. For those of us with the dream and the drive to break into the business of opera, our 20s can be a wildly exciting and equally frustrating time. After spending the better part of a decade in college and graduate school, we look to opera companies’ young artist programs to help us on our path to a performing career. Opera Colorado gave us that opportunity by hiring us as their 2014 Young Artists. A busy and thrilling time, our five-month residency began January 2nd and we spent the first two weeks preparing our touring operas, abridged versions of The Barber of Seville and Romeo & Juliet, both sung in English. Beyond the necessary musical and staging rehearsals, we took the pieces apart to understand them dramatically and emotionally. We laughed and cried together, and what happened to the shows as a result was amazing. We inhabited the operas in a way that made them real to us, and hopefully to our audiences as well.
Along with our touring shows, Opera Colorado gives us the rare and thrilling opportunity to sing supporting roles alongside today’s opera stars in mainstage productions of Rigoletto and Carmen. Beyond the experience of sharing the stage, the invaluable opportunity to rehearse with and learn from artists we admire helps us to navigate our future. In May, we will assume leading roles in Carmen for a sold-out audience of students in the Ellie Caulkins Opera House. Most companies do not give young artists an opportunity like this.
This residency challenges each of us as artists and as people. We learn from our experiences, our mentors and each other. I know I speak for my fellow Young Artists when I say that we couldn’t be happier to be a part of Opera. Everyone in this company is fiercely supportive and wants the best for us. Our General Director Greg Carpenter and Artistic Advisor Ari Pelto invest their time and talent in our development. I’ve never been involved with a company where these types of leaders invested so much in their Young Artists. We have a world-class director, Cherity Koepke, and a top notch collaborative pianist, Taylor Baldwin. Together, this Many Young Artist programs team guides us on our quest have outreach shows for artistic and self-discovery; that attempt to teach kids they expect excellence and about opera, but instead give us all the support we of featuring an abridged YOUNG ARTISTS PERFORMING THE BARBER OF SEVILLE need. As for my colleagues, opera, they consist of arias L-R COLLEEN JACKSON, BENJAMIN SIEVERDING, JARED GUEST, BRETT SPRAGUE AND LOUISE ROGAN Colleen, Louise, Jared and and musical theater songs Ben, I am lucky to work and mixed together. Some young artists see outreach as a necessary burden or rite of passage. live with these magnificent people. This is an exciting time for us, and However, the opposite is true at Opera Colorado. We enjoy we couldn’t be more fortunate to work for this sensational company. bringing real operas to the people of Colorado, enabling them to enjoy spectacular opera in an authentic way. We show kids at A FEW QUESTIONS FOR BRETT age five that opera is fun and exciting, just like the other forms of entertainment they see every day. When we perform Romeo & What’s a typical day like performing touring shows? Juliet, we show apprehensive high school students that opera isn’t Days typically begin with an early wake up call and a drive to our a stuffy, outdated art form, but rather an honest expression of the location. When we arrive at the performance venue, we unpack the human condition. Why do we do this? To build a new audience for sets, costumes and props, which we store in the company SUV. We the future of opera. It is our job, as the next generation of singers, perform in school theaters, gyms, cafeterias, community theaters to build an audience for our future. and classrooms. This presents us with a new challenge every day 14
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THE MARRIAGE OF FIGARO | DEAD MAN WALKING THE SOUND OF MUSIC in denver At ellie cAulkins operA house
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IF YOU ARE INTERESTED IN SPONSORING A YOUNG ARTIST AND WOULD LIKE MORE INFORMATION, PLEASE CONTACT OPERA COLORADO’S YOUNG ARTIST DIRECTOR CHERITY KOEPKE AT 303.778.0371.
because we build our set at each location. As much as we would like to focus entirely on the performance, we also are our own road crew. After the performance we repack the set into the SUV. Although being our own road crew can add to an already taxing day, it gives us a greater appreciation for the whole production. In a Q & A session after each performance, people enjoy hearing about our rehearsal process and our reasons for pursuing a performance career. This discussion humanizes us to our audience and makes opera more accessible, especially to high school students. What’s one of the biggest challenges of being a young artist? Of course, we love what we do, but being a young artist presents many difficult challenges. Each year we spend thousands of dollars applying for and flying to New York for auditions in hopes of garnering offers to participate in young artist programs or other opportunities. Even if we are lucky enough to receive a consistent, decent wage offer, it doesn’t last very long. Most contracts range from three to 12 months. This generally means a lot of moving around for us. I am fortunate to have great friends all over the United States, but it’s hard to constantly move. Often we miss the opportunity to visit family on holidays because work during that time of the year proves very lucrative for us. Many of us have to work in food service or
administration to supplement our income. For example, I used to work for Starbucks as a barista. Even some of the better paying young artist programs don’t offer enough income on which to live and pay our student loans. Fortunately Opera Colorado provides housing for us during our residency. In the shrinking world of America opera, programs like this are essential to our growth and maturation as artists. Each year young artist programs are closing their doors due to financial instability and a lack of donor support. If we want a society where live opera continues as a relevant part of our culture, we have to prevent this from happening. Pursuing a career in any field in our current economic climate is challenging, and being an aspiring opera singer is no exception. Young Artists are the future of this art form, and require the financial and personal support of the public. We need audiences of all ages to support us and we need companies, like Opera Colorado, to continue to provide opportunities for growth. The only way this will happen is through donations and ticket sales. I love opera and think it is an essential art form for our culture. I will do everything in my power to keep it alive and growing and I hope opera lovers throughout this country will do the same. Edited by Rachel Perez
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CARMEN MAY 3 • 6 • 9 • 11, 2014 ELLIE CAULKINS OPERA HOUSE Opera in Four Acts By Georges Bizet Libretto by Henri Meilhac and Ludovic Halévy There will be one 25 minute intermission. CAST I N OR D E R OF VOCAL APPEARANCE
Morales Micaela Don José Zuniga Carmen Frasquita Mercedes Escamillo Dancairo Remendado
Benjamin Wood* Janai Brugger* Adam Klein Benjamin Sieverding^ Sandra Piques Eddy* Colleen Jackson^ Louise Rogan^ Ryan Kuster* Jared Guest^ Brett Sprague^
Opera Colorado Orchestra Opera Colorado Chorus Colorado Children’s Chorale Conductor Stage Director Chorus Master Fight Choreographer Lighting Design Wig and Makeup Design Costume Design
Robert Wood Kathleen Belcher* John Baril Benaiah Anderson SeifAllah Cristobal* Ronell Oliveri Ann Piano
Due to illness, Jay Hunter Morris has had to withdraw from the production. SOME COSTUMES PROVIDED BY THE SANTA FE OPERA THE PRE - PERFORMANCE LECTURE IS PRESENTED BY MUSIC HISTORIAN BETSY SCHWARM SPONSORED BY J . MICHAEL KING , MD
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*Opera Colorado Debut ^Opera Colorado Young Artists
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M R . AN D M R S . K E N N ETH T. B AR ROW | 2014 S EASON S P ON SOR Carmen is sponsored by Dave and Pam Duke Sandra Piques Eddy, Carmen Appearance made possible by a generous gift from Ellie Caulkins Benjamin Sieverding, Young Artist Sponsored by Marlis and Shirley Smith, and Karen Brody and Mike Hughes Brett Sprague, Young Artist Sponsored by Patrick Spieles and Carol McMurry OP E R A COLO R A D O ’ S 2 0 1 4 S E A S O N S P O N S O R S
OP E R A C O LO R A D O M E D IA S P O N S O R S
FROM THE DIRECTOR When I first started studying Carmen, I discovered that she is a very honest and unchangeable character. She knows what she wants and what to do to get it. I started to think that she could be misunderstood and come across as a terrible human being, unless she was thrust into circumstances where her very life was threatened and she faced unspeakable brutality every day. This is why I chose to move the action to 1937, smack dab in the middle of the Spanish Civil War. I came across unbelievable images of violence that the peasants and workers faced during this brutal civil war. No wonder she longs for and fights hard for freedom-not just for herself, but for her country. In this staging, the Gypsy smugglers become arms smugglers, fighting for the resistance and risking their lives to save themselves from the tyranny of fascism. On the other hand, Don José is a character who takes a great journey through the course of the opera. As a person 2
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who describes himself as “obedient to his superiors” and “punctual,” he is a guilt ridden man desperate to put the unknown wrongs of his past behind him and earn his mother’s forgiveness. He struggles to maintain this goodness, but is drawn in to a violent episode that makes him think because he has turned his back on his superior officers, his mother and Micaela, that Carmen owes him her love. I thought it would be quite powerful to have Don José reflect immediately on what he had done to Carmen and that if he viewed it through a veil of grief he would not have the perspective to look at the whole picture, only fragments that he could remember or imagine the scenarios at which he was not actually present. In traditional productions of Carmen, there is a great deal of pageantry. In forcing Don José to deal with his emotions and ramifications of other decisions in his life, we can focus on the very intense drama that occurs between him and Carmen in a very real and immediate way.
