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Fall 2018 Spotlight: Anna Fusek Page 06 Season Calendar Page 08 Spotlight: Jessica Lang Dance Page 20 Faculty Tuesdays Schedule Page 24 Artist Series Donors Page 26 Takács Society Donors Page 30 Eklund Opera Program Donors Page 32 Personnel and Policies Page 34 Editor Becca Vaclavik Designer Sabrina Green CU Presents is the home of performing arts on the beautiful University of Colorado Boulder campus. With hundreds of concerts, plays, recitals and more on our stages each year, there’s something for everyone to enjoy. @cupresents cupresents.org · 303-492-8008
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Redefining the recorder for American audiences “Hot Cross Buns.” “Mary Had a Little Lamb.” “Pop Goes the Weasel.”
On this promise, Fusek can deliver. As The French Muse Baroque (le magazine de la musique baroque) described a past performance:
For decades, learning how to play a simple soprano recorder has been an integral part of early music education in America. The recorder is easy to play and is a much more affordable option for schools to purchase than, say, 20 pianos.
“Incredible! [It] sent electric shock waves through the evening.”
But it is unfortunate many of us only hear the recorder as performed by a group of fifth graders, says Anna Fusek, a recorder soloist coming to Boulder in November with the Venice Baroque Orchestra (VBO). A high-pitched instrument such as the soprano recorder can’t be appreciated when played en masse. “If 30 people—or only 20 or only 10—are playing the recorder together, it must sound quite terrible. Even if 30 professional recorder players played all on soprano recorders together, it wouldn’t be a pleasure to listen! “It’s a shame, actually, for the instrument … You have to convince people that the recorder could be an instrument they would like to listen to.” But given the chance to hear the recorder played professionally by a soloist, this simple instrument offers sort of a unique experience, ensures Fusek: “If you are lucky, people are surprised by how this little simple piece of wood can sound.” 06
SPOTLIGHT
For Fusek, it’s a joy to present this well-known instrument in a new and surprising light, especially side-by-side with the VBO. “I really enjoy working with this orchestra because it’s so much fun. I started touring with them, I think, 10 years ago, and I learned some parts of music-making from them that weren’t so present before in my life.” When Fusek joins the orchestra in Macky this fall, the soloist’s performance will be just one part of a night of Baroque concertos by Vivaldi and Geminiani. “There’s a super-virtuoso violin concerto, and there is a double concerto with two cellos … Then there is also the recorder. You really get very different sounds and combinations of sounds. It’s very entertaining!”
Hear the Venice Baroque Orchestra with Anna Fusek in Macky Auditorium Friday, Nov. 2, 7:30 p.m. Tickets start at $15.
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Evolution
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Venice Baroque Orchestra Baroque Concertos Friday, Nov. 2, 2018
Venice Baroque Orchestra: Nov. 2, 2018
Venice Baroque Orchestra Baroque Concertos Anna Fusek, recorder Gianpiero Zanocco, violin Massimo Raccanelli, cello Federico Toffano, cello Friday, Nov. 2, 2018
For more information, visit venicebaroqueorchestra.it/cms Venice Baroque Orchestra can be heard on Sony, Deutsche Grammophon, Naïve and Warner Classics. Like Venice Baroque Orchestra on Facebook. Alliance Artist Management, 5030 Broadway Suite 812, New York, NY 10034
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Sinfonia in G Major for strings and basso continuo, RV 146 I. Allegro II. Andante e sempre piano III. Presto
Antonio Vivaldi (1678-1741)
Double Concerto in D minor for soprano recorder and violin, RV 535 I. Largo II. Allegro III. Largo IV. Allegro molto
Antonio Vivaldi
Concerto in E minor for violin, strings and basso continuo, RV 273 I. Allegro non molto II. Largo III. Allegro
Antonio Vivaldi
Concerto in B-flat Major for violin and cello, RV 547 I. Allegro molto II. Andante III. Allegro Gianpiero Zanocco, violin, Massimo Raccanelli, cello
Antonio Vivaldi
Intermission Sinfonia in C Major from the opera Il Giustino, RV 717 I. Allegro II. Andante III. Allegro
Antonio Vivaldi
Concerto in G minor for two cellos, strings and basso continuo, RV 531 I. Allegro II. Largo III. Allegro Massimo Raccanelli, cello, Federico Toffano, cello
Antonio Vivaldi
Concerto Grosso in D minor, “La Follia” (after A. Corelli Op. 5 No.12) I. Adagio II. Allegro III. Adagio IV. Vivace V. Allegro VI. Andante VII. Allegro VIII. Adagio IX. Adagio X. Allegro XI. Adagio XII. Allegro
Francesco Geminiani (1687-1762)
Concerto in D Major for recorder, strings and basso continuo, “Il Gardellino,” RV 428 I. Allegro II. Cantabile
