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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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Sarah Chang, violin
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West Side Story
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West Side Story
A musical by Leonard Bernstein Oct. 26-28
West Side Story ∙ Oct. 26-28
West Side Story Oct. 26-28, 2018
Based on a Conception of Jerome Robbins
Book by Arthur Laurents Music by Leonard Bernstein Lyrics by Stephen Sondheim
Entire Original Production Directed and Choreographed by Jerome Robbins Originally Produced on Broadway by Robert E. Griffith and Harold S. Prince By Arrangement with Roger L. Stevens West Side Story is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.MTIShows.com The videotaping or other video or audio recording of this production is strictly prohibited. The production will run approximately 2 hours and 30 minutes, including a 15-minute intermission. Special thanks to:
Paul Mitchell the School and Foushee salonspa for providing student and professional hair stylists Nadia Artman for hosting Maestro Philip Hesketh In Boulder, Colorado Grand Teton Music Festival in Jackson Hole, Wyoming, for providing the mambo recording The Costume House, LLC for providing costumes for the production
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Role
Maria Tony Anita Bernardo
Friday/Sunday
Saturday
Sabina Balsamo Patrick Bessenbacher Elizabeth Bowersox Dominic Aragon
Christine Honein Andrew Taylor Berenice Carrera Skyler Schlenker
Name
West Side Story ∙ Oct. 26-28
Cast Name
Jets Riff Action A-RAB Baby John Snowboy Big Deal Diesel Gee-Tar Mouthpiece
Zachary Bryant Brendan Lutes David Starry Zachariah Smith Wesley Juels Michael Gaven Sam Bruckner Mack Rodgers Michael Crone
Zachary Bryant Brendan Lutes David Starry Zachariah Smith Wesley Juels Michael Gaven Sam Bruckner Mack Rodgers Michael Crone
Sharks Chino Pepe Indio Luis Anxious
Steven Vinolas Tyler Padgett Kinari Rima Steven Groth Skyler Schlenker
Steven Vinolas Tyler Padgett Kinari Rima Steven Groth Dominic Aragon
Jet Girls Graziella Velma Minnie Clarice Anybodys A Girl
Jenna Snyder Helena Regan* Sophia Zervas Mara Riley Megan Pryor Mara Riley
Jenna Snyder Helena Regan* Sophia Zervas Mara Riley Megan Pryor Mara Riley
Shark Girls Rosalia Consuelo Teresita Francisca Estella Margarita Leala
Julieta García Kate Johnson Leanne Rubinstein Dominique Grogan Asha Romeo Sophie Engerman Berenice Carrera
Julieta García Kate Johnson Leanne Rubinstein Dominique Grogan Asha Romeo Sophie Engerman Elizabeth Bowersox
Adults Doc Schrank Glad Hand Officer Krupke
Caleb Sharp Steven Groth Michael Crone Adam Ewing
Caleb Sharp Steven Groth Michael Crone Adam Ewing
*Dance Captain Featured Dancers Ryan Sinton Olivia Fertig · cupresents.org · 303-492-8008
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West Side Story ∙ Oct. 26-28
Production staff Stage Director Leigh Holman Guest Conductor Philip Hesketh Set and Lighting Designer Peter Dean Beck Stage Manager Joel Atella Costume Designer Tom Robbins Technical Director Ron Mueller Choreographer Stephen Bertles Assistant Director Erin Hodgson Assistant Director Javier Abreu Production Assistant Mary Kettlewell
Orchestra Violin Lindsie Katz Autumn Pepper Michael Miller Hannah Kennedy Kimberly Bill Mary Evans Kashmira Tata Cello Chas Barnard Gabriel Ramos Nelson Walker Eliot Johnson Double bass Eleanor Dunlap Jordan Walters
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Flute Kaleb Chesnic Brice Smith Indigo Fischer
Saxophone Brian Lambert Jamyson Lindhorn Michael Meier
Oboe/English horn Brittany Bonner
Horn Spencer Koscik Erika Hollister Maggie Barnes
Clarinet Jacob Eichhorn Jade Garcia Maggie Greenwood Ellen Kennedy Bassoon Ethan Shuler
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Trumpet Ryan Spencer Drew Ziemba Luke Finaldi Jeremiah Kersting Trombone Alison Orthel Kenny Ross
Guitar Mike Hyland Piano Nathália Kato Timpani Andrew Quinlan Drum set Taylor Edwards Percussion Alberto Ortega Mallory Graves Ryan Pride
Assistant Technical Director Jeff Rusnak Stage Manager Joel Atella Assistant Stage Managers Paige Sentianin Jacob Baker Courtney Williams Carpenters Cooper Braun-Enos Ben Smith Dan Sjaastad
Music staff
Head Vocal Coach Jeremy Reger Vocal Coach Mutsumi Moteki Rehearsal Pianists Nathália Kato Barbara Noyes Lennart Triesschijn
Macky crew
Production Manager & Master Electrician Richard Barrett
