2014–2015 Season
Be engaged. Be inspired. Be here. Global performance. World-class entertainment. You have to be here.
With a Wink of his Eye…
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A Holiday Tradition . . .
Handel’s Messiah* Colorado Bach Ensemble | Artistic Director James Kim Conducting Mireille Asselin, Soprano; Abigail Nims, Alto; Derek Chester, Tenor; Andrew Garland, Bass
FOUR PERFORMANCES Thursday, December 18, 7:00 pm Montview Presbyterian Church, 1980 Dahlia St., Denver
Friday, December 19, 7:00 pm Bethany Lutheran Church, 4500 E Hampden Ave., Cherry Hills Village
Adults $25 / Students $5 Tickets available at www.coloradobachensemble.org
Saturday, December 20, 7:00 pm First United Methodist Church, 1421 Spruce St., Boulder
Sunday, December 21, 4:00 pm Edna Rizley Griffin Concert Hall, 1400 Remington St., Fort Collins
* Complete Watkins Shaw Edition
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Contents A good, old-fashioned Colorado Christmas...................... 6 Calendar........................................ 8 From silent nights to raucous revels............................. 12 Holiday Festival by the numbers........................... 16 Faculty Tuesdays......................... 24 Artist Series donors..................... 26 Takács donors............................. 30 Eklund Opera Program donors.... 32 Personnel.................................... 34
Advertising Information
This program is produced for CU Presents by The Publishing House, Westminster, CO.
TARGETED MARKETING WITH EVERY PERFORMANCE
wishes you a
Angie Flachman Johnson, Publisher Annette Allen, Art Director & View, the magazine of the Lone Tree Arts Center, Production Coordinator features performing arts highlights and information about the state-of-the-art facility that serves the south metro community. Stacey Krull, Graphic Design & Layout Wilbur E. Flachman, President 2013/2014 highlights
Clay Evans, CU Presents Editor South Pacific in Concert • Big River Yesterday & Today, the All-Request Beatles Tribute
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SPOTLIGHT
A good, old-fashioned Colorado Christmas:
A brief interview with Johnny Howard of The King’s Singers For many Americans, there is no place more evocative of a good, old-fashioned Christmas than merry old England. For that we can probably thank Charles Dickens and Scrooge. But Jonathan “Johnny” Howard, bass singer for the British a capella sextet The King’s Singers — who will perform Dec. 11 at Macky Auditorium — says Christmas in America is the gold standard. “England is more indifferent. We don’t have a huge festival and it’s mostly restricted to Christmas day,” Howard says by phone from London. “In America people seem to really want Christmas as soon as Thanksgiving is over. And the stress on the importance of family together is something unique to the states. It’s really quite nice.” And if you like walking in a winter wonderland, Howard says, you’re more likely to find it right here in Colorado than England.
The sextet will perform a wideranging program at Macky, from seasonal favorites in close harmony to the sacred Christmas choral music of English c o m p o s e r Herbert Howells. “We’ll bridge the gap between serious and light, old and new,” Howard says. “The audience will hear a really interesting mixture.”
“We once flew from Denver to Laramie and it was super cold, minus 35 degrees when we landed,” says Howard.
The King’s Singers are among the world’s most celebrated vocal ensembles. They have performed in Europe, the United States, China and elsewhere. In June 2013 they were elected to the Gramophone Hall of Fame. Learn more at kingssingers.com.
But, he says, the group’s reception in Colorado has been anything but chilly: “What I adore … is that everyone is so warm and welcoming.”
The King’s Singers will perform a Christmas program at 7:30 p.m. Dec. 11 at Macky Auditorium, with tickets starting at $20. To buy tickets, please go to cupresents.org or call 303-492-8008.
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2014-15 Calendar
The Artist Series presents the world’s finest performers in classical music, jazz, theater, dance and world music in majestic Macky Auditorium. For detailed information and tickets, go to cupresents.org.
MUMMENSCHANZ
Friday, Nov. 7, 2014, 7:30 p.m. Silence, illusion, light and shadow. Masks and props made from everyday objects. Mind and body, sleight of hand. For more than four decades, the surreal Swiss theater troupe has brought myth, mystery and plenty of laughter to audiences around the world, using its unique universal language to explore the human condition.
BILL T. JONES AND ARNIE ZANE DANCE COMPANY
Play and Play Thursday, Jan. 22, 2015, 7:30 p.m. Choreographed to some of the world’s best-loved and most seminal works of classical music— Mozart, Ravel, Schubert—and performed with live musicians, Bill T. Jones’ astonishingly original, muscular work, Play and Play, is dance like you’ve never seen it before. Winner of two Tony Awards and recipient of a MacArthur “genius” grant, Jones has continually expanded the possibilities of dance. Sponsored by James & Associates.
MEDESKI, MARTIN AND WOOD WITH ALARM WILL SOUND
THE KING’S SINGERS
CHRISTMAS WITH THE KING’S SINGERS
Thursday, Dec. 11, 2014, 7:30 p.m. The Grammy Award-winning British male sextet The King’s Singers arrives on the cusp of winter to perform an enchanting Christmas concert. With their unique melodic arrangements, impeccable vocal blend and trademark playfulness, the ensemble brings both wit and warmth to seasonal music, both traditional and contemporary. Sponsored by Hurdle’s Jewelers.
Friday, Feb. 6, 2015, 7:30 p.m. Get ready for incomparable originality, a little jamming and a lot of fun when the hip, cutting-edge chamber music of Alarm Will Sound melds with the eclectic avant-jazz-funk sound of Medeski, Martin and Wood. The groove-oriented trio, a hit on the jam-band circuit pioneered by the Grateful Dead, and the versatile new-music ensemble will take you on an evening of daring collaboration and thrilling improvisation.
HOLIDAY FESTIVAL
Dec. 5-7, Macky Auditorium
(See cupresents.org for detailed ticket information and times)
A lively program of seasonal music and festive holiday decorations in Macky Auditorium inspire sold-out audiences and make the Holiday Festival a beloved annual tradition. Choirs, orchestra, ensembles and faculty soloists from the CU-Boulder College of Music invite you to share the joy and warmth of the season with your family and friends. 8 |
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SPRING SWING
THE ASSAD BROTHERS WITH ROMERO LUBAMBO
Thursday, Feb. 19, 2015, 7:30 p.m. Exotic Latin flair takes the stage when the Assad Brothers, Brazil’s most celebrated classical guitarists, join with jazz guitar virtuoso Romero Lubambo for Samba Exótico, an exploration of Samba and Choros, a popular 19th-century genre that blossomed in Rio de Janeiro. With its roots in Africa and unique fermentation in the coastal city of Bahia, Samba vibrates with the essence of Brazil. Sponsored by Shaw Construction and partnered by H.B. Woodsong’s.
NATALIE MERCHANT WITH THE CU SYMPHONY ORCHESTRA
Thursday, April 2, 2015, 7:30 p.m. Over her stellar 30year career, Natalie Merchant has been the driving force behind alt-pop sensation 10,000 Maniacs and embarked on a multi-platinum solo career, always delving deep into the human condition with her lyrical storytelling. Now she brings that same searching literary sensibility and her distinctive vocal style to new heights in a performance of her music, old and new, arranged for orchestra. Sponsored by Hurdle’s Jewelers.
Sunday, April 12, 2 p.m., Macky Auditorium Join the CU Concert Jazz Ensemble and guest artists for a swinging return to the Big Band era. The program will feature music from the ensemble’s new recording, a tribute to the greatest bands and composers of the era, including Benny Goodman, Glenn Miller, Duke Ellington, Count Basie and more. A special guest will join the band as well! Brad Goode, director
E K L U N D
Wide-ranging repertoire, lavish scenery, drama and amazing voices—CU Opera has it all. Director Leigh Holman and Music Director Nicholas Carthy showcase the talent of the future in three productions each season. Go to cupresents.org for detailed ticket information and times.