Antonio Vivaldi
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Venice Baroque Orchestra: Nov. 2, 2018
Program
Venice Baroque Orchestra: Nov. 2, 2018
Program Notes III. Allegro
Program notes by Marc Shulgold This concert features three types of music, each thought to have been invented, or at least developed, in Italy during the baroque era (approximately 1600-1759). We'll hear a pair of sinfonias, a concerto grosso and five concertos—three of them for two instruments, one for solo violin, one for solo recorder. Here's a look at each category:
Sinfonia
Both halves of the performance open with these purely orchestral works by Antonio Vivaldi (16781741). Known primarily as the composer of some 600 concertos (more on that below), the so-called “Red Priest” became something of a godfather of music in Venice. At that time, sinfonias served different purposes. Vivaldi and other composers, including Bach, used them as overtures or inserts in operas, orchestral suites and sacred works, or for celebratory occasions. The G major sinfonia, for example, was written for a program in Dresden honoring Prince Friedrich Christian of Poland in March of 1740. The C major sinfonia is from Il Giustino, performed in 1724 at carnival time in Rome—an extravagant opera that features numerous borrowings from earlier Vivaldi works (including The Four Seasons). Each of these works has three movements, a construction that would later extend to four movements and evolve into the symphony.
Concerto Grosso
The idea of placing a group of two or three soloists (the concertino) in front of an instrumental ensemble (the ripieno) began in Rome in the late 1600s. Perhaps the concept grew out of the verseand-response element in Catholic services. Created as a sort of conversation between soloists and orchestra, the concerto grosso (“large concerto”) grew in popularity thanks to the brilliant works by Arcangelo Corelli (1653-1713), notably a set of 12 published after his death as Op. 6. Those made their way to a pair of composers who had settled in London. In 1740, George Frideric Handel (1685-1759) created his second set of concerti grossi, also Op. 6, which likewise numbered 12, all heavily influenced by Corelli's collection. In 1729, Francesco Geminiani (1687-1762) recast a dozen violin sonatas by Corelli, with whom he had studied in Rome. The last of those explored the repeated chord progression of “La Follia,” a popular tune adopted by a dozen or more composers. Its origins can be traced back to Corelli and Frenchman Jean-Baptiste Lully (1632-87). Geminiani would go on to publish two sets of his own concerti grossi in 1732.
Solo Concerto
For generations, music lovers have embraced the glories of this exciting genre. We've been thrilled by it many times in the concert hall, watching a famous virtuoso pound away on the keyboard of a shiny, black grand piano, valiantly matching a huge orchestra in volume. But things started small way back when. The birth of the concerto goes back to the early 1700s in northern Italy. Two influential elements contributed to its development. As with Rome's concerto grosso, the notion of a musical dialogue likely came from masses celebrated in great cathedrals. In Venice, late Renaissance composers Giovanni and Andrea Gabrieli authored glorious works that utilized the spaciousness of St. Mark's, where instrumental and vocal groups were positioned at opposite sides of the sanctuary, creating an exciting stereo “antiphonal” effect. Equally significant were the contributions of the great instrument builders in nearby Cremona: Amati, Guarneri and, most famously, Stradivari. The beautiful tone and ease of playability surely inspired musicians to improve their technique, which in turn encouraged composers to ramp up the virtuosity and invention in their concertos. Vivaldi led the pack, turning out hundreds of works, mostly for solo violin (his instrument of choice). He and other Venetian
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Two of tonight’s Vivaldi solo concertos show his imagination and endless melodic gifts. The Violin Concerto, RV 273, is set in the relatively unusual key of E minor and features an episodic Largo filled with surprises. Part of a set known as the “Farewell Concertos,” it was apparently written late in the composer's life, perhaps within weeks of his death in Vienna, where he was ill, impoverished and all-but-ignored. The Recorder Concerto, RV 428, is known as “Il Gardellino” (The Goldfinch), due to the bird-like entrance of the soloist. The European Goldfinch carried religious significance, based on a legend that the bird had landed on Christ's crown of thorns and received a drop of blood around its bill (see Raphael's “Madonna of the Goldfinch”). The RV notation, by the way, refers to a catalog (in German, Verzeichnis) assembled in the 1970s by Peter Ryom.