SYNOPSIS CARMEN BY BETSY SCHWARM
SETTING • IN AND AROUND 19 TH CENTURY SEVILLE ACT ONE In Seville, soldiers idle near a square outside the cigarette factory. Country girl Micaela arrives in search of her sweetheart, the corporal Don José, who, she learns, is offduty. At a changing of the guard, which attracts the admiring mimicry of local children, José arrives. Soon, the young women employed at the cigarette factory emerge on break. Amongst them is Carmen, who sings of her philosophy of free love and tosses a flower to José, the only man in the crowd who had seemed immune to her charms. She and the cigarette girls go back to work. Micaela returns to speak with José, and to bring him word from his mother. She is embarrassed to admit that the message is a wish that José should marry Micaela. Then, a fracas breaks out at the cigarette factory. Carmen and one of her co-workers have been fighting and Carmen has wounded the other girl with a knife. Captain Zuniga tells José to restrain the culprit while preparations are made for her arrest. Carmen tries again to charm José in hopes of gaining freedom. Unable to resist, José cooperates with her escape and is taken to prison in her place.
ACT TWO Two months later at Lillas Pastia’s tavern, Carmen and her friends dance. From Zuniga, Carmen learns that José’s prison sentence is ending today. She is pleased to hear that he is free and expects him to arrive shortly. First, however, a local celebrity, the toreador Escamillo, diverts the crowd with tales of bullfighting and of the ladies who long for his attentions. He, too, is intrigued by Carmen. With closing time, most of the guests depart. Only Carmen and her gypsy friends remain, plotting an upcoming smuggling mission. José arrives and Carmen dances for him. However, on hearing the bugle call that summons him back to duty, he prepares to depart, causing her to question his affection for her. In reply, he brings out the flower she had tossed to him at their earlier encounter and tells how she has filled his thoughts. Mollified,
Carmen resumes her flirtatious mood, but the return of Captain Zuniga interrupts them again. José, however, refuses to go back to the barracks and attacks his superior officer. Now, he agrees to join Carmen and the smugglers in their camp in the hills.
ACT THREE In the smuggler’s camp, Carmen is tiring of José, who she finds too possessive. She and her friends sport with fortune telling cards. The friends find happy futures for themselves, but Carmen finds only death. Micaela arrives, frightened and prayerful. José, who is guarding the camp, fires a shot, not at Micaela, who has hidden, but at Escamillo the toreador, who has come in search of Carmen. Carmen breaks up their conflict, and Escamillo invites everyone to his next bullfight. Upon being discovered, Micaela passes on to José the news that his mother is dying. Contemptuously, Carmen sends him away and as he leaves, he hears Escamillo’s song, reminding him of his rival.
ACT FOUR Back in Seville, the city assembles for a grand bullfight. The star of the show, Escamillo, is accompanied by Carmen. He goes in for his match and Carmen remains outside with friends, who warn her that José is nearby. She declares that she is unafraid, and repeats the same statement to José when he appears, begging her to come back to him. Defiantly, she throws in his face the ring he had given her, so infuriating him that he threatens her physically. At that moment, the crowd in the arena bursts into cheers for Escamillo’s victory. When Carmen moves to join in the celebration, José kills her. Despairing, he gives himself up to the authorities.
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BIZET’S CARMEN : AHEAD OF ITS TIME I
t was the best of times – it was the worst of times. Dickens might have been writing of Georges Bizet and the date of March 3, 1875. On that date, Bizet’s final opera, Carmen, first came before the public to be tarred and feathered by critics. It was also the date on which Bizet’s fame was ensured for GEORGES BIZET all time, for though the critics mauled the work, the public came to love it, and the opera has continued to stand as one of the most famed of all. Alas that Bizet himself would not know of that eventual development. Three months after the initial failure of Carmen, he was in his grave, brought down at the age of 36 by a heart condition.
How could critics have so missed this mark in their judgments of Carmen? The essential problem was that they were judging Carmen – both the opera itself and its titular leading lady – by pre-existing standards of opera. In Paris in the early 19th century, the opera house was a place to see and be seen, and whatever one might see happening upon the stage was generally incidental to the point of being out in society. This was particularly the case at the Opèra-Comique. The theater did not specialize in comic opera per se, but rather in operas including spoken dialog. That’s exactly what Bizet provided for them; the sung dialog that one generally hears he crafted after the premiere. So Carmen’s structure was not the problem, but rather its subject matter. The Opèra-Comique catered to stylish families who put their debutante daughters in the public eye. An opera about a young woman who smokes, steals, sleeps around, and dies with a knife in her gut was apparently not the sort of thing that these debutantes should be seeing. Assaults upon the opera centered upon the leading lady’s character, not upon Bizet’s music. Either way, the reviews were gut-wrenching for the composer, who was already feeling the effects of the ailment that would soon end his life.
that would come to be known as “verismo.” In verismo opera, the focus was upon down-to-earth realism, the grittier the better, and rife with uncontrolled passion; these composers – and their audiences – had tired of morally uplifting tales and wished instead for strong and powerful entertainment. That’s exactly what Bizet had provided with Carmen, but the public was not yet ready for it. The critical establishment, generally conservative in its tastes, was even less ready. Less innovative, though just as popular with the public, was the fact that the Frenchman Bizet set about telling a story set in Spain by flavoring it with authentic Spanish dance rhythms. Bringing such exotic flavor into one’s music had been popular for several decades, and for the French, no exotic setting was more entrancing than that of their south-of-the-border neighbors. Bizet was neither the first French composer to seek out a Spanish flavor, nor would he be the last. However, he is certainly the one who comes most readily to the mind of the opera loving public. Carmen is rich with Iberian color. Consider two particular examples. In Act One, the title character first comes on stage, singing the Habanera, rich with the rhythms and moods of that Spanish dance. Here, she declares that, for her, love is never predictable. Later in that same act, another aria for Carmen, the even slinkier Seguidilla, has her singing sensuously of the pleasures of love. In both arias, and in later scenes for the gypsies and the bullfighter Escamillo, Bizet uses authentic Spanish musical flavors to evoke the scene he has in mind. So conservatives of the day were shocked by Carmen; audiences, if not exactly shocked, were at least puzzled by its forthright nature. In time, however, it won affection on all sides and is now one of a handful of the most popular operas of all time. If there is justice in the musical afterlife, Bizet has come to know of its victory. Certainly, he found no such satisfaction in the few months that remained to him after its premiere. So as you experience Carmen today, please send a good thought in Bizet’s direction. NOTES AND SYNOPSIS BY BETSY SCHWARM, OPERA COLORADO’S
Bizet was simply ahead of his time. In another dozen years, the Italians would begin to popularize a new approach to opera 4
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RESIDENT MUSIC HISTORIAN AND AUTHOR OF THREE BOOKS ON CLASSICAL MUSIC, INCLUDING OPERATIC INSIGHTS.
OPERATING THE SUBTITLES | FOLLOW THESE EASY STEPS Prior to the performance, the screen will display a sponsored message automatically. (You cannot turn it off.) When the singing begins, briefly press the red button. Press once for English titles and twice for Spanish titles. Press three times to turn the system off. Repeat these steps after intermission(s). Pressing the button too many times or holding the button down will result in system failure. Titles are only broadcast when singing occurs on the stage. If you experience difficulty with the system, please contact an usher for assistance. Opera Colorado does not offer refunds or exchanges in the event of subtitle system failure. A synopsis of the opera is available in this program.