COSÌ FAN TUTTE
By Wolfgang Amadeus Mozart March 13-15, Macky Auditorium Mozart’s witty opera buffa follows 24 hours in the lives of two beautiful sisters whose scandalous infidelities make for a comic romp that was considered too hot for audiences even in the early 20th century. Featuring some of the composer’s most sumptuous arias, duets, and ensemble pieces make for a decadent and enchanting evening of opera. Sung in Italian with English surtitles.
L’INCORONAZIONE DI POPPEA (THE CORONATION OF POPPEA)
By Claudio Monteverdi April 23-26 Music Theatre, Imig Music Building Monteverdi’s drama about sex, crime and realpolitik during the debauched reign of the Roman Emperor Nero, turns conventional morality on its head—virtue is punished and greed rewarded. The score soars but the sensual duet between Nero and his lover—eventually wife—Poppea, Pur ti miro, pur ti godo—meaning, “I gaze at you, I possess you”—is the pièce de résistance. Sung in Italian with English surtitles. This production will be styled after the hit Netflix realpolitik series House of Cards, starring Kevin Spacey.
The Grammy Award-winning quartet— Edward Dusinberre, violin; Károly Schranz, violin; Geraldine Walther, viola; and András Fejer, cello—has been selling out concerts for three decades at CU-Boulder with an irresistible blend of viruosic technique and engaging personalities. Each season includes a concert by a special guest. All Takács performances take place in Grusin Music Hall. Takacsquartet.com
TAKÁCS QUARTET
Sunday, Jan. 25, 2015, 4 p.m. Monday, Jan. 26, 2015, 7:30 p.m. Program TBA
TAKÁCS QUARTET
Sunday, March 8, 2015, 4 p.m. Monday, March 9, 2015, 7:30 p.m. Program TBA
TAKÁCS QUARTET
Sunday, April 26, 2015, 4 p.m. Monday, April 27, 2015, 7:30 p.m. Program TBA
COSÌ FAN TUTTE
Tomorrow’s talent is onstage today with a wide variety of performances from CU students and faculty. For detailed ticket and event information go to www.colorado.edu/theatredance.
A BROADWAY CHRISTMAS CAROL
By Kathy Feininger, Directed by Nathan Stith Dec. 4-21, University Theatre If Charles Dickens had huddled with Rodgers and Hammerstein, Andrew Lloyd Webber, and Matt Stone and Trey Parker to write a holiday show, they just might have come up with A Broadway Christmas Carol. Simultaneously irreverent and respectful, the play offers a fresh, hilarious and charmingly recognizable retelling of Dickens’ classic holiday ghost story, complete with new lyrics to famous Broadway show tunes.
TARTUFFE BY MOLIÈRE
Translated by Christopher Hampton Directed by Lynn Nichols Feb. 13-22, University Theatre French playwright Molière’s comic masterpiece skewers religious hypocrisy, mindless piety and sexual deceit was so daring at the time of its writing that audience members could be excommunicated for seeing it. Tartuffe tells how a “man of the cloth” worms his way into the gullible heart of Orgon, a rich family man, and tries to take him for all he has. It takes a desperate trap by Orgon’s wife Elmire to expose the imposter.
JESUS CHRIST SUPERSTAR
A BROADWAY CHRISTMAS CAROL
Lyrics by Tim Rice, music by Andrew Lloyd Webber, Directed by Cecilia Pang April 10-19, University Theatre Ever since the controversial rock opera by Andrew Lloyd Webber and Tim Rice was released as a concept album in 1970, it has
enflamed the passions of critics and fans alike. The story of Jesus of Nazareth during his final days, from the time of his arrival in Jerusalem to his crucifixion, this high-energy, immensely popular show plunges deep into the hearts of the men and women, from Judas Iscariot to Mary Magdalene to Pontius Pilate, who played a part in one of the most momentous stories ever told.
THE CURRENT
April 17-19 Charlotte York Irey Theatre A showcase of vital new works by CU dance faculty and Millicent Johnnie, the 2014-15 Roser Guest Artist in Dance. Johnnie has performed with Urban Bush Women, Cleo Parker Robinson Dance Ensemble, Hubbard Street Dance Chicago and choreographed for Grammy Award-winning artists Usher Raymond, Chrisette Michele and Los Hombres Calientes, and record labels Def Jam, Columbia, Interscope, Arista Records and others.
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Be Inspiring. Pursue your passion. Advance your degree.
Explore your options: conted.colorado.edu
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SPOTLIGHT
From silent nights to raucous revels: A brief history of Christmas music Christmas was not ranked high on the list of holidays among the founders of the Christian faith. For 300 years or so, Jesus’s followers struggled just to survive in a hostile or indifferent world. Observant believers maintained a respectful silence around the birth of their God, since the scriptures gave no precise dates or times for the event. Eventually, though, as opposition ebbed and the Church rose in respectability, Christmas—the mass celebrating Christ’s nativity— rose in importance. And, of course, no celebration is complete without music. In order to increase the number of believers during the darkest time of the year, church leaders sought to rebrand popular winter-solstice revels in accordance with the “new light and new life” they believed Jesus offered. The 12 days between Dec. 25 and Jan. 6 were given over to special services, songs and parties. Christmas music at first consisted of liturgical chants alone, but by the Middle Ages, secular carols and vigorous circle dances gained currency in Europe. Things quickly became fairly raucous. The improbable appearance of a godly infant in an animal’s feeding trough gave rise to other alleged miracles. At the moment of Jesus’s birth it was said that trees suddenly bloomed and bent their bows downward. Dumb animals spoke and knelt in reverence towards Bethlehem. Birds sang throughout the night. Bells rang mysteriously in deserted caves and bees in their hives were heard to
hum Psalm 100, “Sing to the Lord a new song!” Despite a lull in Christmas revelry in Puritan England—openly celebrating the holiday was outlawed in the North American colonies until 1681—by the 19th century Christmas was making a comeback. Queen Victoria’s husband, Prince Albert, brought Germany’s domestic Christmas customs, including decorated evergreen trees, to England along with a considerable amount of European music. The production of Christmas art, poems, stories and songs has been a growth industry around the world ever since. Today holiday music is still created in abundant variety. Every superstar and singer wannabe, from Yoko Ono to Run DMC, feels compelled to make a seasonally appropriate (or inappropriate) recording sooner or later. “Grandma Got Run Over By a Reindeer” and “The Little Drum Machine Boy” jostle for a place on the airwaves with “Silent Night” and “Joy to the World.” Christmastime, one suspects, will remain a season of celebration, surprise and miracles long into the future. God rest ye merry—and peacefully—gentlemen and gentlewomen! — Thomas Riis, director, American Music Research Center at CU-Boulder
SPONSOR
Congratulations to the University of Colorado College of Music, whose efforts have brought entertainment, learning, melody, percussion and passion to our community. We’re proud to sponsor the University of Colorado College of Music.
For subscription information call 303.444.3444 or visit DailyCamera.com. 12 |
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SPONSOR
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There’s no place like home.
T
here’s something special about life at Frasier. And it’s reflected in the smiling faces and close connections you’ll see everywhere on our spacious, graceful campus. Is it our stellar setting, close to all the best Boulder attractions? Our gorgeous selection of living spaces and long list of amenities and activities? The sense of belonging to a spirited community of friends and family? The opportunity to pursue new passions? Or the peace of mind that comes from our continuum of on-site-care? Whatever the reason, one thing is certain: no place compares to home sweet Frasier.