Double Concerto
Influenced by the popularity of the concerto grosso, numerous composers in the baroque—and in later centuries—explored the idea of two soloists (or more) in front of an ensemble. Here, we have three examples by Vivaldi: two for different instruments (RV 535 for recorder and violin, and RV 547 for violin and cello) and one for a pair of cellos (RV 531). It's likely that these were written for an unusual group of musicians—the young girls of Venice's Ospedale della Pietà, one of four orphanages for foundlings and orphans. These unwanted newborns were delivered to the Ospedale with the knowledge that they would be raised there to become productive citizens. The boys learned useful crafts while the girls were taught to play musical instruments, with hopes that they would grow to be ladies worthy of marriage. Vivaldi served there off and on for 35 years and was eventually named the director of instrumental music. During that period, he composed numerous works of all different stripes for these talented girls. His D minor Double Concerto, RV 535, was originally written for two oboes, here arranged for recorder and violin. The Concerto in B-flat for violin and cello, RV 547, is played in its original instrumentation, highlighted by a celestial Andante and dance-like final Allegro. Incidentally, the unusual combination of violin and cello would appear 150 years later in a double concerto by Brahms. Vivaldi's only known concerto for two cellos was composed when the fretless instrument was relatively new, soon to succeed the fretted viola da gamba as an expressive, low voice. Here, it seems clear that the composer was attracted to the earthy bottom of the cello's range, all but ignoring its upper notes while cleverly alternating close harmonies with some cat-and-mouse chasing by the soloists.
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Venice Baroque Orchestra: Nov. 2, 2018
composers, including Alessandro Marcello and Tomaso Albinoni, were fashioning concertos that quickly traveled through Europe, expanding the musical horizons of Bach, Handel and others.
Venice Baroque Orchestra: Nov. 2, 2018
About the Venice Baroque Orchestra Founded in 1997 by baroque scholar and harpsichordist Andrea Marcon, the Venice Baroque Orchestra is recognized as one of the very finest period instrument ensembles. The orchestra has received wide critical acclaim for its concert and opera performances throughout North America, Europe, South America, Japan, Korea, Taiwan and China and has appeared in many more cities across the United States than any other baroque orchestra in history. Committed to the rediscovery of 17th- and 18th-century masterpieces, under Marcon’s leadership VBO has given the modern day premieres of Francesco Cavalli’s L’Orione, Vivaldi’s Atenaide, Andromeda liberata, Benedetto Marcello’s La morte d’Adone and Il trionfo della poesia e della musica, and Boccherini’s La Clementina. With Teatro La Fenice in Venice, the orchestra has staged Cimarosa’s L’Olimpiade, Handel’s Siroe, and Galuppi’s L’Olimpiade, and reprised Siroe at the Brooklyn Academy of Music in New York in its first full staging in the United States. The orchestra has been seen worldwide through several television specials, including films by the BBC, ARTE, NTR (Netherlands), and NHK. It is the subject of three recent video recordings, and the ensemble’s performances were also featured on Swiss TV in the documentary film by Richard Dindo, Vivaldi in Venice. Highlights of the 2018 season include two tours with countertenor Franco Fagioli, with concerts in London, Ljubljana, Versailles, Japan and China. The orchestra’s annual U.S. tour featured Anna Fusek on recorders. Recent festival appearances included Enescu Festival with mezzo soprano Magdalena Kožená, Grafenegg with harpist Xavier de Maistre and Schleswig Holstein with mandolinist Avi Avital. The 2016-17 season featured performances of Vivaldi’s Juditha triumphans at Carnegie Hall, the Krannert Center of the University of Illinois, London’s Barbican Centre, and Brussels' Palais des Beaux-Arts; performances with violinist Viktoria Mullova at Vienna and Budapest; an 18-city tour of the U.S. with violinist Nicola Benedetti; and a tour of Japan with Avi Avital. Earlier performance highlights have included tours of Europe, the United States and Asia