All Sunday matinee performances offer audio description for the visually impaired. Headsets are available at the coat check. English subtitles written by Jeremy Sortore for Opera Colorado. Spanish translation by TranslatingSpanish.com
THE ARTISTS Janai Brugger, Micaela (Opera Colorado Debut) A former winner of Placido Domingo’s prestigious Operalia vocal competition and of the Metropolitan Opera National Council Auditions, both in 2012, American soprano, Janai Brugger, began the 201314 season as Liu Turandot at Hawaii Opera Theatre. She returns to Los Angeles Opera to make her debut as Pamina Die Zauberflote and in the Spring she continues to the Metropolitan Opera to sing the role of Helena The Enchanted Island. Last season the artist’s appearances included Liu at the Metropolitan Opera in the Zefferelli production of Turandot; she travelled to Prague to appear in concert at the Peter Dvorsky Festival, she appeared in the May Festival with the Cincinnati Symphony Orchestra under the baton of James Conlon and joined Los Angeles Philharmonic and Gustavo Dudamel as High Priestess Aida in performances at the Hollywood Bowl. Sandra Piques Eddy, Carmen (Opera Colorado Debut) “Her dark, sensuous mezzo and charming presence show star quality.” (Opera Magazine) Sandra’s recent engagements included her return to the Metropolitan Opera as Fiona in the American premiere of Nico Muhly’s Two Boys, Rosina in Il barbiere di Siviglia with Nashville Opera, Crested Butte Music Festival, Vancouver Opera and Lyric Opera of Kansas City, Dorabella with Boston Lyric Opera, title role in L’Italiana in Algeri with Atlanta Opera, Vancouver Opera, Austin Lyric Opera and Idamante with Florentine Opera and Boston Lyric Opera. In 2014-2015 she travels to Japan to sing Dorabella in Così fan tutte at Hyogo Performing Arts Center and to England in the title role in L’Incoronazione di Poppea with Opera
North, she sings Carmen with both Portland Opera and Calgary Opera and Vavarva in Boston Lyric Opera’s Katya Kabanova. Jared Guest, Dancairo (Opera Colorado Debut: Romeo and Juliet, 2013) Jared Guest received his Bachelor’s degree in Voice Performance from Florida State University and his Master’s degree in Voice Performance and Opera from the University of Houston’s Moores School of Music. He has performed in a wide range of operas such as Il Barbiere di Siviglia, Der Rosenkavalier, Falstaff, Amelia, Il Postino, Der Zauberflöte, La Vie Parisienne, Don Giovanni, Tosca and Carmen. In his first year as an Opera Colorado Young Artist, Guest performed the role of Grégorio in the company’s production of Gounod’s Romeo and Juliet with the mainstage cast and the role of Frère Laurant for the student matinee. As a 2014 Opera Colorado Young Artist, Jared sings the role of Escamillo in the student matinee of Carmen, and in the touring productions he sings Mercutio in Romeo and Juliet and Figaro in The Barber of Seville. Colleen Jackson, Frasquita (Opera Colorado Debut: Rigoletto, 2014) A recent graduate of the University of Northern Colorado’s Master of Music program, Colleen Jackson performed the roles of Mrs. Nordstrom in A Little Night Music, Donna Anna in Don Giovanni and Fiordiligi in Così fan tutte with the Greeley Philharmonic Orchestra. She sang the Erste Dame in Die Zauberflöte with Opera Classica Europa in Germany. In 2013 she sang her debut of Violetta in Verdi’s La Traviata as an alumna guest artist with UNC. Jackson recently made her professional operatic debut with
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THE ARTISTS Opera Fort Collins in the title role of Douglas Moore’s The Ballad of Baby Doe. As a 2014 Opera Colorado Young Artist, Jackson will sing the roles of Juliet and Berta in the company’s touring productions of Romeo and Juliet and The Barber of Seville. In the student matinee of Carmen, she will sing the role of Michaela. Adam Klein, Don José (Opera Colorado Debut: Roméo et Juliette, 1999) American tenor Adam Klein made an important debut in 2010 as Tristan in Tristan und Isolde with Seattle Opera in a season which also included performances as the title role in Faust with Opera Memphis, Loge in Das Rheingold with Indianapolis Opera and Herod in Salome with Toledo Opera. In 2012 Klein received rave reviews for his performances as Loge in Das Rheingold in the Metropolitan Opera’s new production Wagner’s cycle. Other recent performances at the Metropolitan Opera include the role of the Witch in Hansel und Gretel. With the company he has also performed lead roles in The Nose, Z Mrtveho Domu, Jenufa, Pique Dame, Dialogues Des Carmélites, War and Peace, Mazeppa, Le Rossignol, Salome and Arabella. In recent seasons, Klein has performed the roles of Don José in Carmen with Toledo Opera and Atlanta Opera, where also performed Erik in Der Fliegende Holländer, a role he reprised that season with Spoleto Festival USA. Ryan Kuster, Escamillo (Opera Colorado Debut) Bass-Baritone Ryan Kuster has gained vast attention on the west coast for his accolades in San Francisco, where he recently completed a two-year residency and 59 performances in the prestigious Adler Fellowship Program of San Francisco Opera. His performance as Escamillo in their production of Carmen was called “pure bravado.” In 2012, Kuster made his symphonic debut with the Los Angeles Philharmonic singing the role of Masetto in their acclaimed production of Don Giovanni. In addition, he returned to Wolf Trap Opera to debut the title role of Don Giovanni and made his National Symphony debut performing Beethoven’s Ninth Symphony. Kuster sang Angelotti in Tosca with Madison Opera, Colline in La Boheme with Arizona Opera and Escamillo in Carmen with Virginia Opera as well. He will sing at Bard Summerscape this summer as Lysiart in Weber’s Euryanthe. Louise Rogan, Mercedes (Opera Colorado Debut: Rigoletto, 2014) Louise Rogan received her Diploma in Vocal and Opera Studies from the Royal Northern College of Music and Bachelor of Music degree from the Chicago College of Performing Arts. In 2013, she graduated from the Professional Diploma in Opera program at the Chicago College of Performing Arts. While there she sang Pamela in New York Stories, Third Lady in Die Zauberflöte and the title role in the Chicago premiere of Amelia by Daron Hagen. As a member of the Chicago Opera Theater Young Artist Program, she performed the roles of Second Lady in Die Zauberflöte and Masha in Moscow Cheryomushki. Rogan won the Sixth Annual Elgin Opera Vocal
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Competition. As an Opera Colorado Young Artist she will perform the title role in the student matinee production of Carmen, Stephano/ Gertrude in Romeo and Juliet and Rosina in The Barber of Seville. Benjamin Sieverding, Zuniga (Opera Colorado Debut: Rigoletto, 2014) Benjamin Sieverding recently completed his post-graduate studies in Vocal Performance at the University of Michigan, where he also received his Master of Music degree. In 2012, he won the Nebraska District and was an Upper Midwest Region finalist of the Metropolitan National Council Auditions. In the summer of 2011, he was seen as Zuniga in Carmen with Arbor Opera Theater and Otto in the new world premiere of Jukka Linkola’s Rockland with Pine Mountain Music Festival. Sieverding has spent summer seasons as a young artist with the Franco-American Vocal Academy and Pine Mountain Music Festival. In summer 2013, he joined The Santa Fe Opera as an apprentice artist, singing in the world-premiere of Theodore Morrison’s Oscar. As an Opera Colorado Young Artist, he will sing the roles of Zuniga in both the mainstage and student matinee performances of Carmen. Brett Sprague, Remendado (Opera Colorado Debut: Rigoletto, 2014) Brett Sprague holds a Bachelor’s degree in Vocal Performance from Chapman University and a Master’s degree in Classical Voice from the Manhattan School of Music. Past credits include Peter Grimes with Chautauqua Opera, Don Pasquale with Amore Opera, The Most Happy Fella with Dicapo Opera, Die Zauberflöte with New York Lyric Opera Theatre, The Ghosts of Versailles, Così fan tutte, Thaïs and La Vida Breve with Manhattan School of Music’s Opera Theatre, Lucia di Lammermoor and Falstaff with MSM’s Opera Repertory Ensemble and L’elisir d’amore with Tuscia Opera Festival. As a 2014 Opera Colorado Young Artist, Sprague will sing the roles of Almaviva in The Barber of Seville and Romeo in Romeo and Juliet for the touring productions. In the student matinee of Carmen, he will sing the role of Don José. Benjamin Wood, Morales (Opera Colorado Debut) Colorado Baritone Benjamin Wood is quickly establishing himself as a diverse performer distinguished by his sophisticated musicality and engaging stage presence. Recent performances include Lancelot in Camelot at the Arvada Center, Marcello in La Bohéme with Loveland Opera Theatre, Sam in Trouble in Tahiti with Operaverse and Dandini in La Cenerentola with Boulder Opera. He was a finalist in both the 2014 Grand Junction Symphony Orchestra Young Artist Competition and the 2014 Denver Lyric Opera Guild Competition. Wood received his Masters of Music from the University of Denver, Lamont School of Music where his credits include the title roles in Gianni Schicchi and Le Nozze di Figaro. Future engagements include the role of Davy Morgan in the premier of How Green Was My Valley by Roger Ames with Central City Opera.