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SPOTLIGHT
Holiday Festival by the Numbers (In the manner of Harper’s Index) Years branded as the Holiday Festival: 17 (1998-present) As the Festival of Christmas: 19 (1980-1997 and 1952) As Christmas Vespers Service: 1 (1974) No name: Multiple years prior to 1970 Number of performers: 400 Number of cookies provided to performers at final dress rehearsal: 1,128 Number of singers on risers: 215 Average number of singers who pass out each year: .5 Number of “bovines” onstage at Holiday Festival: 2 (Chip the Buffalo, 2013; student dressed as Holstein cow with giant rubber udder, 1998) Number of wreaths: 3 (one large, 60 inches in diameter, two small, 48 inches) Number of wreaths set on fire to test flammability: 6 Number of live poinsettias rented, pre-2010: 100 Average number of live poinsettias stolen: 12 Number of fake poinsettias rented, 2010-present: 100 Number of fake poinsettias stolen: 0 Number of times Handel’s Messiah performed: Every year as Holiday Festival Number of times “Rock and Roll Santa” performed: 1 Feet of evergreen garlanding: 450 Number of Hefty bags needed to clean up needles: 2 Age of Macky Auditorium: 104 — first brick laid October 1910 First performance in Macky: May 1923
Average number of birds (or bats) living in Macky during winter: 1 Average number of birds (or bats) surviving winter in Macky: .5 Number alleged ghosts haunting Macky: Plenty Number of ghosts discovered by the Boulder County Paranormal Society in 2008: 0 (“In reality, this is almost certainly nothing more than a fireside ghost story”) Number of electrical circuits in Macky: 160 Number of years Flagstaff Mountain Holiday Star displayed: 66 Current number of light bulbs in Flagstaff Mountain Holiday Star: 365 Number of 40-watt incandescent bulbs (pre-2013) for 50K hours of use: 42 Number of 6-watt LED bulbs (2013-present) for 50K hours of use: 1 Average Boulder December snowfall, 1961-1990: 13 inches (least — .5 inches, 1980; most — 31.5 inches, 1988) Average Boulder December snowfall, 1991-2013: 14 inches (least — .2 inches, 1991; most — 45.5 inches, 2006) Sources: CU-Boulder College of Music Library Rudy Betancourt, director, Macky Auditorium JP Osnes, media specialist (since 1980), Macky Auditorium Joan Braun, executive director, CU Presents Laima Haley, marketing director, CU Presents Diana Wilson, program assistant, Department of Bands, College of Music Boulder County Paranormal Society Eartheasy.com — Solutions for Sustainable Living Dailycamera.com National Oceanic and Atmospheric Administration
Times Macky interior has been repainted: 2 Gallons needed to repaint: 50 Weight of ceiling over the orchestra: 3.8 tons Original number of women’s toilets in Macky: 6 Current number of women’s toilets: 20
CHIP, CU-BOULDER MASCOT
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HIGH SCHOOL
REINVENTED New Vista High School opened in ‘93 with a mission “to break the mold” of conventional secondary school practices. We provide rigorous learning in a supportive culture. Our curriculum is designed to cultivate the unique talents and interests of students who are ready to be more responsible for their own learning. We give students choices in the programs they take and class work. In exchange, we require that all students do high quality work and earn a grade of A or B in core classes.
HIGH SCHOOL
REINVENTED
New Vista High School opened in ‘93 with a ATTORNEYS AT LAW mission “to break the mold” of conventional secondary school practices. We provide • Business Formation • Employment Law • Public Utility Law rigorous learning in a supportive Our Siena Square Building • Business Purchase • Energy culture. Law • Real Estate curriculum the unique • Title Insurance & Sale is designed to •cultivate Estate Planning 2060 Broadway, Suite 400 talents and interests of students who are ready • Trust & Estate • Civil Litigation & Administration Boulder, Colorado 80302 & more Appeals Zoning Litigation to be responsible for• Land their Use own&learning. Phone 303.447.1375 • Construction Law • Local Government • Water Law www.dietzedavis.com • Divorce/Family Law Law We give students choices in the programs they take and class work. In exchange, we Serving require that all students do high qualitythe workWest from Boulder since 1972 and earn a grade of A or B in core classes.
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New Vista
“… voices of spun gold.” — BBC Music Magazine David Hurley, countertenor Timothy Wayne-Wright, countertenor Julian Gregory, tenor Christopher Bruerton, baritone Christopher Gabbitas, baritone Jonathan Howard, bass
Christmas with The King’s Singers Magnificat “Praeter Rerum Serium” Vigilate Beata viscera Maria virginis Resonet in laudibus
Program
Here is the little door A spotless rose Sing Lullaby
Herbert Howells Herbert Howells Herbert Howells
Maria durch ein Dornwald ging Szczo to za prediwo The Little Road to Bethlehem Un soir de neige La filadora El niño querido Villançico Catalan Claro abril resplandecio Seasonal Songs in Close Harmony
Orlandus Lassus William Byrd William Byrd Orlandus Lassus
Trad. arr. Lawson Trad. arr. Waldemar Barwinsk Michael Head, arr. Bill Ives Francis Poulenc
Intermission
Trad. arr. Goff Richards Trad. arr. Goff Richards Trad. arr. Goff Richards Trad. arr. Goff Richards Close Harmony
Tonight’s performance will be approximately 90 minutes, with a 20-minute intermission. Join us for Twittermission! Tag us in your post or selfie and you could win a $100 CU Presents gift certificate!
ARTIST SERIES — Christmas with The King’s Singers, Dec. 11, 2014
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ARTIST SERIES — Christmas with The King’s Singers, Dec. 11, 2014
Program Notes Orlandus Lassus (1532-1594) was generally acknowledged as the leading composer of his day: the “divine Orlande, prince of musicians”, and saw more of his output published than did any of his contemporaries; and that output was vast and varied. His works embraced the greatest variety of subject and style within the realm of vocal polyphony, a medium which dominates the surviving art music of the time. As an experienced singer and musical director, Lassus would have had a close working knowledge of the output of the Flemish composer Josquin (regarded as the most gifted and influential composer of his time). Furthermore Lassus’ renaissance mind would have appreciated the opportunity to expand the thematic material of a motet in praise of the Virgin Mary into a setting of the words which she herself uttered when pouring out her heart at the revelation that she was to give birth to the Son of God. In this composition Lassus has distilled the austere lines of Josquin’s original-which was based on a plainsong sequence-and created a structure that, according to tradition, alternates Gregorian Chant with polyphony. The result is at once reverent and exciting, and ultimately satisfies the soul. Resonet in Laudibus is loosely based on the 15th century German tune, “Joseph lieber, Joseph mein.” It expresses the joy of Christmas in a positive and bright style. This is one of a series of 5-voice motets for Christmastide which Lassus published at different times and which were gathered together by his sons in the great posthumous Magnum Opus Musicum of 1604, the first ever attempt at a complete edition. Resonet in laudibus is surely one of the most popular, although at the same time one of the most rhythmically challenging of Lassus’ motets. William Byrd (1543-1623) was perhaps the greatest “master” of the period and all the available evidence indicates that he was recognized as such by his contemporaries. He remained a Roman Catholic all his life, despite
England’s “conversion” to the Protestant faith, and continued writing music for the Catholic liturgy throughout his career. He was probably discreet in his adherence to Rome and his faith did not prevent him from writing music for the new Anglican rite. Undoubtedly though, his genius was at its height in his music for the Catholic Church. English composer and organist Herbert Howells (1892–1983) is most famous for his output in Anglican church music. He studied alongside Ivor Novello as a pupil of Herbert Brewer at Gloucester Cathedral before moving to London to study at the Royal College of Music under Charles Villiers Stanford and Hubert Parry. His passion for works from the English Renaissance music developed as he assisted R.R. Terry in editing the voluminous Latin Tudor repertoire that Terry and his choir were reviving at Westminster Cathedral. He absorbed and evoked this style in his own work, and the Three Carol Anthems, Here is the Little Door, A Spotless Rose and Sing Lullaby performed tonight were composed around this time. He became known for his choral and organ output, and his many settings of the Anglican liturgy written for specific choirs and buildings. Francis Poulenc composed his cantata in four movements, Un Soir de Neige, during the years of Nazi occupation in France. The text was written by Paul Eluard whilst he was serving with the French resistance, and dispatched to Poulenc in secret. On the surface, the text brings to life the harshness of a winter night in a French forest, but closer examination reveals images of war, and of the great dangers which Eluard and his fellow fighters faced from the German army. The first movement describes how the incessant and inescapable cold weighs heavily on those trapped in it. The second movement warns of the dangerous yet beautiful wolf - a reference to the German soldiers in their splendid uniforms. The third movement finds the poet lost in the
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The Spanish area of Catalonia is a treasure trove of folk song material. Most of the songs are quite simple yet always interesting and highly evocative. In this group of Christmas songs, the first and last items are sung in Catalan, the remaining songs in Spanish. Goff Richards describes the pieces: La Filadora “Goodness knows what Maria was doing wandering through the streets with her spinning wheel and bobbin on Christmas Eve, but by chance she happened to meet up with John, her loved one. The main topic of conversation was, would you believe, commercial enterprise! The
happy couple decide to set up shop together.” El niño querido “What shall we give the tiny little boy to make him laugh and be happy?” Certainly not modern day toys! Here the answer is oranges, cakes (very sweet), nuts, honey, and cherries! Villancico catalan “This simple yet poignant song tells of the infant birth as seen through the eyes of a group of peasants harvesting the fruit crop.” Claro abril resplandeció “More than just a song celebrating the arrival of spring, this celebrates the most famous of births.” We end this evening with a selection of seasonal Close Harmony favourites from around the world.