Scenic Artist Jennifer Melcher
Production Manager & ASM (Sound) Trevor Isetts
Assistant Scenic Artist Lelah Radostis
Rail Operator Ben Smith
Makeup Designer Jeanette Hickok
Sound Engineer Dan Sjaastad
Hand Properties & Wig Designer Tom Robbins
Deck Hands Kristianna Hartsen
Head Hair Stylist Chad Boltz
Spot Operators Scott Wickam Andrew Schuster
Assistant Hair Stylist Jenna Krenzelok Photoshoot Hair and Makeup Stylist Sarah Opstad Costume Assistant Whitney Wolanin Costume Stitcher Yvonne Hines
West Side Story ∙ Oct. 26-28
Production and technical staff
Light Board Operator Chris Evans Pit Manager JD Rogers Assistant Director of Production JP Osnes
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West Side Story ∙ Oct. 26-28
Synopsis Act 1
It's a balmy summer in the slums of the upper west side, Manhattan, New York. After ruling the turf of their neighborhood for the past several years, the Jets, a street gang of Polish American teenagers led by Riff, find themselves competing in a territorial battle with the newly immigrated Puerto Rican Sharks, led by Bernardo. Tensions heat up, resulting in bullying and a fist fight on the playground broken up by Lieutenant Schrank and Officer Krupke. After the incident, Riff plots with his fellow Jets to settle their differences with the Sharks through a rumble (or street fight) at the neighborhood dance. The dance is at the gym—some of the only neutral territory in the neighborhood. Riff brings up that the Sharks may fight with weapons instead of their fists, but the group seems excited about this possibility. Riff also wants to invite Tony, his close friend and former fellow Jet, but the group is concerned about Tony’s loyalty. Riff meets with Tony at Doc’s Drugstore to convince him to join the Jets at the dance. Tony is reluctant to join—he has left the gang life behind him—but he decides to help Riff and to meet the group at the dance. Tony tells Riff that he feels that something incredible is about to happen to him, and Riff suggests that it may happen at this dance. Maria, sister of Shark leader Bernardo, is working in a bridal shop with Bernardo’s girlfriend, Anita. Maria is new to the neighborhood, having just arrived from Puerto Rico. It has been arranged that Maria will marry Chino—another member of the Sharks—but Maria confesses that she does not have feelings for him. Anita and Maria plan on attending the neighborhood dance, and Anita is making a dress for Maria. Both groups arrive at the dance. It is already obvious that tensions are high, and a fight is likely to break out. Glad Hand, a social worker, and Officer Krupke quickly rush to break up the teens. The dancing begins. Tony and Maria see each other from across the room for the first time, and it’s as if all of their friends have disappeared. They begin to dance. Bernardo spots the two together and angrily pulls Maria away, telling her that Tony is only trying to take advantage of her. Bernardo orders Chino to take Maria home. Before both gangs leave the dance, Riff and Bernardo make a plan to meet at Doc’s to decide where and when the final rumble will take place and to establish some rules. Once home, Bernardo warns Maria about Tony and tells her to keep her distance. Anita scolds him, saying that in America women have the right to be involved with whichever man they want. The group breaks into song about the pros and cons of living in America as immigrants. Tony is walking the streets of the neighborhood alone, still dazzled by Maria, calling out her name. Maria hears him and climbs out onto her fire escape. The two express their love for each other and agree to meet at the bridal shop the next day after closing. The Jets await the Sharks at Doc’s store. Officer Krupke shows up, suspicious of the group. The teens show no respect for him and proceed to make fun of him and other societal authority figures. The Sharks arrive, and the discussion of the time and location of the fight begins. Tony joins the group and convinces them that only fists should be used. Schrank arrives on the scene, attempting to discover the details of the upcoming rumble. Tony tells Doc about his love for Maria, much to the concern of Doc. The next day, Maria couldn’t be in better spirits at the bridal shop, and her co-workers have noticed. Tony arrives at the shop, and Maria asks him to try to stop the fight from happening. The two playfully pretend to get married in the bridal shop.