THE ARTISTS Colorado Children’s Chorale In collaboration with Opera Colorado, the Colorado Children’s Chorale is proud to provide the children’s ensemble for Carmen. For 40 years, the Chorale has brought its artistry and charm to audiences throughout the world. With a diverse repertoire ranging from fully staged opera and musical theater to standard choral compositions in classical, folk and popular traditions, the Chorale performs with a unique theatrical spirit. Under the leadership of Artistic Director Deborah DeSantis and Executive Director Diane Newcom, the Chorale annually trains 500 members between the ages of 7 and 14. The Performance Program includes a series of self-produced concerts, touring around the world and numerous performances with Colorado arts organizations, including the Aspen Music Festival, Central City Opera, The Colorado Symphony, Colorado Ballet and Opera Colorado. Benaiah Anderson, Fight Choreographer (Opera Colorado Debut: Romeo and Juliet, 2013) Benaiah Anderson is an actor and fight director. He has appeared in shows at the Colorado Shakespeare Festival, Denver Center and Arvada Center. He has choreographed violence all along the Front Range for Universities and theatre companies such as CU, DU, UCCS, Central City Opera, Miner’s Alley Playhouse and The Aurora Fox. This is his second production working with Opera Colorado. John Baril, Chorus Master (Opera Colorado Debut: Lucia di Lammermoor, 2003) John Baril conducted the 2012 Opera Colorado production of The Marriage of Figaro having led the student matinee of The Barber of Seville in 2010. As long-time Music Director of Central City Opera he has conducted Die Sieben Todsuenden, Les Mamelles de Tiresias, Gianni Schicchi, Three Decembers, Lucia di Lammermoor, West Side Story, Cendrillon, Il barbiere di Siviglia, Madama Butterfly, among many others, and will lead Dead Man Walking this summer. Recent engagements include Cavalleria Rusticana/Pagliacci and Tosca with Opera Delaware, Don Giovanni with Nashville Opera and Carmen with Nevada Opera. Kathleen Smith Belcher, Director (Opera Colorado Debut) Stage director Kathleen Smith Belcher is currently engaged in her 13th year as a member of the directing staff at the Metropolitan Opera. Among others, she has worked extensively with the San Francisco Opera, Lyric Opera of Chicago, Houston Grand Opera, Los Angeles Opera and the San Diego Opera. She assisted Peter Sellars on the world premiere of John Adams’ Dr.
Atomic in San Francisco and helped to remount the production for The Netherlands Opera and the Lyric Opera of Chicago. Woody Allen, Michael Mayer (SMASH, Spring Awakening), Bartlett Sher (South Pacific, A Light in the Piazza) and Julie Taymor (Lion King) are just a few of the many directors with whom she has worked. As a member of the Metropolitan Opera directing staff, she has collaborated on numerous “Live in HD” broadcasts, including the Emmy-winning production of Don Pasquale. Ann Piano, Costume Design (Opera Colorado Debut: Lucia Di Lammermoor, 2003) Ann Piano is pleased to be designing for Opera Colorado’s mainstage. For the past 12 years, she has run the costume department and designed costumes for the Young Artist’s touring productions. In 2012, she won a True West “Best Costume Design” Award for The Elaborate Entrance of Chad Deity at The Curious Theatre Company in Denver, Colorado. In 2009, she was nominated for a Henry Award for Enchanted April at Miner’s Alley Playhouse, Golden, Colorado. Over the years, Piano has worked for Central City Opera, Houston Grand Opera and the Santa Fe Opera. Piano received a BFA in Fashion Design from Stephens College, Columbia, Missouri. SeifAllah Salotto-Cristobal, Lighting Design (Opera Colorado Debut) SeifAllah Salotto-Cristobal is excited to be making his Opera Colorado debut. He holds a MFA in lighting and projection design from the University of Missouri-Kansas City. Recent lighting credits include Die Zaiberflote (The Boston Conservatory), Shrek, the Musical (Wagon Wheel Theatre), Bloody, Bloody Andrew Jackson (Emerson Umbrella), A Little Night Music (Opera in The Ozarks), A Christmas Carol, The Musical (The Armory Dinner Theatre) and Distracted (Unicorn Theatre). Recent projection credits include Dead Man Walking (Tulsa Opera) and Ben Franklin’s Apprentice (Coterie Theatre). Robert Wood, Conductor (Opera Colorado Debut: Romeo and Juliet, 2013) Maestro Wood’s conducting credits include La Traviata and L’italiana in Algeri at San Francisco Opera, La Donna del Lago, Le Nozze di Figaro, Rusalka and Il barbiere di Siviglia at Minnesota Opera, Le Comte Ory and Die Zauberflöte at Wolf Trap Opera, L’italiana in Algeri at Vancouver Opera, Die Fledermaus and Die Entführung aus dem Serail at Hawaii Opera Theater, La cenerentola at Opera New Jersey and The Love for Three Oranges at Indiana University. Maestro Wood is the founder of UrbanArias, an opera company in Washington, DC, dedicated to producing short, contemporary operas. UrbanArias recently gave the world premiere of Gregory Spears’ Paul’s Case, a landmark production of Tom Cipullo’s Glory Denied, the world premiere of Daniel Felsenfeld’s Alice in the Time of the Jabberwock, the fully-staged premiere of Bastianello and Lucrezia by Mark Campbell, John Musto and William Bolcom, and Ricky Ian Gordon’s Orpheus and Euridice.
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CARMEN ORCHESTRA
VIOLIN Takanori Sugishita, concertmaster Leslie Sawyer, principal second violin Angela Dombrowski Deb Holland Robyn Julyan Regan Kane Annamaria Karacson Cyndi Mancinelli Leah Mohling Dan Murphy Brett Omara Susie Peek Ingrid Peoria Gyongyi Petheo Veronica Pigeon Christine Short Robyn Sosa Britt Swenson VIOLA Jeanne Chin, principal Brian Cook Matthew Dane Erika Eckert Sarah Richardson Lora Stevens CELLO Jeff Watson, principal Cedra Kuehn Heidi Mausbach David Short Elle Wells Carole Whitney
PRODUCTION STAFF MUSIC STAFF John Baril, Chorus Master Steven Aguilo-Arbues, Coach/Accompanist Kim Peoria, Orchestra Personnel Manager Ingrid Peoria, Orchestra Librarian PRODUCTION STAFF Katie Preissner, Production/Stage Manager Jordan Braun, Assistant Stage Manager Sarah Johnson, Assistant Stage Manager Heather Romig, Assistant Director Jeremy Sortore, Title Coordinator Beth Nielsen, Title Operator Park Wm. Showalter, Chorus Liaison 8
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BASS David Crowe, principal Jeremy Nicholas Matthew Pennington James Vaughn FLUTE Susan Townsend, principal Elizabeth Sadilek OBOE Melissa Pena, principal Susanne Sawchuk CLARINET Michelle Orman, principal Heidi Mendenhall BASSOON Kim Peoria, principal Kaori Uno HORN Devon Park, principal Marian Hesse Jason Johnston Stuart Mock TRUMPET Brian Brown, principal Steve Kilburn TROMBONE Carson Keeble, principal Bill Stanley Jim Gray HARP Janet Harriman, principal
Stan Anderson, Supernumerary Captain Brian Greffe, MD, Company Physician Buzz Reifman, NPPA, Company Otolaryngologist TECHNICAL STAFF Dennis Watson, Head Carpenter Don Watson, Shop/Production Carpenter Dick Watson, Assistant Carpenter Jeff Reidel, Head Flyman David Arellano, Head Electrician Chris Green, Light Board Operator Charlie Wilson, Assistant Electrician Patrick Howard, Assistant Lighting Designer Bill Hansen, Head Props Travis Schadle, Assistant Props Charles Polich, Head Sound Paul Behrhorst, Purchasing Agent
TIMPANI Peter Cooper, principal PERCUSSION Mark Foster, principal Carl Dixon ORCHESTRA LIBRARIAN Ingrid Peoria ORCHESTRA MANAGER Kim Peoria
OPERA COLORADO CHORUS SOPRANO Becky Bradley Teresa Castillo Michelle Daniels Lindsey French Andrea Kehmeier Amy Kopatich