Texts and Translations Magnificat “Praeter Rerum Serium”
Magnificat anima mea Dominum Et exultavit spiritus meus in Deo salutari meo. Quia respexit humilitatem ancillæ suæ: ecce enim ex hoc beatam me dicent omnes generationes. Quia fecit mihi magna qui potens est, et sanctum nomen eius. Et misericordia eius a progenie in progenies timentibus eum. Fecit potentiam in brachio suo, dispersit superbos mente cordis sui. Deposuit potentes de sede et exaltavit humiles. Esurientes implevit bonis et divites dimisit inanes. Suscepit Israel puerum suum recordatus misericordiæ suæ, Sicut locutus est ad patres nostros, Abraham et semini eius in sæcula. Gloria Patri, et Filio, et Spiritui Sancto: Sicut erat in principio, et nunc, et semper, et in sæcula sæculorum. Amen
My soul doth magnify the Lord. And my spirit hath rejoiced in God my Saviour. Because he hath regarded the humility of his handmaid: for behold from henceforth all generations shall call me blessed. Because he that is mighty hath done great things to me: and holy is his name. And his mercy is from generation unto generations, to them that fear him. He hath shewed might in his arm: he hath scattered the proud in the conceit of their heart. He hath put down the mighty from their seat and hath exalted the humble. He hath filled the hungry with good things: and the rich he hath sent empty away. He hath received Israel his servant, being mindful of his mercy. As he spoke to our fathers: to Abraham and to his seed for ever.
Vigilate, nescitis enim quando dominus domus veniat, sero, an media nocte, an gallicantu, an mane. Vigilate ergo, ne cum venerit repente, inveniat vos dormientes. Quod autem dico vobis, omnibus dico: vigilate.
Watch ye therefore (for you know not when the lord of the house cometh, at even, or at midnight, or at the cock crowing, or in the morning): Watch therefore, lest coming on a sudden, he find you sleeping. And what I say to you, I say to all: Watch.
Vigilate
Beate viscera Maria virginis
Beata viscera Mariae Virginis, quae portaverunt aeterni Patris Filium; [Alleluia.]
Blessed is the womb of the Virgin Mary, that bore the son of the everlasting Father: [Alleluia]
et beata ubera, quæ lactaverunt Christum Dominum: qui hodie pro salute mundi de Virgine nasci dignatus est.
and blessed are the breasts which gave suck to Christ the Lord: Who as on this day did vouchsafe to be born of the Virgin for the salvation of the world.
ARTIST SERIES — Christmas with The King’s Singers, Dec. 11, 2014
forest, helpless as if adrift on a frozen sea. In the final movement, the poet hides from the German soldiers by concealing himself underground. But this only increases his feeling of isolation, and the forest becomes a prison from which he cannot escape.
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ARTIST SERIES — Christmas with The King’s Singers, Dec. 11, 2014
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Resonet in laudibus
Let praise resound With joyful applause In Sion with the faithful: He has appeared whom Mary bore. What Gabriel has foretold has been fulfilled, Yay! A virgin has born God As the divine mercy wished.
Resonet in laudibus Cum iucundis plausibus Sio cum fidelibus: Apparuit, quem genuit Maria. Sunt impleta, quae predixit Gabriel. Eia! Virgo Deum genuit Quod divina voluit clementia. Hodie apparuit, in Israel: Ex Maria Virgine est natus Rex.
Today he has appeared in Israel From the Virgin Mary a King is born.
Magnum nomen Domini Emmanuel Quod annuntiatum est per Gabriel, Eia! Virgo Deum genuit quod divina voluit clementia.
Great is the name of the Lord, Emmanuel As was announced by Gabriel, Yay! A virgin has borne God As the divine mercy wished.
Here is the little door
A Spotless Rose
Here is the little door, lift up the latch, oh lift! We need not wander more but enter with our gift Our gift of finest gold. Gold that was never bought nor sold Myrrh to be strewn about His bed Incense in clouds about His head. All for the Child that stirs not in His sleep, But holy slumber hold with ass and sheep. Bend low about His bed, for each He has a gift. See how His eyes awake, lift up your hands, O lift! For gold, He gives a keen-edged sword (Defend with it Thy little Lord!) For incense, smoke of battle red Myrrh for the honoured happy dead. Gifts for His children, terrible and sweet Touched by such tiny hands and Oh such tiny feet
A spotless rose is blowing, Sprung from a tender root, Of ancient seers foreshowing, Of Jesse promised fruit; Its fairest bud unfolds to light Amid the cold, cold winder, And in the dark midnight. The rose which I am singing, Whereof Isaiah said, Is from its sweet root springing In Mary purest maid; For through our God’s great love and might, The Blessed Babe she bare us In a cold, cold winter’s night.
Sing Lullaby
The naked blackthorn’s growing To weave his diadem. Sing lullaby to Jesus.
Sing lullaby, While snow doth gently fall Sing lullaby to Jesus Born in an oxenstall. Sing lullaby.
Sing lullaby to Jesus, While thickly snow doth fall, Sing lullaby to Jesus The saviour of all. Sing lullaby.
Sing lullaby to Jesus Born now in Bethlehem,
Maria durch ein Dornwald ging
Maria durch ein’ Dornwald ging. Kyrie eleison! Maria durch ein’ Dornwald ging, Der hatte in sieb’n Jahr’n kein Laub getrag’n. Jesus und Maria.
Mary walks amid the thorns, Kyrie eleison! Mary walks amid the thorns Which seven years no leaf have borne. Jesus and Mary.
Was trug Maria unter ihrem Herzen? Kyrie eleison! Ein kleines Kindlein ohne Schmerzen, Das trug Maria unter ihrem Herzen. Jesus und Maria.
What ‘neath her heart doth Mary bear? Kyrie eleison! A little child doth Mary bear, Beneath her heart he nestles there. Jesus and Mary.
Da haben die Dornen Rosen getragen. Kyrie eleison! Als das Kindlein durch den Wald getragen. Da haben die Dornen Rosen getragen. Jesus und Maria.
Lo! Roses on the thorns appear, Kyrie eleison! And as the two are passing near, Roses on the thorns appear. Jesus and Mary.
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Wer soll dem Kind sein Täufer sein? Kyrie eleison! Das soll der Sankt Johannes sein, Der soll dem Kind dein Täufer sein. Jesus und Maria.
Who should baptise the child? Kyrie eleison! That should indeed Saint John be, Who should baptise the child. Jesus and Mary.
Wie soll dem Kind sein Name sein? Kyrie eleison! Der Name der soll Christus sein Das war von Anfang der Name sein. Jesus und Maria.
What should the child be named? Kyrie eleison! His name should be Christ, As his name has been from the beginning. Jesus and Mary.
Wer hat erlöst die Welt allein? Kyrie eleison! Das hat getan das Christkindlein, Das hat erlöst die Welt allein. Jesus und Maria.
Who alone has redeemed the world? Kyrie eleison! That indeed is the Christchild, Who has alone the world redeemed. Jesus and Mary.