with countertenor Philippe Jaroussky; concerts with contralto Marie-Nicole Lemieux in France and Belgium; concerts with Avi Avital in Italy, Croatia, Germany, Spain, France, Mexico, the United States and Canada; performance in Dresden’s Frauenkirche with soprano Karina Gauvin; and a tour with Magdalena Kožená, including the Istanbul Festival and the Mariinsky Theatre in St. Petersburg. In 2010, the VBO premiered Philip Glass’ violin concerto, The American Four Seasons, with violinist Robert McDuffie in a 28-city U.S. tour. The orchestra’s numerous recordings include Avi Avital in Vivaldi concertos for Deutsche Grammophon; Philippe Jaroussky in Porpora arias for the Erato label, which received a Grammy nomination; and a pasticcio of Metastasio’s L’Olimpiade for the Naïve label featuring the recording premieres of many 18th-century opera arias, which was awarded Choc du Monde de la Musique. The VBO has an extensive discography with Sony and Deutsche Grammophon. Their world premiere recording of Andromeda liberata for DG was followed by violin concertos with Giuliano Carmignola; Vivaldi sinfonias and concertos for strings; Vivaldi motets and arias with soprano Simone Kermes, two discs with Kožená—Handel arias and Vivaldi arias; Vivaldi violin concertos with Viktoria Mullova and Carmignola, and Italian arias with Petibon. The orchestra’s earlier discography on Sony with Carmignola includes The Four Seasons, previously unrecorded Vivaldi concertos, and a collection of Bach arias featuring Angelika Kirchschlager. The orchestra has also been honored with the Diapason d’Or, Echo Award, and the Edison Award. The Venice Baroque Orchestra is supported by Fondazione Cassamarca in Treviso.
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Venice Baroque Orchestra: Nov. 2, 2018
Personnel First Violin Gianpiero Zanocco, Concertmaster Massimiliano Tieppo Mauro Spinazzè Anna Fusek Second Violin Giorgio Baldan Massimiliano Simonetto Francesco Lovato Giuseppe Cabrio Viola Alessandra Di Vincenzo Meri Skejic Cello Massimo Raccanelli Federico Toffano Contrabass Alessandro Pivelli Harpsichord Erich Traxler Recorder Anna Fusek
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Sarah Chang, violin Julio Elizalde, piano Friday, Nov. 16, 7:30 p.m. Macky Auditorium
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OCT. 31 - NOV. 5―Civic meetings & presentations, workshop, master classes, school visits & a community play-in NOV. 3, 5:30 PM―“Glitter” Gala to benefit the Boulder Phil & GBYO NOV. 4, 7 PM, Macky―Midori plays the Sibelius Violin Concerto with the Boulder Phil NOV. 5, 6 PM, Macky―Midori plays the Mendelssohn Violin Concerto (Mvt. 3) with GBYO, plus a Daniel Kellogg premiere
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With Jessica Lang Dance, Julie Fiorenza is exploring uncharted territory “Can you hear me okay?” Julie Fiorenza asks. “Let me know if the connection is bad. We’re kind of in a place that doesn’t have the best Wi-Fi or cell reception.” Fiorenza, founding company member for Jessica Lang Dance (JLD), is based out of New York City. But when we connect she’s calling from Florida, where JLD is in residence at the White Oak Conservation, 17,000 acres of forest and wetlands north of Jacksonville. A refuge for rhinoceroses and cheetahs may seem like an unusual spot for a dance company to set up shop, but it’s all part of Artistic Director and Choreographer Jessica Lang’s collaborative plan, Fiorenza says. “The creation of new works for the company is one of the most exciting things that we do. “Right now on this property, our living style is very communal. It makes us stronger as a company, especially 20
SPOTLIGHT
when we’re creating a new piece, to be somewhat isolated from the distractions of the real world. It helps Jessica get into a creative place and mindset.” Putting together a company of dancers who don’t mind sequestering themselves for days or weeks on end is an intentional act on Lang’s part. According to Fiorenza, who has been dancing with the company since its foundation in 2011, Lang carefully selects dancers not just based on their technical or artistic capabilities but also on how they’ll mesh with the rest of the group. It has to be a cohesive culture fit as well. “Like many small companies, we’re like a family, and that’s been the dynamic since day one.”