MEZZO-SOPRANO Janet Braccio Claire Brooker Susan Clark Kimberly Kirkwood Heather Mills Ellen Moeller TENOR David Ellwood Jason Parfenoff Park Wm. Showalter Norman Spivy Joey Taczak Steve Walz Keith Williamson ELLIE CAULKINS OPERA HOUSE CREW Al Price, House Prop Dave Wilson, House Electrician Dave Lambert, House Carpenter Michael Cousins, House Sound COSTUMES Ann Piano, Costume Director Alison Milan, Shop Manager and Wardrobe Head SHOP ASSISTANTS Kevin Brainerd-Draper Meredith Fogg Barbara Piano Elizabeth C. Porter DRESSERS Kevin Brainerd Lisa Ray Borgmann Sara Lynn Hildebrand Teresia Larsen Elizabeth C. Porter Annabel Reader
BASS Jamie Halladay Dan Howard Bill Lee Patrick McAleer Nicholas Navarre
COLORADO CHILDREN’S CHORALE Deborah DeSantis, Artistic Director and Conductor Mary Louise Burke, Associate Director and Conductor Jack Barton Madeleine Borodach Karina Brusletto Tripp Ceyssens Deva Clark Emma Day Andrew Dupper Kyle Green Audrey Hampton Blake Mann Brett Mason Allyson May Lizzie McMaster Michael Redmond Tanner Spreeuw Carter Strunk
VOLUNTEER DRESSERS Leslie Cady Kathy Heider Jan Heimer Pat Smith Barbara Wilder WIGS AND MAKEUP Sarah Opstad, Associate Wig and Makeup Coordinator Nikki Harrison, Wig and Makeup Assistant ARTIST HOSTS Host Chairmen: Merrill Shields Marianne and Stan Anderson Ellie Caulkins Wendy Cogdal Sigrid and Dick Freese Karen Frisone Joanna Moldow Maradith and Rusty Wilkins
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HOST AN ARTIST
The Artist Host Committee, chaired by Merrill Shields
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he host committee serves as a welcoming party to artists, directors and conductors, and provides support to artists during their stay in Denver. Each host greets their assigned artist at the airport, transports them to their temporary residence and delivers a bag of goodies to help them through their first night in Denver. Hosts also serve as a resource, occasionally transporting artists to the grocery store or other necessary errands. One family has taken on hosting as a family affair. Maradith and Rusty Wilkins, their daughter Wendy Cogdal and granddaughter Lillian serve as hosts. They have enjoyed meeting some of the great artists performing with Opera Colorado. “The host program is a great way to make a personal connection with the singers, conductors and directors,” says Wendy. “We have hosted a variety of artists throughout the years. Since my children were young when we started hosting, it helped them develop their love of opera and music. Lillian (19)
regularly attends opera with us, and Dillion (a college student studying jazz percussion) attends as well.” Hosts enjoy the experience of welcoming artists to Denver and contributing an important service to Opera Colorado. In many cases, they form lasting friendships. “The first artist mom hosted was Beth Clayton when she came in 2005 for her role in Rigoletto as Maddalena,” explains Wendy. “We hosted Beth again when she returned for her role as Carmen in 2005 and as Paula in Florencia en el Amazonas in 2012. We all formed an immediate friendship with Beth. We continue to stay in contact with her and have traveled to different cities to see her perform. We enjoy hosting because we can meet people that we might not have otherwise met, form longlasting relationships and hear stories about their travels and lives in the opera world.”
HOSTING AN ARTIST PROVIDES A GREAT OPPORTUNITY TO PARTICIPATE IN OPERA COLORADO. IF YOU ARE INTERESTED IN JOINING THE ARTIST HOST COMMITTEE PLEASE CONTACT MERRILL SHIELDS AT MERRILLSHIE@AOL.COM.
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ANNUAL CONTRIBUTORS FOUNDATIONS, CORPORATIONS AND GOVERNMENT The Board of Directors of Opera Colorado and the staff wish to acknowledge the extraordinary generosity of the foundations, corporations and government agencies that made contributions in support of our general operating expenses and Education & Community Engagement Programs from January 1, 2013 through January 24, 2014. IMPRESARIO (Special sponsorships above annual contribution)
The Anschutz Foundation The Hood-Barrow Foundation PRESIDENT CIRCLE ($20,000+) The Anschutz Foundation Avenir Foundation Beverly Anderson Nemiro Trust Boettcher Foundation Bonfils-Stanton Foundation Chambers Family Fund The Denver Foundation Galen & Ada Belle Spencer Foundation Jan Mayer Trust Shamos Family Foundation Sidney E. Frank Foundation Scientific and Cultural Facilities District DIRECTOR ($10,000+) Cannon Y. and Lyndia K. Harvey Family Foundation Caulkins Family Foundation Colorado State Bank and Trust The Crawley Family Foundation Fidelity Investments Charitable Gift Fund Faegre Baker Daniels Frederic C. Hamilton Family Foundation
TRIBUTES IN HONOR OF SUZANNE BUCY
Dr. and Mrs. Frank Sargent Mrs. Nancy H. Schulein IN HONOR OF GREGORY A. CARPENTER Dorothy and Ted Horrell Sandra Vinnik IN HONOR OF ELEANOR N. CAULKINS Dr. and Mrs. A. Todd Alijani John and Rosemary Ashby Charitable Fund Mr. David Chavolla Mrs. Marcia D. Strickland IN MEMORY OF MAUD B. DUKE Ellie Caulkins Mrs. Laurie & Mr. Ben Duke III
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Gates Family Foundation Higbie Family Foundation Jess & Rose Kortz and Pearl Rae Foundation Kinney Oil Company The Magnolia Hotel* Melvin & Elaine Wolf Foundation, Inc Mile High United Way Miller Family Foundation Fund Pinnacle Bancorp, Inc. Profit Planning Group Tulsa Community Foundation Wittow Foundation Virginia W. Hill Foundation
Wells Fargo The Westin Tabor Center Hotel* Whole Foods Market - Cherry Creek Xcel Energy Foundation
MAESTRO ($5,000+) Ann and Gordon Getty Foundation Bank of Oklahoma Foundation Charlotte and Norman Codo Trust The Curtis Hotel* Denver Lyric Opera Guild ECA Foundation, Inc. Faegre Baker Daniels Foundation Fairfield & Woods, PC Fine Arts Foundation The Four Seasons* The Hunt Family Foundation Jeanne Land Foundation Leonard and Alice Perlmutter Charitable Foundation Peak ENT and Voice Center Private Capital Management, Inc. Tepper Family Foundation
COMPRIMARIO ($1,000) Beaver Creek Resort Company David B. and Gretchen W. Black Family Foundation The Deane Family Fund The Dobbins Foundation Griffin Foundation The Henry Laird Smith Foundation The Hood-Barrow Foundation Kundinger, Corder & Engle, P.C. Lincoln Financial Foundation, Inc. Priester Foundation Schwab Fund for Charitable Giving US Contract Sewing* William D. Radichel Foundation CHORISTER ($500 +) AMG Charitable Gift Foundation
*Gift In-Kind
IN MEMORY OF BYRON E. GRABER
IN HONOR OF HON. KENNETH
IN HONOR OF NORMAN SPIREY
Bjork Lindley Little, PC David & Debra Flitter Calvin M. Seiler Jo B. Shannon IN MEMORY OF EVA & HENRY HURST Prof. and Mrs. Joseph S. Szyliowicz IN LOVING MEMORY OF MY HUSBAND PHILIP ISELY
Mrs. Philip Isely
IN HONOR OF CHARLES
& URSULA KAFADAR
Sherry Berger Ms. Lois B. London Sandra Vinnik
OPE RA COLORADO 2014
DIVA ($2,500+) The Denver Post Charities Jones International University Kinder Morgan Foundation The Schramm Foundation Ralph L. and Florence R. Burgess Trust Sage Hospitality Resources Anonymous (4)
& MRS. BARBARA LAFF Ms. Diana Terry IN HONOR OF MRS. CAROLYN T. MCCORMICK Molly Brindle Donna Reed IN HONOR OF RUTH O’NEAL Dr. Peter & Mrs. Kathy Van Arsdale IN MEMORY OF OUR PARENTS
Priscilla Brookens
IN HONOR OF ALESSANDRA SCHULEIN
Christopher Heinrich IN MEMORY OF JAMES H. SHORE Mrs. Christine Shore
Carson-Pfafflin Family Foundation The Garrett Family Foundation M2 Lending Solutions LLC Neiman Marcus Newmont Mining Corporation Rose Community Foundation US Bancorp Foundation Anonymous (1) FRIEND (100+) American Endowment Foundation Barnes & Noble Bell Family Foundation Bjork Lindley Little, PC Community First Foundation Daniels-Houlton Family Foundation Delta Omicron Fraternity Zeta Zeta Chapter First Data Foundation Gill Foundation IBM International Foundation Ingrid Fretheim Interiors Lin Lee & Associates Montague-Clouse Charitable Giving Fund Mu Phi Epsilon Nelson Family Foundation Network For Good Rassman Design* Wednesday Music Party
Donna Boender
IN MEMORY OF WILLIAM STILES, JR.