Szczo to za prediwo
What a surprise, such news in the world, That Mary the virgin gave birth to a son. And when she gave birth, She was filled with joy: Jesus! My own dear son.
Szcsz to za prediwo, w switi nowyna Szczo Maryja Diwa Syna rodila A jak wona porodyla, Todi wona powidala: Susie! Synu mij. Josif staruszok w źolobi stoit’ Susowi Chrystowi peleny stroit’ A Maryja pelenaje, Do serdeńka pryhortaje Preczysta Diwa.
Joseph, the old man, stays close by her side, Making a bed for Jesus, the Christchild. Mary is swaddling him, And holding him close, Holy Virgin, Mother mild.
The Little Road to Bethlehem
As I walked down the road at set of sun, The lambs were coming homewards, one by one, I heard a sheep-bell softly calling them Along the little road to Bethlehem.
Across the air the silver sheep-bell rang, ‘The lambs are coming home’, sweet Mary sang, ‘Your star of Gold is shining in the sky, So sleep, my little King, go lullaby.’
Beside an open door, as I drew nigh, I heard sweet Mary sing a lullaby, She sang about the lambs at close of day, And rocked her tiny King among the hay.
Un soir de neige 1. De grandes cuillers de neige De grandes cuillers de neige Ramassent nos pieds glacés Et d’une dure parole Nous heurtons l’hiver têtu Chaque arbre a sa place en l’air Chaque roc son poids sur terre Chaque ruisseau son eau vive Nous nous n’avons pas de feu
Our frozen feet pick up Great clods of snow And with deep sighs We face the coming winter Each tree has its place in the air Each rock its place on the earth Each brook its rushing water But as for us, we have no fire
2. La bonne neige le ciel noir La bonne neige le ciel noir Les branches mortes la détresse De la forêt pleine de pièges Honte à la bête pourchassée La fuite en flêche dans le cœur. Les traces d’une proie atroce Hardi au loup et c’est toujours Le plus beau loup et c’est toujours Le dernier vivant que menace La masse absolue de la mort
The pristine snow, the black sky The dead branches, the agony Of the forest full of snares Shame on the hunted animal Whose flight is like an arrow in the heart The tracks of a cruel pursuit Strength to the wolf, always The most magnificent wolf and always The last survivor to suffer The irresistible force of death
ARTIST SERIES — Christmas with The King’s Singers, Dec. 11, 2014
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3. Bois meurtri Bois meurtri, bois perdu d’un voyage en hiver Navire où la neige prend pied Bois d’asile bois mort, où sans espoir je rêve De la mer aux miroirs crevés Un grand moment d’eau froide a saisi les noyés La foule de mon corps en souffre Je m’affaiblis je me disperse J’avoue ma vie j’avoue ma mort j’avoue autrui 4. La nuit le froid la solitude La nuit le froid la solitude On m’enferma soigneusement Mais les branches cherchaient leur voie dans la prison Autour de moi l’herbe trouva le ciel On verrouilla le ciel ma prison s’écroula Le froid vivant le froid brûlant m’eut bien en main
Woods ruined, woods robbed by the ravages of winter Vessel where the snows amass Sheltering woods, dead woods, where without hope I dream Of a sea made of shattered mirrors A surge of cold water seized the drowning victims My whole body suffering I grow feeble, I am undone I face my life, my death, and everything The night the cold the loneliness They shut me in tightly But the branches sought a way into my prison Around me the grass found the sky The sky was locked up, My prison crumbled The living, burning cold had me in its clutches
La Filadora Un pobre pagès tenia una filla; tenia quinze anys i encara no fila. Chorus: Tralarà, la, la, ra, prim fila, prim fila, tralarà, la, la, ra, prim fila i se’n va. La nit de Nadal, que és nit d’alegria, pren filosa i fus, dóna un tomb per la vila.
El Niño Querido Tantaran tan
Que le daremos al nino chiquito Con que se pueda reir yale grar? Un lindo ramo dermosas naranjas Con verdes hojas y flor deathahar. Tantarantan que los higos son verdes Tantarantan que ya maduraran. Que le deremos, que le deremos, Frum, frum Vamos atherleoonas tortas muy dulces De blanc harina de nueces y miel Tantaran (chorus) Que le daremos Que sea bueno Vamos a darleunas geendas Unas geendas o para jugar
Chorus N’encontra el galant. -On aneu, Maria? -A val teixidor, que en tinc peça urdida. Chorus -Quantes canes tens, formosa Maria? -Les canes que en tinc, setze menys quinze. Chorus
Villançico Catalan
Eixanit es nit de vetlla, N’ha parit una doncella, La mira i fa sol, Un infant con una estrella. Loilá Kyrie eleison, Loilá Christe eleison. Anirem al camp, pomes a cullir, Pometes cullirem, Que de Deu serem: Pometes al ram, Que de Deu sigam. Als pastors l’angel des vetlla,~ I els hidiu la meravella, La mira i fa sol, Abs a dolca cantarella. Loilá Kyrie eleison, Loilá Christe eleison. Anirem al camp, pomes a cullir, Pometes cullirem, Que de Deu serem: Pometes al ram, Que de Deu sigam.
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Claro avril resplandeció
!Oh! que can, !Oh! que ción, !Oh! que canción bella, De madre doncella. Celebremos com amor est te hermoso dia, O freciendo le al Señor con gran ale gria, Con fervente y pura unción, Alma, vida y Corazon, Y su glo, glo, glo, Y su ria, ria, ria, Y su glo, y su ria, Y su Gloria a labemos Y en si honor cantemos.
De virtudes llena. Si se supiera escuchar lo que cantaria, A Jesús para a cunar la Virgen María. Con ternura maternas Y voz clara de cristal !Oh! que can,can,can, !Oh! que ción, ción, ción,
The King’s Singers
Acclaimed for their life-affirming virtuosity and irresistible charm, The King’s Singers are in global demand. Their work is synonymous with the best in vocal ensemble performance and appeals to a vast international audience. They perform more than 120 concerts each year, touring regularly in Europe, the United States, Asia and Australasia. The King’s Singers are admired for their musical excellence and recognised as consummate entertainers — a class act with a delightfully British sense of humor. Their generous spirit and magical ability to move audiences have remained constant since the group’s foundation in 1968.
They have premiered more than 200 new works, including landmark compositions by Luciano Berio, György Ligeti, James MacMillan, Krzysztof Penderecki, Toru Takemitsu, John Tavener and Eric Whitacre, and commissioned thrilling arrangements of everything from jazz standards to pop-chart hits.
Gifts, and again in 2012 for their contribution to Eric Whitacre’s Light & Gold album on Decca. In June 2013 they were chosen as one of only two vocal ensembles to enter the Gramophone Hall of Fame, honoured for their unique discography of more than 150 albums. Highlights of the group’s 2014-15 season include: two performances in the Amsterdam Concertgebouw; a Christmas performance in Washington National Cathedral; a visit to the Grand Philharmonic Hall of St. Petersburg; an invitation to perform at the American Choral Directors Association annual conference in Salt Lake City, where they will give the world premiere of a new work by Jake Heggie; and their second residential summer school in the UK. Visit kingssingers.com for the latest news, blog entries, video blogs, tweets and YouTube updates.