“It’s very exciting just to know that you’re going into uncharted territory… [and] I get to do it with people who I love and respect.” After White Oak, the company will head to Illinois and eventually take the stage in Boulder. Just like the cities and territories they are touring, each dance piece is radically different from the one before, shares Fiorenza. “Dancing an evening of [Jessica Lang’s] work is like hopping into several different worlds over the course of two hours. For me, it’s artistically very satisfying, and I feel lucky to have the opportunity to share that with audiences all over the world.”
And for Fiorenza, it’s all part of the appeal of collaborating on new works with JLD.
See Jessica Lang Dance in Macky Auditorium Friday, Oct. 5, 7:30 p.m. Tickets start at $20.
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Poetry and Music
Voice Faculty
Charles Wetherbee, violin
Janet Harriman, harp
Jennifer Bird, soprano
Aug. 28
Violinist Charles Wetherbee and pianist David Korevaar perform together three brilliant and beautiful masterworks: Respighi’s Violin Sonata, Chausson’s Poème and Beethoven’s “Kreutzer” Sonata.
Passacaglie and Fantasie Sept. 4
Nicolò Spera, guitar
For more than four and a half centuries, composers have written passacaglia and fantasie for lute and guitar. Join Ritter Family Classical Guitar Program Director Nicolò Spera for this intimate recital of some of the most beautiful and important examples in the repertoire.
CU Bernstein at 100 with the Jazz Faculty Sept. 11
John Gunther, saxophone
Leonard Bernstein wrote: “Jazz is the ultimate common denominator of the American musical style.” The Thompson Jazz Studies Program faculty presents an eclectic program of standards and originals that celebrate Bernstein’s centenary and his love of jazz.
From Hungary to the Czech Republic Sept. 18
Margaret McDonald, piano
Members of the collaborative piano faculty join together for a round-robin performance of Brahms’ “Hungarian Dances.” Margaret McDonald will also be joined by her string faculty colleagues for Dvořák’s Piano Quintet No. 2.
CU Bernstein at 100: Chamber Music Sept. 25
Andrew Cooperstock, piano
Come celebrate Leonard Bernstein’s chamber music and experience the more personal side of his compositions. Bernstein’s eldest daughter, Jamie, hosts this concert featuring CU music faculty and guests.
Oct. 2
Janet Harriman and the CU Boulder harp studio present “Poetry and Music,” featuring poetry and dance by performing arts curator and choreographer Alya Howe and the U.S. premiere of the three-harp arrangement of Miguel Del Aguila’s “Submerged,” based on a poem by Alfonsina Storni.
Bassoon-O-Rama Oct. 9
Yoshi Ishikawa, bassoon
Bassoonist Yoshi Ishikawa, in collaboration with guest bassoonist Carlo Colombo and members of the CU Bassoon Studio, presents a concert of delightful and rarely performed compositions for solo and multiple bassoons.
George Rochberg Centennial Oct. 16
Christina Jennings, flute
George Rochberg, one of the unique American minds of the last century, composed in an astonishing diversity of voices. Always personal, his compositional style was at first firmly rooted in the atonal and serial movement. Eventually, it shifted toward neo-baroque and highly romantic. University of Michigan violinist Andrew Jennings, a leading expert on Rochberg’s music, joins a group of CU Boulder faculty and friends for a concert celebrating the Rochberg centennial.