Mrs. Donna J. Stiles IN MEMORY OF HAZEL & J.W. TILDEN Ms. Janice Tilden IN HONOR OF MR. BYRON WATSON Tulsa Community Foundation IN HONOR OF JAMIE WHITE & ANDY SIROTNAK
Ellie Caulkins Merle C. Chambers Mr. and Mrs. Richard L. Robinson
Honor Those You Love
Denver Lyric Opera Guild
With the Choice of Monarch Society “Thank you to each & everyone at Monarch Society for your help, support, kindness & compassion. We will be forever grateful” - P & D
• Accredited Professional • On-Site Crematory Team •A vailable Statewide, • Serving All Faiths 24/7 • Grief Support
• Pre-Plan Savings & Veteran’s Benefits
You’re invited! Opera on Tuesday April 1, 2014, 10:30 AM - 1:00 PM Featuring: DLOG’s Final Competition Winners Pinehurst Country Club, $35.00 Per Person Lunch and outstanding entertainment
May 6, 2014, 11:30 AM - 1:00 PM Featuring: University of Northern Colorado Opera Singers Lakewood Country Club, $30.00 Per Person Lunch and outstanding entertainment
Reservations Required
A Locally Owned & Operated Mortuary
Email: Jan Gibson at: ejgibson@ecentral.com Phone: 720.799.5800 or reserve through PayPal at denverlyricoperaguild.org
Regional and National Opera Excursions Join opera lovers to cities with great opera houses! Hear the best voices and fun cultural activities.
1534 Pearl Street, Denver, CO 80203 monarchsociety.com info@monarchsociety.com
303.837.8712 (24/7)
Annual Summer Party July 15, 2014 Mount Vernon Country Club
For more information visit our website: denverlyricoperaguild.org
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ANNUAL CONTRIBUTORS INDIVIDUALS The Board of Directors of Opera Colorado and the staff express their deepest appreciation to the individuals who have contributed to the Annual Fund. This generosity enables Opera Colorado to continue producing opera of the highest artistic merit and to reach over 35,000 school children and adults each year. The following list acknowledges individual donors who made gifts to Opera Colorado’s Annual Fund from January 1, 2013 through January 24, 2014. IMPRESARIO (Special sponsorships above annual contribution)
Mr. and Mrs. Kenneth T. Barrow Mike and Julie Bock Ellie Caulkins Michael Hughes and Karen Brody Marlis and Shirley Smith Patrick Spieles and Carol McMurry PRESIDENT CIRCLE ($20,000+)
Mr. and Mrs. Kenneth T. Barrow Sheila Bisenius Mike and Julie Bock Peyton and Suzanne Dost Bucy Ellie Caulkins Hugh A. Grant and Merle C. Chambers Mary and Thomas Conroy Dave and Pam Duke Hilja K. Herfurth Mr. & Mrs. Jeremy F. Kinney Mrs. Jan P. Mayer Mrs. Nathaniel C. Merrill Ms. Muffy Moore and Mr. Al Minier Jeff Baldwin and Debra J. Perry Marcia and Richard Robinson Susan and Jeremy Shamos Merrill Shields and M. Ray Thomasson Marlis and Shirley Smith Patrick Spieles and Carol McMurry Anonymous (1)
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DIRECTOR ($10,000+) Mrs. Susan Adams Mr. Bruce Allen Al and Rebecca Bates Noel and Thomas Congdon Robert and Lenore Damrauer Joy and Christopher Dinsdale Frederic and Jane Hamilton Mr. and Mrs. C.Y. Harvey Harley and Lorraine Higbie Michael Hughes and Karen Brody Dr. and Mrs. Charles B. Kafadar Honorable and Mrs. Kenneth Laff Frank and Virginia Leitz Harold and Ann Logan Kalleen & Bob Malone Dr. and Mrs. William N. Maniatis Kevin O’Connor and Janet Ellen Raasch Ann and Gerald Saul Alessandra and Ben Schulein Robert and Elizabeth Swift Beatrice Taplin Mr. and Mrs. Charles I. Thompson Martha and Will Tracey Byron Watson Britney and Richard Weil Herbert Wittow Sandy Wolf MEASTRO ($5,000+) Linda Bjelland Ze and Dick Deane Dr. Stephen L. Dilts Robert S. Graham Sarah and Christopher Hunt Craig N. Johnson and Alicia McCommons Diana and Mike Kinsey Ms. Carole Leight Veronica A. McCaffrey and Barbara A. Frank Tom and Mary Meade Robert R. Montgomery and Nancy Hawkins Leonard and Alice Perlmutter Craig and Maria Ponzio Myra and Robert Rich Daniel L. Ritchie Mr. and Mrs. George G. Shaw Jerry and Debi Tepper Mr. and Mrs. Burl S. Watson Mrs. Carol C. Whitley Larry and Brigitte Zimmer Anonymous (1) DIVA ($2,500+) John E. Baril Mr. James L. Berggren Mr. Eric Coomer and Mrs. Amber Hess Ron Covey Jack Finlaw and Gregory Movesian Celeste Fleming
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Terry Frazier and Kathy Wells Robert and Maria Jennett Joe and Francine Kelso Dr. Kendra Kohlhaas Carolyn and Jay McCormick Kelly McCourt and Bryan Hickel Zondra Rae Pluss Bruce V. Polkowsky and Bill Powell Nijole and Walter Rasmussen Juan and Alicia Rodriguez helen Santilli and Lyn Barber Kenneth and Mary Willis Maradith and Rusty Wilkins Anonymous (1) COMPRIMARIO ($1,000) Ed Altman, Jr. and Dr. Dina Brudenell Altman Robert and Megan Armstrong William and Elisabeth Armstrong Hartman Axley Janice Baucum Ellen and Donald Bauder Brian Bennett and Bev Daniels Robin E. Black Dr. Bill and Betty Buchanan Lew and Leslie Cady Mr. and Mrs. K.W. Calkins Mrs. Sue M. Cannon Charles Case and Phillip St. Cloud Mr. John N. Caulkins Ms. Kathryn Codo John and Brian Cook Aubrey Copeland, MD Steve and Pat Corder Kathleen Crapo Carolyn E. Daniels George and Yonnie Dikeou Richard T. and Margaret N. Dillon Marian Dines Ellen and James Donaldson Lois N. Eckhoff Karen Fukutaki Rev. and Mrs. B. J. George Mr. and Mrs. George C. Gibson Mark Groshek, MD and Carl Clark, MD Sandra S. Hall and Jean A. Tutolo Susan and J. Lawrence Hamil Deborah Hayes and James L. Martin III Beverlee B. Henry and The Hon. Robert P. Fullerton Richard G. and Jean L. Higgins Drs. Kathryn Hobbs and Marc Cohen Mr. William T. Hoffman Christine Hollander and Michael McGee Eileen Honnen McDonald Ruth Hopfenbeck and George Hopfenbeck Jr. Steven and Chryse Hutchins Mrs. Philip Isely
Gary and Judith Judd Dr. and Mrs. John N. Kabalin Dr. Lawrence Kim and Nhung Van Sally and Jim Kneser Dagmar Kress Dr. and Mrs. Jeremy Lazarus Hon. and Mrs. Carlos F. Lucero Pat and Barbara McCelvey Jim and Carole McCotter V W Mcnab Paul and Phyllis Miller Dr. Monica I. Minkoff and Mr. Harry M. Siegfried Lynnette Morrison Mr. and Mrs. Chris J. Murphy Dr. and Mrs. Calvern E. Narcisi Drs. Sarah and Harold Nelson Susan and Howard Noble Carl Patterson Dorothy Pearson Bonnie C. Perkins Essie Perlmutter Christine and Harry Phillips Bruce Polkowsky and Bill Powell Rick Poppe & Jana Edwards Mr. Thomas J. Powers Jr. Charles and Reta Ralph Kent Rice and Ann Corrigan Steven and Joan Ringel Donald and Karen Ringsby Ayliffe and Fred Ris Ruth Schoening Dr. and Mrs. Edwin R. Smith Rachel Solomon and Jonathan Parrott Mary and Russell Stewart Christopher Price and S. Edith Taylor The Tooth Fairy John Trueblood Richard Tubbs and Marilyn Smith Marta Turnbull Drs. Kathy Kennedy and Ben Vernon Ed and Patty Wahtera Edward Woolman Anonymous (4) CHORISTER ($500 +) Tucker and Dan Adams Eric and Kathryn Albright Randall Anderson Stan and Marianne Anderson Dr. and Mrs. Sol H. Bassow Dr. and Mrs. Henry J. Beckwitt Mr. and Mrs. Fredric H. Bender Charles E. Berry Joseph and Carolyn Borus Ms. Karen M. Bruggenthies Sandy and Rogene Buchholz Judy and Duncan Burdick Heather Callahan S. Nelson Cammack George M. and Carol G. Canon