The King’s Singers are double Grammy Award®-winning artists, honoured in 2009 for their Signum Classics release, Simple
David Hurley | Countertenor
Bios
I am now into my 25th year standing at the left hand end of The King’s Singers, and I don’t know where the time has gone. I still love the variety that each day brings as we travel to wonderful places around the world, and I always get a buzz from singing to a live audience. My life before The King’s Singers started back on a rainy August Bank Holiday Monday in 1962. I was the youngest child of three, with two older sisters, so I rather enjoy the novelty of being the oldest in the group. At the age of 8 I began my five-year stint as a chorister at Winchester Cathedral, which provided me with a wonderful musical education and set me up for the life I lead now. At 13 I went to Winchester College, where I continued my singing studies and won a choral scholarship to New College, Oxford. After three great
Timothy Wayne-Wright | Countertenor
Tim realized from a very early age that singing was dear to his heart. His musical journey started at age 6, when he became a boy chorister at Chelmsford Cathedral. After a short while singing the daily services and being surrounded by such magnificent sacred and secular music, he was hooked! Tim’s passion for singing continued through his teenage years and after experimenting with the baritone range of his voice, he
years singing and studying I graduated from Oxford in the mid 1980s and embarked on a career as a freelance singer. Before joining The King’s Singers in 1990 I specialized in high-falsetto singing with many early-music groups, most notably the Gabrieli Consort. When not travelling with The King’s Singers I love to cook, read, sail and do Sudoku and crosswords. As I travel the world with my colleagues I am amused by the incredible array of electronic gadgetry that they bring with them, allowing them instant access to video games, movies and TV shows. It wasn’t like that when I started in The King’s Singers, but I have to admit that I love being able to download my copy of The Times onto my iPad while on tour.
realized his true affection for the countertenor range. Tim began studying at Goldsmith’s College, University of London in 2001, after which he was fortunate enough to be offered a vocal scholarship to study for a postgraduate diploma at Trinity College of Music in London. During this time, Tim became a choral scholar at The Royal Naval College Chapel in Greenwich,
ARTIST SERIES — Christmas with The King’s Singers, Dec. 11, 2014
Claro avril resplandeció por mi largo ex traño Y sus nieblas retiró el diciembre huraño. Cuandro en un jardin de amor Na ce una divina flor, Deuna a, a, a, Deuna zu, zu, zu Deuna zu, deuna azucena,
ARTIST SERIES — Christmas with The King’s Singers, Dec. 11, 2014
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sang with many UK-based vocal ensembles, including Ex Cathedra Consort, Polyphony and Stile Antico, and sang as a freelancer at such places of worship as Rochester and St. Paul’s cathedrals. In 2006, he successfully auditioned for the prestigious position of alto lay clerk at St. George’s Chapel, Windsor Castle. Two years later, he was invited to audition for The King’s Singers and has now been part of this wonderful
Julian Gregory | Tenor
I will always remember the summer of 2014: the time when I was having an incredible time living in Aix-en-Provence, singing in two inspirational operas at Le Festival d’Aix, exploring the stunning Mediterranean coastline nearby and, one wholly unsuspecting morning, being called out-of-the-blue by The King’s Singers to ask whether I’d like to be flown out to Riga in Latvia the following week to audition for the tenor spot in the group. And here I am now! Ever since childhood, my life had essentially consisted of singing non-stop in cathedral and collegiate choirs. Starting with my dad as a 6-year-old probationer in Leicester Cathedral Choir, I moved on to become a chorister at St John’s College, Cambridge, where, alongside my daily three hours of choir commitments, I played the violin
Christopher Bruerton | Baritone
It all started in December ‘94. I was taken to the Anglican service of Nine Lessons and Carols at ChristChurch Cathedral in Christchurch, New Zealand, and as the choir processed down the aisle I whispered to Mum and Dad, “I want to be in that choir.” In 2010, after 15 years in the ChristChurch Cathedral Choir, I moved to England to pursue a lifetime ambition of becoming a professional singer, as well as being closer to my UK-based girlfriend. I had been teaching and conducting choirs at Burnside High School, where I also attended as a student, and I got to the point where I felt that if I didn’t give it a go I
Christopher Gabbitas | Baritone
Now in his 12th season with The King’s Singers, Christopher began his musical career as a cathedral chorister at the ancient cathedral in Rochester, Kent. Five years as a chorister fostered a deep love of choral music, especially the process of learning how to sing in harmony with those around you that stood him in good stead when he joined the KS back in 2004. A career in singing was never inevitable for Chris, as he combined a choral scholarship at St. John’s College, Cambridge with a degree in law, following that with a year as a lay clerk at Christ Church Cathedral, Oxford. After spending much of his spare time singing with ensembles such as Polyphony, the English Concert, The King’s Consort and the Choir of the Temple Church (of Da
Jonathan Howard | Bass
Though I’m now looking ahead to my fifth season in The King’s Singers, I still remember my auditions vividly. It seemed so odd to me that a young advertiser and recent classics graduate was in contention for the bass spot in what I considered the world’s greatest a cappella group. I was blessed with a fantastic musical education in school, first at the German International School in London and at Christ’s Hospital in West Sussex, and later at university as a choral scholar at New College, Oxford. I’d always been so happy singing, whether touring with the New College Choir, or performing the ritual of daily evensong, or standing in front of choirs as a soloist, or even as part of the six-man a cappella group I formed with five friends at university called The Oxford Clerks. At the time, I failed to notice that our group was formed entirely in the mold of The King’s Singers. Now, five years later, I can’t think of anything I’d rather do. I still thrive
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ensemble for more than five happy years. He is relishing the opportunity to perform in the some of the world’s most beautiful churches and concert halls, including trips to Australia, New Zealand and South America. Tim enjoys returning home to London to visit friends and family and enjoy time with his very patient and lovely fiancée, Gemma.
and piano. This musical drive developed greatly during my five years as a music scholar at Eton College, where, among other things, I led the school orchestra, sang in the chapel choir and musically directed the a cappella group, The Incognitos. Following my gap year, I returned to St John’s as a choral scholar and became musical director of the university’s most formidable a cappella group, The Gentlemen of St John’s. Then after a year out at Heidelberg University, I spent last year in post-graduate studies at the Royal Academy of Music. To go from being a lowly student to joining one of the world’s best and most famous vocal groups is a bit of a shock to the system, but I feel extremely honored to have been appointed.
would always have regrets. A dream of combining my love of singing and traveling soon became a reality, little more than year after making the long plane trip over from New Zealand. Since making my debut in The King’s Singers I have loved every moment. I am so fortunate to have had the chance to sing in world-renowned concert halls from New York to Sydney with Beijing in between. Joining The King’s Singers has given me the opportunity to travel all over the world and sing in places I once dreamed of. For a humble Kiwi it is more than I could ever have imagined. Here’s to many more years living the dream!
Vinci Code fame) while working in London, he was asked to audition, and subsequently was offered the position of second baritone within The King’s Singers. Highlights of his career with the group so far have included winning his first Grammy Award and performing in the world’s top concert halls on a daily basis — although often it’s the smallest church that can provide the most amazing atmosphere for making music. When not touring, Chris can be found enjoying food, wine and films with his eversupportive wife, Stephanie, and continuing the education that is fatherhood to daughters Bella and Lyra, at their home on the South Downs in Sussex.
on travel. It’s amazing to have a job that can see you perform in 21 time zones in six months, or to be able to listen to a pop song that lists places from around the world and think, “Do you know what? I’ve been there!” The breadth of our repertoire also staggers me. I smile seeing program sheets that list all of Gesualdo’s Tenebrae Responsaries for Maundy Thursday and our staged Great American Songbook show in consecutive concerts. But most of all, it brings me such joy to think that, as the group grows and we approach our 50th anniversary, we still dare to defy musical classification. We’re not just classical singers, folk singers, jazz singers or pop singers. We’re simply six friends who love to sing, and we’re thrilled that there still seems to be a place in the market for groups like ours that aren’t bound to a stereotype.
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FEBRUARY 14—7:30 PM PHILIPPE QUINT, VIOLIN CORIGLIANO The Red Violin Concerto WAGNER Prelude and Liebestod from Tristan und Isolde TCHAIKOVSKY Romeo and Juliet Fantasy-Overture
Season Finale: Dvořák’s Cello Concer�o
APRIL 25—7:30 PM ZUILL BAILEY, CELLO LIADOV The Enchanted Lake DVOŘÁK Cello Concerto BARTÓK Concerto for Orchestra
Choose 3 or more concerts and save 10%!
www.BoulderPhil.org
303.449.1343 ext. 2
A Broadway Christmas Carol Created by Kathy Feininger
December 4-21 University Theatre
Tickets start at $19
colorado.edu/theatredance 303-492-8008 A little song, a little dance, a little egg-nog down your pants. “Very funny … a fun, light, cabaret-ish evening of song recognition and silly gags.” —Daily Camera
Theatre & Dance University of Colorado Boulder
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Tickets start at $13; Students $5!