Contrasts, Dreams and Prayers: Two Masterworks Oct. 23
Daniel Silver, clarinet
Clarinetist Daniel Silver presents the Bartók Contrasts and Osvaldo Golijov’s “Dreams and Prayers of Isaac the Blind.” Charles Wetherbee, Margaret Soper Gutierrez, Erika Eckert, David Requiro and David Korevaar join for these two powerful works now considered gems of the chamber music repertoire. The evening promises to enthrall and enchant and is not to be missed!
Music of Henry Purcell Oct. 30
Robert Shay
College of Music Dean Robert Shay presents a concert featuring the music of the great 17th-century English composer Henry Purcell. 24
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Nov. 6
Renowned faculty artists perform with students and colleagues in chamber music recitals featuring world premieres and beloved classics.
From Violin to Harpsichord: J. S. Bach Transcribed Nov. 13
Robert Hill, harpsichord
Johann Sebastian Bach was fond of performing his own solo violin music on a solo keyboard instrument, but most of his own transcriptions are lost. New faculty member Robert Hill has reconstructed some of these transcriptions and will perform them on harpsichord in his debut solo recital at CU Boulder.
Songs of Solitude and Hope Nov. 27
Harumi Rhodes, violin
Violinist Harumi Rhodes and pianist HsiaoLing Lin present a soulful pairing of violin sonatas by Ravel and Elgar. The program concludes with Beethoven’s noble “Archduke” Trio as Rhodes and Lin are joined by András Fejér on cello. Don’t miss an evening inspired by the golden magic of nature and universal songs of solitude and hope.
Without Words Dec. 4
Jennifer Hayghe, piano
Music has always expressed what words cannot. Pianist Jennifer Hayghe showcases Mendelssohn’s famous “Songs Without Words” along with other transcriptions of vocal works for solo piano. Cellist David Requiro joins her in Richard Strauss’ Cello Sonata, the manuscript of which bears a quote from Austrian poet Franz Grillparzer: “Music, the eloquent, is at the same time silent. Keeping quiet about the individual, she gives us the whole universe.” All Faculty Tuesdays concerts take place in Grusin Music Hall and are free and open to the public. More information available at cupresents.org Can’t make it? Watch the online livestream at our website!
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Artist Series Donors
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 world-class 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.
Advisory Board
Diane Dunn Mike Gallucci Laima Haley Daryl James, President Maryan K. Jaross
Gil Berman Rudy Betancourt Joan McLean Braun Shirley Carnahan John Davis
Benefactor ($5,000+) Mary Lamy Paul Bechtner Foundation Greg Silvus
Sponsor ($2,500–$4,999) Anonymous Gil and Nancy Berman Diane and Dick Dunn Daryl and Kay James Louise Pearson and Grant Couch
Patron ($1,000–$2,499)
Janet Ackermann and Scott Wiesner Sue Blessing Joan McLean Braun Mark and Margaret Carson Chris and Barbara Christoffersen Maggie and John McKune Doyen and James Mitchell Toni and Douglas Shaller Evelyn Taylor Ann and Gary Yost
Supporter ($500–$999) Michael and Carol Gallucci Heidi and Charles Lynch Janet and Scott Martin Bob and Sandy McCalmon Judy and Alan Megibow Jane and Cedric Reverand Mikhy and Mike Ritter Alicia and Juan Rodriguez Theodore and Ruth Smith Douglas and Avlona Taylor Larry and Ann Thomas
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Ruth Kahn Andrew Metzroth James Mitchell Jerry Orten Erika Randall
Contributor ($250–$499)
Anonymous Martha Coffin Evans and Robert Trembly Norma Ekstrand and Tom Campbell Tara and Steve Kelly Joan and Harold Leinbach Heather Van Dusen
Courtney Rowe Robert Shay Gregory Silvus Ellen Taxman Ann Yost
Corporate Sponsors
Member ($100–$249)
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In-kind Sponsors
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Takács Society Donors
The Takács Society, formed by the College of Music, provides the critical resources to support the work of the Takács Quartet—to advance their teaching endeavors, provide scholarships that are essential to attract and retain exceptionally gifted young artists, and sponsor guest artists in the Takács performance series.