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ANNUAL CONTRIBUTORS Mr. and Mrs. Lawrence G. Carpenter Marjorie and Doug Carriger Ronald and Donna Charlin Mr. David Clarke Catherine Cole Donna and Ted Connolly Dr. & Mrs. Robert Contiguglia Mary W. Crawley Lisa Crispin and Robert Downing Nancy Crow and Mark Skrotzki Ms. Cheryl M. Cruickshank Deborah Deeg Jerri Lynn Modrall and Eric E. Doering TJ Donahue Walter W. and Maryruth Y. Duncan Elizabeth and Matthew Dyer Carl and Nan Eklund Amy Feaster Stacy Fischer Larry and Joanne Fisher L. Richard and Sigrid Halvorson Freese Richard and Frances Frey Deborah Friedman Caleb and Sidney Gates Jennifer Garrett Dr. and Mrs. Burton Golub Dr. Daniel J. Greenholz Dr. and Mrs. Frederick L. Grover Sr. Mr. and Mrs. Charles Hamlin Lee and Margaret Henry Don and Mary Hoagland Ms. Laura M. Hoffman Graham and Cathy Hollis Whitney and Halle Holmes Michael E. Huotari and Jill R. Stewart Dr. Jacob G. and Mrs. Sarah F. Jacobson Kendor and Paulette Jones Frank and Pauline Kemp Roberta and Mel Klein Herbert E. and Darlene Kress Pauline Langsley Ann and James Leh Deanna Rose Leino Jim and Patience LinďŹ eld Paul and Carol Lingenfelter Patty Lorie Kupetz John Kure and Cheryl Solich Tom and Ginnie Maes, The Kanter Kallman Foundation Marjorie J. Marks Marian E. Matheson Therese McCarthy William McConathy Ruth Ann McDonald Dr. and Mrs. Hugh J. McGee Jr. Maeve Vickers McGrath Janice McNally Henry Mohr Gregory Movesian Dr. and Mrs. John Moyer 30
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Drs. Michael and Mary Moynihan Mark A. Nachtigal Robert Nelson Ralph Ogden Mr. Steven Okuley Dr. and Mrs. David S. Pearlman Andrew R. Pleszkun Robert and Mary Quillin Dr. Gregory Robbins Susan and Paul Roberts Joe Ronnenberg Mr. Joseph C. Rook Mr Doug Rooney Mr. Allan S. and Judith Rosenbaum Jane Russell and Bill Russell Karen and Mark Sather John Shott and Heidi Munzinger-Shott Ms. Nancy Siegel Dr. Andrew Sirotnak and Mr. Jamie White Dr. Richard Stienmier Jim and Sue Swanson Jim and Kate Taucher Carson Custer Taylor John and Sharon Trefny Paul Voilleque Valerie Wassill Hedy and Michael Weinberg Tor and Virginia Westgaard Scott and Karen Yarberry Ken and Charlotte Ziebarth Mr. and Mrs. Stephen True Anonymous (4) FRIEND (100+) Norman and Margaret Aarestad Lora Adams Frank J. Adler Paul and Susan Ahlquist Marilyn and Jules Amer Catherine H. Anderson Omar Angola Judith Babcock Mary E. Bahde Donald K Bain Stephen Bain Ms. Jennifer N. Bater Nancy Battan Brian Thomas Beagle Mr. Edguardo Belen Barbara Benedict Mr. and Mrs. Mitchell Benedict III Drs. Tomas and Diane Berl Dr. and Mrs. Dell Bernstein Arlene Bershof Janet Bishop Laura Bittner Steve Blatt Ms. Sandra Bonetti Kent Borges Libby Bortz Richard J. Bottjer Stanley and Virginia Boucher
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Jeff and Shirley Bowen Brewster and Helen Boyd E. Candace Boyle and Thomas R. Salas Donald K. Braden Ms. Jay Breen William Bradford and Chin Tan Darrell Brown and Suzanne McNitt Packard Brown Lucinda and Edward Bryant Gordon & Ron Butz Ralph Candelaria Teri Carnahan Bette and Charles Carcano Brad Case and William McMechen Molly Castleberry Patricia Caulkins Clare Cavanaugh Prof. Gerald Chapman Ronald Charpentier Henry and Janet Claman Everett Clark Nathan Clifford Edith Clow Robert I. Cohen and Gloria J. Lilly Alan and InHye Como Mr. and Mrs. John P. Congdon Mr. Alexander J. Conley and Ms. Alysia D. Marino Kathleen M Cook David Cooper Vicki Cowart and Chris Hayes Jim Craig Brian D. Crane Lisa Crispin and Robert Downing Sara and Jim Culhane Margaret H. Cunningham Ian Currigan Cathy Dal Santo Michael and Bonnie Dalke Katy Daniel Ronald L. Deal Peter and Deedee Decker Roberta Depp Gregory Diamond Ursula and Tom Dickenson Marcus & Wendy Divita Max and Joyce Douglas Thomas and Brenda Douglis Peter and Marian Downs Mrs. Helen N. Driscoll Virgina Dudden Mrs. Laurie and Mr. Ben Duke III Philippe and Cynthia Dunoyer Mr. and Mrs. Wayne D. Eckerling Judie Eidson Joseph Elinoff Ted and Vivian Sheldon Epstein Richard Eslinger Judith Fahrenkrog Ms. Ann B. Fawcett Mary Lou Fenili Charles and Jill Ferguson Janet and Sheldon Fischer
Karin and Karin Fischer Mr. and Mrs. Robert Follett Jacqueline Frischknech Susan C. Frye and Caroline R. Frye Max Furer William Gardner Sally Gart Alan and Sally Gass Jennifer Ruth Gentry Tamara Goldstein Mr. and Mrs. Ricardo Goncalves Donna Good Liz Goodman and Robert Nauman Kazuo and Drusilla Gotow Anthony and Katherine Gottlieb Susan and John Gowen Brian Greffe, MD and Mark Donovan, Phd Martin and Renee Gross Gina Guy Regina Hackley Jerry Jean Hale Hazel E. Hanley Laura Harmacek Patricia and Joseph Harper Lynn and Ronald Harrington Mr. Richard H. Hart James and Martha Hartmann Hal and Jackie Hawkey Richard Haynes Mr. Richard W. Healy Mr. and Mrs. Phil G. Heinschel Patricia Hill Pascoe Richard and Sandra Hilt Sarah C. Hite Mary Ellen Holmes Philip Holt Joan and Bill Houlton Barbara Hughes Dennis Hurt Paul W. Husted John Hynes Daniel Isaman Mark E. Jacobs Brian and Catherine Janonis Marilyn Jensen Eric E. Johnson James and Jean Johnston Judy Johnston Donald and Susan Jones Mr. and Mrs. Howard B. Jordan Catherine and Larry Kaledo Kathryn Karford Mrs. Kerstin Karloev Patricia Kelly Eileen and Walter Kintsch Bonnie Kipple Kenneth Kirkland Loring and Carol Knoblauch Leonard Koch Michael Kolotylo Elmer and Doris Koneman Donna Kornfeld Rex Kramer and Cindy Crater