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Lessons and Carols for the Christmas Season
Sunday, December 14 • 5:30pm Enjoy seasonal music and a candle-lit night of lessons and carols. All are welcome!
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Faculty Tuesdays
Faculty Tuesday recitals are held at 7:30 p.m. in Grusin Music Hall in the Imig Music Building at CU-Boulder. All performances are free and open to the public.
NOV. 18:
Daniel Silver, clarinet, with David Korevaar, piano, Andrew Cooperstock, piano and Jennifer Bird-Arvidsson, soprano
Atonement
DEC. 2:
Margaret McDonald, piano
Best of Broadway
JAN. 27:
Erika Eckert, viola, with Margaret McDonald, piano, and Abigail Nims, mezzo-soprano
William Primrose in Song
FEB. 3:
FEB. 24:
Nicholas Carthy, piano, and Alexandra Nguyen, piano
Airs, Dances and Variations, from Russia with Love
MARCH 3:
Jeffrey Nytch, composer, with Christina Jennings, flute, Abigail Nims, mezzo-soprano, Jennifer Bird-Arvidsson, soprano, Andrew Cooperstock, piano, and guests
Bob Spillman, piano
FEB. 10:
March 10: Paul Erhard, double bass Divertimento Concerto by Nina Rota and Sounds Around Infinity
Poetry into Song
Silences: Music for Voice and Instrument
JAN. 13:
Terry Sawchuk, trumpet, and Justin Bartles, trumpet
Contemporary American music for trumpet
JAN. 20:
David Korevaar, piano, with Alex Nguyen, piano
A French-themed program featuring Chabrier’s Valses Romantiques
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Alexandra Nguyen, piano, with Patrick Mason, baritone, and Abigail Nims, mezzo-soprano
A program based on texts of love, loss and death
FEB. 17:
Geraldine Walther, viola, with Margaret McDonald, piano
MARCH 17:
Daniel Kellogg, composer, with Christina Jennings, flute, Mike Tetreault, percussion, Hsing-Ay Hsu, and singers
A one-act chamber opera on Alferd Packer
1 4 0 2 Pe a r l S t . ~ ( 3 0 3 ) 4 4 3 - 1 0 8 4
Artist Series
The Artist Series presents performances of fine music and performing arts to which the community would otherwise not have access. The highest quality emerging and internationally recognized artists provide worldclass performances and residency activities that enhance the learning environment at the University of Colorado Boulder and the cultural life of the community. The Artist Series includes a variety of presentations from many cultures and traditions.
BENEFACTOR Mark and Margaret Carson Carson-Pfafflin Family Foundation Greg Silvus and Melanie Miller Ellen and Joshua Taxman SPONSOR Diane and Richard Dunn Daryl and Kay James Mary Lamy Louise Pearson and Grant Couch PATRON Anonymous Joan McLean Braun Chris and Barbara Christoffersen Ruth Carmel Kahn Midge Korczak Hal Osteen Scott Wiesner and Janet Ackermann SUPPORTER Anonymous Albert and Nancy Boggess Fiona and Marv Caruthers Carol and Michael Gallucci Doree and Jerry Hickman Myra Jackson Susan and Jon Lounsbury Heidi and Jerry Lynch Janet and Scott Martin Robert and Sandra McCalmon Judy and Alan Megibow Barbara and Irwin Neulight Jerry and Jamie Orten Mikhy and Michael Ritter Alicia and Juan Rodriguez Lawrence and Ann Thomas CONTRIBUTOR Ellen and Dean Boal Norma Ekstrand and Tom Campbell Marty Coffin Evans and Robert Trembly Gregory and Gladeane Lefferdink Harold and Joan Leinbach Robert and Francine Myers Gary and Beth Rauch Stephanie and Alan Rudy Kenneth Pope and Christine Willis
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MEMBER David Beausang Gil and Nancy Berman Shirley Carnahan Pauline and Noel Clark Catherine Cloutier Kenneth Dell Fran Evans Leslie and Merrill Glustrom John Graham and Lorin Lear Pamela Leland Judah and Alice Levine Thomas and Gail Madden Paul and Kay McCormick Janet and Hunter McDaniel Tammy Noirot Kim and Rich Plumridge Randall Rutsch Ruth Shanberge in memory of Carol Seideman Mary Ann Shea and Steven Meyrich Courtland and Carolyn Spicer Zoe Stivers Randi and Anthony Stroh Tom and Karen Thibodeau Lloyd Timblin Jr. Geoffrey Tyndall Derek Van Westrum Vince and Caroline Wayland ARTIST SERIES ADVISORY BOARD Gil Berman Rodolfo Betancourt Ellen Boal Joan McLean Braun John Davis Diane Dunn Clay Evans Michael Gallucci Lissy Garrison Laima Haley Daryl James, President Maryan Jaross Ruth Kahn Jerry Orten Louise Pearson Erika Randall Gregory Silvus Ellen Taxman Nicholas Vocatura
CORPORATE SPONSORS: Boulder CPA Group (formerly Mark H. Carson & Associates, P.C.) Caplan & Earnest Center Copy Boulder, Inc. Frasier Meadows Retirement H.B Woodsongs Hurdle’s Jewelry James & Associates, LLC Roser Visiting Artist Endowment Shaw Construction WESTAF IN-KIND SPONSORS Boulder Weekly Colorado Public Radio The Daily Camera Flowers in Bloom Hotel Boulderado KUNC KUVO Liquor Mart The Pines Catering
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2013–2014 Season Global performance. World-class entertainment. You have to be here.
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Takács Society
The Takács Society is formed by the College of Music and provides the resources critical to supporting the work of the Takács Quartet—to advance their teaching endeavors, provide scholarships that are essential to attracting and retaining exceptionally gifted young artists, and sponsor guest artists in the Takács performance series.
BENEFACTOR Albert and Nancy Boggess Gary and Judith Judd in memory of Fay Shwayder Norma R. Johnson Fund in memory of Fay Shwayder SPONSOR Pamela Decker Janet and David Robertson Marion Thurnauer and Alexander Trifunac PATRON Catharine Hawkins Foundation Thomas and Carol Cech Chris and Barbara Christoffersen Carol Lena Kovner Kathleen Sullivan The Takács Quartet John and Carson Taylor SUPPORTER Anonymous Anne Heinz and Ron Yaron Robert R. Kehoe Walter and Eileen Kintsch Lise Menn Virginia M. Newton Newton Family Fund, Inc. Neil and Martha Palmer Mikhy and Michael Ritter Susan and David Seitz Lawrence and Ann Thomas James and Lena Wockenfuss
CONTRIBUTOR Virginia and Stanley Boucher William and Alice Bradley Christopher and Margot Brauchli Noel and Pauline Clark Jon and Liz Hinebauch Harold and Joan Leinbach Nancy and Paul Levitt Patricia and Robert Lisensky Cheryl Stevenson and James Cannon Stevenson-Cannon Family Fund Lynn Streeter Randi and Anthony Stroh Patricia Thompson MEMBER Lois Abbott Maria and Jesse Aweida Ted and Ingrid Becher Marda Buchholz Kevin and Diana Bunnell Patricia Butler Shirley Carnahan Penny Chenery Charlotte Corbridge Joann and Richard Crandall Barbara and Carl Diehl Carolyn and Don Etter Jean and Bob Fischer Marcia Geissinger and Neil Ashby Mary and Lloyd Gelman Steve Goldhaber and Mariana Goldhaber-Vertenstein Dianne and Kenneth Hackett David Hammer Bruce and Kyongguen Johnson Jennifer and Bob Kamper Caryl and David Kassoy Mireille Key
If you would like to name a seat in Grusin Music Hall, please call the College of Music Development Office at 303-735-6070. Make all gifts payable to the University of Colorado Foundation and mail to Takács Society, CU College of Music, 301 UCB, Boulder, CO 80309-0301. For credit card payments, questions or additional information, please call the College of Music Development Office at 303-735-6070.