Benefactor ($5,000+)
Lyle Bourne and Rita Yaroush Gary and Judith Judd in memory of Fay Shwayder Norma R. Johnson Fund Peg and Chuck Rowe Takács String Quartet
Sponsor ($2,500–$4,999) PJ Decker and B.A. Saperstein Marion Thurnauer and Alexander Trifunac
Patron ($1,000–$2,499)
Pamela Barsam Brown and Stanley Brown Marda Buchholz Tom and Carol Cech Chris and Barbara Christoffersen Mary and Lloyd Gelman Anne Heinz and Ran Yaron Carol Lena Kovner Joel Pokorny Kathleen Sullivan John and Carson Taylor
Supporter ($500–$999)
Bill and Louise Bradley Christopher and Margot Brauchli Patricia Butler Robert Kehoe Eileen and Walter Kintsch Ray and Margot LaPanse Nancy and Paul Levitt Jane Menken and Richard Jessor Virginia Newton Neil and Martha Palmer
Mikhy and Mike Ritter David and Susan Seitz Lawrence and Ann Thomas Patricia Thompson
Contributor ($250–$499) Ellen and Dean Boal Virginia Boucher JoAnn and Richard Crandall Robbie Dunlap Carolyn and Don Etter Ken and Dianne Hackett Bruce and Kyongguen Johnson Carol and Tony Keig Joan and Harold Leinbach Patricia and Robert Lisensky Albert Lundell Lise Menn Andrew Skumanich Alison Craig and Stephen Trainor James and Nurit Wolf
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Everett Hilty William Hoffman Margaret and Bob Kamper Caryl and David Kassoy Judah and Alice Levine Heidi and Jerry Lynch Gail and Thomas Madden Professor John McKim Malville and Nancy Malville Annyce Mayer Richard and Marjorie McIntosh Christopher B. Mueller Wayne and Julie Phillips Richard Replin and Elissa Stein Mark Rosenblum JoAn Segal Todd and Gretchen Sliker Grietje Sloan Carol and Arthur Smoot Berkley Tague Barbara Tamplin Arthur and Laurie Travers Leanne and Christopher Walther William Wood Michael Yanowitch Jeffrey Zax
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, call the College of Music Development Office at 303-735-6070.
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Friends of Eklund Opera Donors
The Eklund Opera Program 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 Eklund Opera. Your support is pivotal to maintaining the stature of this seminal program. To explore the role you can take in supporting Eklund Opera, please contact our Development Office at 303-735-6070.
Benefactor ($5,000+)
Jan Burton Robert S. Graham Albert and Betsy Hand Jake Heggie Ann Oglesby The Academy Charitable Foundation, Inc. The Louis and Harold Price Foundation
Patron ($1,000–$2,499)
Chris and Barbara Christoffersen Stephen Dilts J. Michael Dorsey and Carolyn Buck Krista Marks and Brent Milne Mary and Lloyd Gelman Douglas and Toni Shaller
Supporter ($500–$999)
Judith Auer and George Lawrence Carson-Pfafflin Family Foundation Ellen and John Gille Mark and Julie Laitos Dennis Peterson Theodore and Ruth Smith Al and Marty Stormo Ann and Larry Thomas
Member ($100–$249)
Claudia Boettcher Merthan Charlotte Corbridge John and Lise Cordsen Janet Hanley Ruth and Richard Irvin Dennis and Chris Jackson William and Ann Kellogg Norman Lane Mollie and Nicholas Lee Kathleen and Richard Lehtola Patricia and Robert Lisensky Marian Matheson Annyce Mayer Corinne McKay Marilyn and Robert Peltzer Kim and Rich Plumridge Juan and Alicia Rodriguez Peg and Chuck Rowe Ruth Schoening Carol and Arthur Smoot Linda and Jim Stinson Barbara Tamplin Walter Taylor Jim Topping Gretchen Vanderwerf and Gordon Jones Ann and Gary Yost
Contributor ($250–$499)
Judy and Jim Bowers Barbara Brenton Martha Coffin Evans and Robert Trembly Eleanor DePuy Joan and Harold Leinbach Jerry and Heidi Lynch Ann and Dave Phillips Kim and Rich Plumridge Gail Promboin and Robert Burnham Cynthia and Dave Rosengren Carol and Randall Shinn Pete Wall Ken and Ruth Wright
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The Eklund Opera Program