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ANNUAL CONTRIBUTORS Susan Kullman Mr. and Mrs. Maurice A. Larue Jr. Warren and Nancy Lawrence Richard Leaman Mr. Bernard Leason and Mrs. Frieda Sanidas Leason C. Nicholas and Mollie Lee Richard and Melinda Lee Charlie Leight Nancy Leonard Daniel Lichtin Sharon Lillis Robert & Gloria Lilly-Cohen Don and Ingrid Lindemann Randall Livingston Charles and Gretchen Lobitz Ms. Lois B. London Windham and Anne Loopesko John and Janet MacFarlane Dr. and Mrs. William Maclay Henry Mahlman K. Frederic and Linda Mai Caroline Malde Melissa Malde Cynthia Mancinelli Mr. and Mrs. Gilbert Y. Marchand Jeff Marshall and Shawn Finnegan John and Minda Marshall Merrylue Martin Pam and Mo Mathews Tanya Mathews William Mathews Jeanine Matney Sandy Mazarakis Judith Mcbride Mary McClanahan Myron McClellan and Lawrence Phillips Zoe McFarland William and Virginia McGehee Bob and Mereth Meade Dr. and Mrs. Alan Megibow Frank and Patricia Mercado Katherine Millett Mr. and Mrs. James Mills Jean Milofsky Frend John Miner and Jeff Lawhead Mr. George Mitchell Sue and Bill Mohrman Mr. and Mrs. Mike Monahan Bill Moninger Jon and Lynne Montague-Clouse Beverly Moore Warren Morrow Mrs. Susan Mostow Mark and Sally Murray John & Mary Muth W. Peterson and Nancy Nelson Richard L. Nielsen Kristen Nordenholz Dr. and Mrs. David A. Norris Maureen and Benjamin Nystuen Kent & Ruth Obee Kelli O’Brian
Larry O’Donnell Stephanie and Roger Oram Bonnie M. Orkow Ronald Y. Otsuka Mr. Ben H. Parker Margaret and Neil Peck Perry and Virginia Peine David and Rhona Pessel Dennis Peterson Sandra Pettijohn Collin Pitet Andrew R. Pleszkun Rich and Kim Plumridge Ann and Jeffrey Pontius Mrs. Kathryn L. Pride Katherine Raabe Marcia Ragonetti Pablo Ramos Ann Ratajczyk T. R. Reid Richard Replin and Elissa Stein Julie Reusser Maxine and Ed Richard Gene & Nancy Richards Donald Richman Jennie Ridgley Karyn K. Rieb Thomas L Riis Ronald and Ann Riley Sylvia and Byron Riley Gregory Robbins Paula and David Roney Jack and Oonagh Ross Mary Ann Ross Elizabeth Rumely Paul Ruotolo Ms. Suzanne B. Ryan Jack and Ruth Salter Dr. Frank and Mrs. Sherry Sargent Eleni Sarris Youlon D. Savage Ms. Erika L. Schafer Paul Scheele Gayla Scheid Sharon Schillereff Mr. Henry R. Schmoll Harvey and Mary Schuchman Jane Schultz-Burnett Bob and Lori Schuyler Elizabeth Schwarm-Glesner Jean Selders Fern Seltzer Bob and Barbara Shaklee Ms. Jo B. Shannon Helen Shreves Ms. Phyllis Shushan and Mr. Carl Shushan Ms. Shirley A. Simonson Patricia Simpson Gary Sims Catherine K. Skokan Michael Snow Jennifer Sobanet Norman Spivy
Marc and Kathryn Spritzer James B. Steed Larry and Neslihan Stephens William and Donna Stiles Jenene & James Stookesberry Bill and Shirley Stout Harold and Shirley Summers Drs. Morris and Ellen Susman Mrs. Mary Symonton Robin and James Tait Mr. and Mrs. Martin N. Tarabocchia Cheryl Tensfedlt Barbara Thorngren Lloyd & Barbara Timblin, Jr. Dr. and Ms. James Kennedy Todd Giles D. Toll M.D. Michael and Pegi Touff Mary Trabold Elizabeth Tracey Alice and Frank Traylor Robert C. Tripp Lucile Trueblood Susan Tucker Julie Vance
Gretchen Vanderwerf and Gordon Jones Sandra Vinnik Harry and Terri Vogler Mary and Terry Vogt Bernd Wachter Norma and George Wagoner Shirley Ward Ms. Carley Warren Ms. Robin Stewart and Mr. Kirk Weber Dr. David Wedmore Sioux Wells Ms. Cia A. Wenzel Ms. Marilyn L. Wheeler Anne Williams Ms. Beverly Williams Hilda Wing Jane Wingle Ross Yeoman and Gayler Harford Dr. and Mrs. Raymond Yost Ms. Phyllis J. Young Dr. Jack and Mrs. Barbara Zable Sue and Carl Zimet Anonymous (3)
Every effort has been made to ensure that accuracy of our donor list. However, if your name is incorrectly listed, please accept our sincere apologies and contact Glenda Masters at 303.468.2029. Although space limitations only allow us to list donors whose gifts were $100 and above to the Annual Fund and $500 and above for the 2013 Stories That Sing Campaign, we are deeply grateful for the support of all our dedicated contributors.
VOLUNTEERS Sandy Adams Stan & Marianne Anderson Eric Bard Laurel Barsa Irene Betin Barbara Bower Jeff Brown Joan Camozzi Joyce de Roos Stephen Dilts Peggy Engel Victor Fabrizio Terry Frazier Nancy Fredricks Sigrid Freese James Herringer Robert Kahn Dean & Madge Klassen Paull Kupler
Sally Lammers Susi Landers Melinda Leach Heather MacKinnon Joanne Moldow Frank Parce Eva Phibbs Donna Ries Ellie Roberts Ruth Schoening Ron Sherbert Dean & Syrma Sotiriou Mary Stirling Jenene Stookesberry Linda Vigor Candice Watts Wendy Wendell Christel Woody Frank Zoske
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BOARD OFFICERS
Michael Hughes Chairman Marcia Robinson President Kenneth Barrow Chair Emeritus Martha Tracey Treasurer Carol Crossin Whitley Secretary and Vice President Dirk deRoos Vice President DIRECTORS
Bruce Allen
Ovation! Magazine
Sheila Bisenius
and In-Theatre programs
Michael Bock
are produced
Suzanne Dost Bucy
for Opera Colorado
Ellie Caulkins Lifetime Honorary Chair
by The Publishing House.
Mary Conroy Jack Finlaw
Angie Flachman-Johnson Publisher
Craig Johnson Hon. Kenneth M. Laff
Wilbur E. Flachman President & Founder
William Maniatis Muffy Moore
Annette Allen Art Director Production Coordinator
Kevin D. O’Connor Kent Rice Ex Officio
For advertising information 303-428-9529
Gerald Saul
www.pub-house.com
Merrill Shields
www.coloradoartspubs.com
Shirley Smith Byron Watson Britney Weil Larry Zimmer HONORARY DIRECTORS
STAFF
GREG CARPENTER General Director ADMINISTRATION
Darrel Curtice Director of Finance & Administration Julie Nowasell Staff Accountant ARTISTIC
Ari Pelto Artistic Advisor DEVELOPMENT AND MARKETING
Camille Spaccavento Joyce de Roos Molly Epstein Nicholas Geyer Luke Lindholm Glenda Masters Ed Mickens Rachel Perez Resnicow Schroeder Assoc
EDUCATION
Cherity Koepke Julie Nowasell Betsy Schwarm Elena Kalahar Alexandra Kotis
Jill Irvine Crow Hugh Grant Jeremy Kinney Loring W. Knoblauch Lifetime Honorary Director
PRODUCTION
YOUNG ARTISTS PROGRAM
Cherity Koepke Taylor Baldwin Colleen Jackson Louise Rogan Brett Sprague Jared Guest Benjamin Sieverding
Director Accompanist Soprano Mezzo-soprano Tenor Baritone Bass
DIRECTORY TICKETS
BOX OFFICE LOCATION
ADMINISTRATIVE OFFICES
ELLIE CAULKINS OPERA HOUSE
OperaColorado.org 303.468.2030 695 S. Colorado Blvd, Suite 20 Denver, CO 80246 303.778.1500 695 S. Colorado Blvd, Suite 20 Denver, CO 80246 1106 14th Street (14th and Curtis Street)
The Ellie Caulkins Opera House is part of the Denver Performing Arts Complex, owned and operated by the City and County of Denver, Division of Arts & Venues LOST AND FOUND DINING AT DPAC
Pamela Merrill Jeremy Shamos Susan Shamos
Director of Education & Community Engagement Education Assistant Pre-Performance Lecturer Intern Intern
Katie Preissner Production Manager Ann Piano Costume Director
Susan Adams Nellie Mae Duman
Director of External Affairs & Marketing Volunteer Coordinator Group Sales Associate Annual Fund and Marketing Assistant Patron Services Manager Annual Fund Manager Associate Patron Services Manager Marketing Manager Public Relations
ONLINE RESERVATIONS
720.865.4220 Kevin Taylor’s at the Opera House 303.640.1012 Limelight Supper Club 720.227.9984 Restaurantkevintaylor.com
FI N D US ON:
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