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Alice and Judah Levine Albert and Virginia Lundell Heidi and Jerry Lynch Kamilla Macar Thomas and Gail Madden Caroline Malde Nancy and John Malville Maxine Mark J. Richard and Marjorie McIntosh Peter and Doris McManamon Christopher Mueller and Martha Whittaker Joan Nordgren Alison and Graham Oddie Joanie Oram Julie and Wayne Phillips Arthur and Ina Rifkin Joanna and Mark Rosenblum JoAn Segal Ruth Shanberge in memory of Carol Seideman Todd and Gretchen Sliker Grietje Sloan Carol and Art Smoot Jan and Charles Squier Helen Stone Berkley Tague Laurie and Arthur Travers Mary and Peter Van Etten Betty Van Zandt Thomas VanZandt Christopher and Leanne Walther Nurit and Jim Wolf Bill Wood M. Yanowitch
BUSBIKEWALK
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EDUCATION FOR A SUSTAINABLE FUTURE
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Find out more at www.boulderecopass.com A partnership of:
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If your company does not offer the EcoPass, let them know they can receive up to a 50% reimbursement the first year contract and 25% the second year.
Fostering critical thinking, academic excellence and character development through real world learning.
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Boulder County Gold Awards 14 Years in a Row! 220001
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Longmont Office 303.776.3344 | 303.492.8008 | 31
Friends of the Eklund Opera Program E K L U N D
The Eklund Opera Program at CU-Boulder (formerly CU Opera) is recognized nationwide as one of the finest programs of its kind in the country. Its success is a reflection of outstanding faculty, exceptionally gifted students, professional production standards, and, ultimately, the successful placement of students after graduation in the professional world. You are invited to be a part of the tradition of excellence that has come to characterize the Eklund Opera Program. Your support is pivotal to maintaining the stature of this seminal program. To explore the role you can take in supporting the Eklund Opera Program, please contact our development office at 303-735-6070.
BENEFACTOR Anonymous The Academy Charitable Foundation, Inc. Allen Family Fund Paul Eklund Bob Graham Ann Oglesby SPONSOR Alan and Martha Stormo PATRON Chris and Barbara Christoffersen Albert and Betsy Hand Bob and Mikee Kapelke Ken and Ruth Wright Wright Family Foundation SUPPORTER Anonymous Caulkins Family Foundation John Hedderich Jo and David Hill Mikhy and Mike Ritter Rotary International District # 5450 Lawrence and Ann Thomas CONTRIBUTOR Donna and Ken Barrow Jim and Judith Bowers Walt and Mary Ruth Duncan Martha Coffin Evans and Robert Trembly David and Janet Hummer Harold and Joan Leinbach Burr Lloyd Dennis Peterson Dave and Ann Phillips Peter Wall
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MEMBER Judith Auer and George Lawrence Bob Burnham and Gail Promboin Allene Cash Ben and Gale Chidlaw Wallace and Beryl Clark Peter and Joan Dawson Richard and Margaret Dillon Ellen and John Gille Steve Goldhaber and Mariana Goldhaber-Vertenstein Susan Graber Janet Hanley Linda L. Johnson Frank and Marion Kreith Nicholas and Mollie Lee Patricia and Robert Lisensky Heidi and Jerry Lynch Bruce Mackenzie Marian Matheson Byron and Cathy McCalmon Denise McCleary and Paul Von Behren Corinne McKay Richard and Donna Meckley Pat and Bob Meyers Marilyn Newsom Margaret Oakes Robert and Marilyn Peltzer Juan and Alicia Rodriguez Elaine Schnabel Ruth Schoening JoAnn Silverstein and Nevis Cook Helen Stone Daniel Urist
GRANTS Denver Lyric Opera Guild Galen & Ada Belle Spencer Foundation Louis and Harold Price Foundation Roser Visiting Artist Endowment The Schramm Foundation
ABOUT THE EKLUND FAMILY OPERA PROGRAM
Recognizing the importance of the arts and live-vocal performance in an increasingly distracted world, long-time Boulder resident Paul Eklund made a generous gift in October to help establish a $2 million endowment at the CU-Boulder College of Music. Funding from the endowment will help support three opera productions each academic year, the CU New Opera Workshop and an opera-scenes program for new students.
From left, Paul Eklund, Director of Opera Leigh Holman and Dean of the College of Music Robert S. Shay
.com
The Center Stage Club offers online versions of CU Presents Magazine for patrons to read before performances. And, check out upcoming metro-area performing arts events in the calendar.
CenterStageClub.com The Center Stage Club is produced by Colorado’s Performing Arts Publications
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Personnel COLLEGE OF MUSIC ADVISORY BOARD Robert Shay, Dean James R. Austin Chris Brauchli Steve Bruns Bob Bunting Jan Burton John Davis Paul Eklund Bill Elliott Martha Coffin Evans Jonathan Fox David Fulker Grace Gamm Lissy Garrison Lloyd Gelman Doree Hickman David Hummer Daryl James Caryl Kassoy Robert Korenblat Erma Mantey Joe Negler Susan Olenwine Mikhy Ritter, co-chair Becky Roser, co-chair Mark Tezak Jeannie Thompson Jack Walker HONORARY DIRECTORS Dean Boal Bob Charles Eileen Cline Donna Erismann Dave Grusin
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STAFF Joan McLean Braun, Executive Director Nick Vocatura, Operations Director Laima Haley, Marketing Director Clay Evans, Communications Director Daniel C. Leonard, Marketing and Public Relations Coordinator Karen Schuster, Graphic Designer Rachel Dodson, Emily Scraggs, Colin Wichman, Public Relations Assistants Stephanie Doctor, Programs Assistant Margaret Romero, Production Assistant Andrew Metzroth, Box Office Manager Michael Casey, Box Office Services Coordinator Ciara Glasheen-Artem, Sydney Bogatz, Starla Doyal, Lucas Munce, Harper Nelson, Melanie Shaffer, Bradley Steinmeyer, Box Office Assistants Kevin Harbison, Recording Engineer Nancy Quintanilla, Financial Manager Ted Mulcahey, Piano Technician MACKY AUDITORIUM STAFF Rudy Betancourt, Director John Jungerberg, Operations Manager Sara Krumwiede, Assistant Director JP Osnes, Technical Director Rhett Snyder, Assistant Technical Director Rojana Savoye, House Manager Nicole Anderson, Assistant House Manager Program editor: Clay Evans Cover design: Karen Schuster
PATRON INFORMATION • CU Presents venues are fully accessible to patrons using wheelchairs and those with other special needs. Please call the box office as early as possible at 303-492-8008 to make arrangements. • Parking is available in the Euclid Avenue Autopark, Lot 310, and Lot 204 for $4 per evening or weekend day. Lot 380 (near Macky) is reserved for VIP members of the Artist Series. Drop-off and handicap parking is available near all venues. For more information about the best parking options for each venue, please call the box office at 303-492-8008. • Food is permitted in seating areas of Macky Auditorium and the Mary Rippon Outdoor Theatre, but prohibited in other campus venues unless otherwise noted. • Photographic and recording devices are prohibited. • All programs, artists and prices are subject to change. • All sales are final. Subscribers may exchange tickets for another night or performance with no exchange fee; single-ticket exchanges are subject to a $3 per ticket fee. Exchanges are subject to availability and must be made at least one business day prior to performance; an upgrade fee may apply. • CU presents will hold all events as scheduled unless the CU-Boulder campus is closed due to hazardous weather. We will make every effort to notify patrons of an emergency closure as soon as the situation arises. For detailed information on the Colorado Shakespeare Festival’s rain policy, please visit coloradoshakes.org. • Patrons are encouraged to call CU Presents at 303-492-8008 for information on the suitability of events for children. • Patrons are encouraged to be considerate of those around you and to refrain from wearing strong fragrances. • Can’t use your tickets? Return them to the CU Presents box office as a taxdeductible contribution prior to the beginning of the performance. • The University of Colorado Boulder is a smoke-free campus.
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