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Act 2
Maria, still giddy with new love and currently daydreaming about Tony, has no idea what has unfolded between the gangs. Chino tells Maria what Tony has done, and Maria, overcome with disbelief, runs to her room and prays that it isn’t true. Tony is there waiting for her. Every part of her being wants to hate Tony, but she is still in love with him. The streets outside are glowing with flashing lights from police cars, but the two dream of a place where they can be free of judgment and prejudice and live peacefully. The two plan to run away. The Jets meet, shocked and angry, because nobody actually planned on killing anyone. Their new leader, Ice, tells them to relax and be cool. Anybodys tells the group that Chino is hunting Tony with a loaded gun, craving revenge for Bernardo’s death. The group plans efforts for Tony’s protection. Anita arrives, terribly upset, and Tony quickly leaves, telling Maria to meet him at Doc’s later. Anita can tell that Tony has been in the house and is very angry with Maria for staying faithful and continuing to love Tony. However, through Maria’s efforts to explain, Anita realizes that Tony’s love for Maria is just as strong as her own love for Bernardo, and she warns Maria of Chino’s plan. Lieutenant Schrank arrives, detaining Maria for questioning about Bernardo’s death. Anita leaves to tell Tony that Maria will be late. The Jets, who have already found Tony and are waiting at Doc’s, attack Anita verbally and physically. Anita is livid, and out of spite tells the Jets that Chino has shot and killed Maria. Doc tells Tony this horrible news, and Tony seeks out Chino in agony to beg for his own death. Tony arrives at the playground and sees Maria, alive and healthy. He runs towards her overjoyed, but Chino steps out of the darkness and delivers a fatal shot. All gang members and adults flock to the scene, and Maria holds Tony in her arms as he dies, both reliving their previous daydream of finding a peaceful place. Full of anger, the Jets yet again advance toward the Sharks, but Maria grabs the gun and threatens both gangs. She claims that it was the Sharks and the Jets together who killed Bernardo, Riff and Tony. Maria is not able to bring herself to use the gun, however, and drops it to the ground. The gang members assemble on both sides of Tony’s body, symbolizing that the feud has finally ended. A procession of both Jets and Sharks is formed, and Tony is carried away, with Maria the last one to leave.
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West Side Story ∙ Oct. 26-28
Both gangs prepare for the rumble that evening. The teens meet at the designated location—under the highway—and the fighting begins between Bernardo and Diesel. Tony arrives and tries to stop the conflict, but Bernardo advances towards him and blades are quickly drawn between Riff and Bernardo when Riff comes to Tony’s defense. Riff has an opportunity to kill Bernardo but is held back by Tony. Bernardo attacks and kills Riff. Tony, in a fit of rage, attacks and kills Bernardo. Mass chaos breaks out between the gangs and sirens are heard. The groups scatter. Tony, filled with shame and shock at what he has done, flees the scene at the last moment. The bodies of Riff and Bernardo are left alone.