Recognizing the importance of the arts and live vocal performance in an increasingly distracted world, longtime Boulder resident Paul Eklund made a generous gift in October 2014 to help establish a $2 million endowment at the CU Boulder College of Music. Funding from the endowment helps support three opera productions each academic year, the CU New Opera Workshop and an opera scenes program for new students. From left: Paul Eklund; Leigh Holman, Director of Opera; Robert Shay, College of Music Dean
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Personnel CU Presents
Membership Benefits Coordinator Jeni Webster
Marketing and PR Director Laima Haley
Recording Engineer Kevin Harbison
Executive Director Joan McLean Braun
Macky Auditorium
Operations Director Andrew Metzroth
Director Rudy Betancourt
Associate Director of Communications Jessie Bauters
Asst. Director for Patron Services Matthew Arrington
Marketing Manager Daniel Leonard
Asst. Director for Administration Sara Krumwiede
Public Relations Manager Becca Vaclavik
Asst. Director for Production JP Osnes
Publications Specialist Sabrina Green Graphic Design Assistant Analise Iwanski
Production Managers Richard Barrett Trevor Isetts
Marketing Assistant Conner Sinjem
House Manager Rojana Savoye
Public Relations Assistant Corinne Baud
Asst. House Manager Devin Hegger
Social Content Creator Erika Haase Video Producers Jack Dorfman Madi Smith Web Content Assistant Molly Obermeier Box Office Manager Christin Woolley Box Office Services Manager Michael Casey Box Office Assistants Clare Berndt Elizabeth Collins Indigo Fischer Adrienne Havelka Autumn Pepper Curtis Sellers Financial Manager Michael Johnston
College of Music
Dean, College of Music Robert Shay Associate Dean for Enrollment Management and Undergraduate Studies James Austin Asst. Dean for Concerts and Communications Joan McLean Braun Associate Dean for Graduate Studies Steven Bruns
Director of Strategic Initiatives and Special Asst. to the Dean Alexander George Asst. Dean for Budget and Finance David Mallett
Music Advisory Board Chair Mikhy Ritter
Sue Baer Jim Bailey Gil Berman Christopher Brauchli Bob Bunting Jan Burton Bob Charles Paul Eklund Bill Elliott Martha Coffin Evans Jonathan Fox David Fulker Grace Gamm Lloyd Gelman Laurie Hathorn Doree Hickman Daryl James Maria Johnson Caryl Kassoy Robert Korenblat Erma Mantey Ben Nelson Joe Negler Susan Olenwine Becky Roser Firuzeh Saidi Stein Sture Jeannie Thompson Jack Walker Celia Waterhouse
Associate Dean for Faculty Affairs and Operations John Davis Asst. Dean for Advancement Courtney Rowe
The University of Colorado is committed to providing equal access to individuals with disabilities. For more information, visit cupresents.org/accessibility
Parking
Paid parking is available in Lot 380 next to Macky, in the Euclid Avenue Autopark, and in Lots 310 and 204. Contact the Box Office or check the CU Presents website for more information.
Photography
Photography and video recordings of any type are strictly prohibited during the performance.
Food
Food is permitted in the seating areas of Macky Auditorium but is prohibited in other campus venues unless otherwise noted.
Smoking
Smoking is not permitted anywhere. CU Boulder is a smoke-free campus!
Ticket Sales
Ticket sales are final; no refunds. Exchanges are subject to availability and must be made at least one business day prior to the day of performance. Subscribers may exchange tickets for free. Single-ticket exchanges are subject to a $3 exchange fee. Upgrade fees may apply in all cases. Please return your tickets to the Box Office prior to the performance if you are unable to use them.
Box Office Info
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Accessibility
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