West Side Story ∙ Oct. 26-28
Notes from Leigh Holman Stage director
After our decision to produce West Side Story during the yearlong celebration of Leonard Bernstein’s 100th birthday, I walked around with a huge knot in my throat. There are many reasons to be intimidated by the piece—not to mention that still relevant topic of racism in America—but because this musical is a masterpiece. Like The Sound of Music, so many people have been forever changed by the film. How does one begin to touch this work? I had some sleepless nights about this one. How to understand the cultural implications, how to pull off a big dance work in a university opera program, how to cast correctly, how to truly respect the Bernstein-Sondheim score and Jerome Robbins’ brainchild? Most importantly, what do I have to offer to my students in regard to this so well recognized, revered and celebrated work of art? My first decision in tackling this beautiful beast was to surround myself with artistic experts: a choreographer who has staged the piece multiple times and played the roles of both the Jets’ “Riff” and the Sharks’ “Bernardo;” an assistant director who brings the culture of Puerto Rico and a deep understanding of the migration (not immigration—the Sharks are American!) of Puerto Ricans to New York City in the 1950s after the war; a fight director who has choreographed the violence for West Side Story, Romeo and Juliet and musicals, plays and operas all over the country; and a maestro who takes great care with every detail of the score and, with his personality, is able to inspire great music from the orchestra and performers. Artistically, our students are in good hands and from this writing have advanced their skills in dance, singing, stage fighting and acting at an uncanny rate. Education: priority #1. Check that box. I was still left with the problem: What do I have to bring to this piece? Am I just a ringmaster in the middle of a gorgeously chaotic circus? I’m not sure how to answer that one. I can say that as the piece’s director, the students and I have worked hard to tell a riveting story and to develop authentic, individual characters onstage. For, as in real life, who are the people that create mob groups— identifiable and seemingly dangerous gangs of people that only seem to have one shared thought? Individuals. Each individual can choose to follow their own heart or can choose to move anonymously within a group. In West Side Story, we meet Tony and then Maria who have dared to taste their individualism from before our first meeting. We learn bit by bit that Riff, who is like a brother to Tony, has a deep love for the former leader of the Jets and who is probably more devoted to that friendship than any gang. We meet Anita who, after the interchange with Maria in “A Boy Like That,” begins to show signs that she too ranks true love above mob thought. After that, character by character, we see a “Someday, Somewhere” world when the sparks of inclusiveness, original thought and love begin to ignite in each of the teenagers onstage. For me, Maria has the biggest transformation to make: Will she allow the biggest tragedy in her life to destroy her or to propel her to make a difference in the world? How many of us can say we have been at that crossroads and what decision, if any, did we take? West Side Story continues to be a story for the ages—relevant in Shakespeare’s day, in 1950s America and, clearly, today. Perhaps someday, somewhere we’ll live in a world that will finally find the theme of fear in losing one’s territory, the fear of individual thought and the fear of inclusiveness an outdated idea for a musical. For now, though—it’s firmly set in its place. A toast to Leonard “Lenny” Bernstein—thank you for your individual thought, inclusiveness and choice to make a difference. 100 is a big birthday. I’m sure we’ll be toasting you at 200, 300 and beyond.
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Guest conductor
I was lucky enough to be part of a generation of musicians who experienced the phenomenon that was Leonard Bernstein when he was arguably at the height of his powers, in the 60s and 70s. To us, it seemed that he lived life on a more intense plane of existence than those around him. As a conductor and performer, he was well known for the extremes of expression that he brought to his interpretations; a frenetic rhythmic drive, voluptuously sensual lyricism and musical climaxes of white-hot intensity, all drawn from the musicians with a flamboyant and balletic conducting technique. Given the attitudes of some in “classical” music, it must be no wonder that he was and remains a controversial figure. As a very young British musician at this time, I and many of my fellows were transfixed and inspired by this man who, it seemed, embodied so many of our ideals and aspirations for the future and caught perfectly the singular Zeitgeist. The darkness and austerity of two world wars was being replaced by a bright, exhilarating freedom and optimism; but bright, too, was the terror of the four-minute warning. To see someone consuming life and everything in it with such voraciousness resonated deeply within us; “live fast, die young” indeed. It can come as no surprise that these qualities, which so energized a generation, shine out in Bernstein’s own music. This is particularly so in West Side Story, which he must have seen as a chance to really let his musical hair down. So often, when a composer of “serious” music experiments with “crossover,” the results are a pastiche; superficial and self-conscious. For me, this is absolutely not the case here. When Bernstein writes Broadway, it is truly great Broadway. When he writes opera, it’s opera of the first order, radiant and lush. Like the man, the work crosses boundaries and by crossing them, breaks them down and denies them existence. To those who love labels, both Leonard Bernstein and West Side Story must be a sore trial. The man, in his musical life as conductor, composer, pianist and educator; in his public life as political activist, philanthropist and author; in his personal life with its complex relationships and fluid sexuality, conformed to no stereotype. The work also refuses to be categorized. Is it music theatre? Is it opera, operetta or ballet? The only possible answer to these questions is: Yes. It is all of these. Together with Bernstein’s genius, they are all ingredients in this unique and wonderful recipe.
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West Side Story ∙ Oct. 26-28
Notes from Philip Hesketh
West Side Story ∙ Oct. 26-28
The company DOMINIC ARAGON (Bernardo/Anxious) This is Aragon’s first role with Eklund Opera. Roles elsewhere: Yamadori (Madama Butterfly) Opera Fort Collins, Sarastro (Die Zauberflöte) Colorado State University, Ariodate (Serse) CSU, Fredrik (A Little Night Music) CSU, Falke (Die Fledermaus) CSU, Escamillo (The Tragedy of Carmen) Baldwin Wallace University, Tío (La vida breve) Ohio Light Opera, Nardo (La finta giardiniera) BWU. Awards: First Prize, NATS Colorado/Wyoming Regional Competition, Graduate Division 2017. SABINA BALSAMO (Maria) This is Balsamo’s first role with Eklund Opera. Past roles elsewhere: Mabel (The Pirates of Penzance), Elsie (The Yeomen of the Guard), and Rose (Ruddigore) The Pittsburgh Savoyards; Fredrika (A Little Night Music) and Mickey (Damn Yankees) Pittsburgh Festival Opera; Blanche (Dialogues of the Carmelites), Polly (The Threepenny Opera) and Pitti-Sing (The Mikado) The Baldwin Wallace University Opera. She has also premiered the role of Anne in Cleveland Opera Theater’s production of Verlorene Heimat. PATRICK BESSENBACHER (Tony) Patrick Bessenbacher is a junior from Overland Park, Kansas. With Eklund Opera, Bessenbacher has performed as Lurcanio (Ariodante), Chorus (Sweeney Todd), Paul (Red Hot and Cole), Raoul de St. Brioche (Die lustige Witwe) and Chorus (Die Zauberflöte). Bessenbacher is a student of Matthew Chellis. ELIZABETH BOWERSOX (Anita/Leala) Past roles with Eklund Opera: Dancer/Chorus (Ariodante), Young Lucy/Chorus (Sweeney Todd), Young Hanna/Frou-Frou/Chorus (Die lustige Witwe) and Chorus (Die Zauberflöte). SAM BRUCKNER (Diesel) Past roles elsewhere: Nicely Nicely Johnson (Guys and Dolls), Frank Butler (Annie Get Your Gun), Beast (Beauty and the Beast) and Joe Hardy (Damn Yankees). ZACHARY BRYANT (Riff) Past roles with Eklund Opera: Paul (If I Were You), King of Scotland (Ariodante), Anthony (Sweeney Todd), Kromov (The Merry Widow), Lead Baritone (CU NOW Composer Fellows’ Initiative). Past roles elsewhere: Count Almaviva (Le nozze di
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Figaro) Prague Summer Nights Young Artists Music Festival. BERENICE CARRERA (Anita/Leala) Past roles with Eklund Opera: Chorus (Sweeney Todd). Past roles elsewhere: Cherubino (Le nozze di Figaro) Opera Express Quito-Ecuador, Zerlina (Don Giovanni) Opera Express Quito-Ecuador. In the spring Carrera will be having her junior recital at the University of Colorado Boulder College of Music. MICHAEL CRONE (Mouthpiece/Glad Hand) Past roles with Eklund Opera: Slave/Chorus (Die Zauberflöte), Chorus (Die lustige Witwe), Chorus (Sweeney Todd), Guard (Ariodante). Past roles elsewhere: Boo (The Marriage of Bette and Boo) CU Theatre & Dance. SOPHIE ENGERMAN (Margarita) This is Engerman’s first role with Eklund Opera. From Lake Geneva, Wisconsin, Engerman is a sophomore pursuing degrees in voice performance and international affairs. She has performed in many productions throughout high school including Miss Sandra (All Shook Up) and Lady Larken (Once Upon a Mattress). ADAM EWING (Officer Krupke) Past roles with Eklund Opera: Stevie (Side by Side by Sondheim), John Brooke (Little Women), Celebrant (Bernstein’s Mass), Schaunard (La bohème), Gianni Schicchi (Gianni Schicchi), Slook (La cambiale di matrimonio). Past roles elsewhere: Bernardo (West Side Story in concert) Boulder Philharmonic; Schaunard (La bohème) Colorado Symphony; Major General Stanley (Pirates of Penzance) Loveland Opera; Dog (Brundibar) Colorado Music Festival. Awards: NATS Artist Awards, National Finalist, 6th place, Berton Coffin Award. OLIVIA FERTIG (Ballet Dancer) Past companies: Briah Young Dancer’s Project, Briah Danse (Apprentice), San Francisco Conservatory of Dance Summer Intensive. In the spring, Fertig will be performing in The Current with CU Theatre & Dance. MICHAEL GAVEN (Big Deal) This is Gaven’s first role with Eklund Opera. Past roles elsewhere: Enjolras (Les Misérables) Harvard-Westlake Upper School, Boomer
DOMINIQUE FRANCIS GROGAN (Francisca) Past shows with Eklund Opera: Chorus (Sweeney Todd), Dorothy Parker (Red Hot and Cole), Chorus (Die Fledermaus) and Chorus (Dialogues of the Carmelites). Grogan will be performing her senior recital at the University of Colorado Boulder this spring. STEVEN GROTH (Luis/Shrank) Past roles with Eklund Opera: Polinesso (Ariodante). Past roles elsewhere: Baron Douphol (La Traviata) and Frank (Die Fledermaus) with Missouri Symphony Society, Mr. Webb (Our Town) and Count Almaviva (Le nozze di Figaro) with Show-Me Opera. This spring, Groth will be performing with Loveland Opera covering the role of Don Alfonso (Così fan tutte). CHRISTINE HONEIN (Maria) Past roles with Eklund Opera: Dalinda (Ariodante). Last fall, Honein performed the roles of Susanna (Le nozze di Figaro) and Ilia (Idomeneo) in the Eklund Opera Scenes program. Past roles elsewhere: Drusilla (L’incoronazione di Poppea) and Dora (The Three Feathers) FSU Opera. KATE JOHNSON (Consuelo) Past roles with CU Theatre & Dance: Sherl (Hair), Loud Stone (Eurydice), and Ensemble (44 Plays for 44 Presidents). WESLEY JUELS (Snowboy) Past roles with Eklund Opera: Principal Dancer/ Chorus (The Merry Widow) and Chorus (Sweeney Todd). Past roles elsewhere: Tribe (Hair) CU Theatre & Dance, Mr. Two (The Adding Machine) CU Theatre & Dance. During the spring and summer semester, Juels will be moving to Orlando, Florida, and working at the Walt Disney World Resort.
Center Stage, Billy (Anything Goes) Sword and Stone Productions. BRANDON TYLER PADGETT (Pepe) This is Padgett’s first role with Eklund Opera. Past roles elsewhere: John Proctor (The Crucible) University of Tennessee Opera Theatre, Bartolo (Le nozze di Figaro) University of Tennessee Opera Theatre, Pirate King (Pirates of Penzance) Tennessee Valley Players, Masetto (Don Giovanni) University of Tennessee Opera Theatre and Mr. Kofner (The Consul) University of Tennessee Opera Theatre. MEGAN PRYOR (Anybodys) Past roles with Eklund Opera: Jou-Jou/Principal Dancer (The Merry Widow) and Beggar Woman (Sweeney Todd). Past roles elsewhere: Second Spirit (Die Zauberflöte) Opera Colorado. HELENA REGAN (Velma) Past roles with Eklund Opera: Grisette (The Merry Widow), Protean/Dancer (Ariodante) and Chorus/Dance Captain (Sweeney Todd). Regan is an international student from England, earning her Bachelor of Music in voice performance and Bachelor of Science in strategic communications. Regan is a sophomore studying under Abigail Nims. JULIETA GARCÍA REYES (Rosalia) Past roles with Eklund Opera: The Beggar Woman (Sweeney Todd) and Second Spirit (Die Zauberflöte). Past roles elsewhere: La Suora Zelatrice (Suor Angelica) and Soledad (La mulata de Córdoba) Conservatorio de las Rosas, México. Next spring, García will be performing her senior year recital. MARA RILEY (Clarice/A Girl) This is Riley’s first role with Eklund Opera. As a double major, Riley is also a dedicated flutist, and is currently a member of the CU Symphony Orchestra and undergraduate woodwind quintet. In 2018, she was named an Anderson Undergraduate Vocal Scholarship Competition winner. KINARI RIMA (Indio) This is Rima’s first role with Eklund Opera. Past roles elsewhere: Paul (Hair) CU Theatre & Dance.
BRENDAN LUTES (Action) This is Lute’s first production with Eklund Opera. Past roles elsewhere: Javert (Les Misérables)
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West Side Story ∙ Oct. 26-28
Bronson (Prom Queen) Stagedoor Manor United States Debut, Chad Danforth (High School Musical) Stagedoor Manor, Clifford Bradshaw (Cabaret) Harvard-Westlake Upper School, Benjamin Coffin III (Rent) Stagedoor Manor, Daddy Cane (Bright Star) Stagedoor Manor nonprofessional debut cast.
West Side Story ∙ Oct. 26-28
MACK RODGERS (Gee-Tar) This is Rodgers’ first role with Eklund Opera. Rodgers is pursuing a Bachelor of Music in voice performance and is also pursuing a degree in astrophysics. ASHA ROMEO (Estella) This is Romeo’s first role with Eklund Opera. Past roles elsewhere: Sally (Cabaret) Center Stage Theatre Company, Joanne Jefferson (Rent) Boulder High School. Romeo was nominated for Best Actor in a Leading Role by the Bobby G Awards. LEANNE RUBINSTEIN (Teresita) Past roles with Eklund Opera: Chorus (Sweeney Todd). Leanne received honorable mention in her division in the NATS 2017 competition (classical category) and a first place prize in the 2016 Colorado region’s Rising Stars Competition. SKYLER SCHLENKER (Bernardo/Anxious) Past roles with Eklund Opera: Sweeney Todd (Sweeney Todd), Papageno (Die Zauberflöte), and Top (The Tender Land), amongst others. Past roles elsewhere: Luther (Les contes d’Hoffman) Aspen Opera Center at the Aspen Music Festival and School, Kromov (The Merry Widow) and (Speed Dating Tonight!) Janiec Opera Company at the Brevard Music Center. Schlenker was a recipient of the Louis and Harold Price Foundation Fellowship for his studies at the Aspen Music Festival and School this past summer. CALEB SHARP (Doc) This is Sharp’s first role with Eklund Opera. Past roles elsewhere: Teddy/Tribe (Hair) CU Theatre & Dance, Buck Badem (Alas! Alack! Zorro’s Back!) Colorado ACTs, Roommate (1000 Bad Films) Andy George Productions, Detective (Beatrice) Brandon Blanc Productions, Waller (Trapped) CU Boulder Student Directed Scenes, The King (Snow White) Colorado ACTs, Lendall (Almost, Maine) Colorado ACTs. RYAN SINTON (Ballet Dancer) This is Sinton’s first performance with Eklund Opera. Past roles elsewhere: Sugar Plum Fairy (The Nutcracker) Reach Dance Academy, Soloist (Serenade) The Jillana School. Sinton will be performing in Provenance here at CU in November, and Wake in January 2019. ZACHARIAH SMITH (Baby John) Past roles with Eklund Opera: Chorus (Sweeney Todd).
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JENNA SNYDER (Graziella) Past roles elsewhere: Madeline Livingston (The Women of Lockerbie) International Thespian Festival: Troupe 7206, Annabella Schmidt (The 39 Steps) Rock Canyon High School, Pilar (Legally Blonde) Rock Canyon High School, and Hot Box Girl (Guys and Dolls) Rock Canyon High School. Snyder is a member of CU’s only all-female a cappella group “On the Rocks.” They will be having their winter concert on Dec. 8 in Old Main. DAVID STARRY (A-RAB) This is Starry’s first role with Eklund Opera. Previous roles elsewhere: Tamino (Die Zauberflöte) University of Wisconsin Eau Claire, The Marquis de Tarapote (La périchole) University of Wisconsin Milwaukee, Tom Watson (Parade) Greendale Community Theater and Stephen (If/ Then) Greendale Community Theater. Starry is currently a member of CU’s Opera Theater Singers. ANDREW TAYLOR (Tony) This is Taylor’s first role with Eklund Opera. Past roles elsewhere: Il contino (La finta giardiniera) USU Opera, Kaspar (Amahl and the Night Visitors) USU Opera, Astolfo (La liberazione di Ruggiero dall’isola d’Alcina) USU Opera, Ivan (The Music Shop) Opera Outreach Quartet. Taylor was a featured soloist in the Xi’an International Choral Festival. He was also featured in the Utah State University Chamber Singers’ recent album, Amazing Grace. STEVEN VINOLAS (Chino) Past roles with Eklund Opera: William Putnam (Jake Heggie’s If I Were You CU NOW musical workshop), Anthony Hope (Sweeney Todd), and Cascada (Die lustige Witwe). Vinolas is currently pursuing his master’s in vocal performance and pedagogy. He is a student of John Seesholtz. SOPHIA ZERVAS (Minnie) Past roles with Eklund Opera: Dance Soloist (Die Fledermaus), First Spirit (Die Zauberflöte) and Cupid/Chorus (Ariodante). Additionally, she was a winner of the 2018 Anderson Voice Competition at CU. Zervas is a senior pursuing a double degree in voice and piano performance.
Peter Dean Beck, Set and Lighting Designer Beck has designed scenery and lighting for Eklund Opera for 24 seasons and for more than 300 productions around North America. Among his opera credits are Falstaff, Turandot, Manon, Don Giovanni, Madama Butterfly, Hansel and Gretel, A Midsummer Night’s Dream and Roméo et Juliétte for such companies as Atlanta Opera, Florida Grand Opera, Glimmerglass Opera, Virginia Opera and Chautauqua Opera. He has designed productions of Andrea Chenier, The Italian Girl in Algiers, Macbeth, Elektra and Tristan and Isolde for Hawaii Opera Theatre, where he has been principal designer for 32 seasons. In Asia, he designed a double bill of The Nightingale and Cavalleria Rusticana for Sakai City Opera in Japan and lit Cav/Pag in Macau and Don Carlo in Hong Kong. His musical theatre credits include Fiddler on the Roof, The Sound of Music, The Music Man, Les Misérables, The Wizard of Oz and Into the Woods for Skylight Music Theatre. His work for dance includes The Indigo Girls Project for Atlanta Ballet and The Nutcracker for Ballet Hawaii. Leigh Holman, Stage Director Leigh Holman balances a teaching and professional stage directing career in the United States and abroad. In recent years, she has made directing debuts at the Pafos Aphrodite Festival in Cyprus, L’Opéra de Montréal and Florida Grand Opera. Recent CU Boulder productions include Sweeney Todd and Ariodante. As well-suited to new operatic works as she is to traditional works, Holman has produced and directed workshops of operas in association with composers and librettists, including Jake Heggie, Gene Scheer, Mark Campbell, Mark Adamo, Colm Toibin, Kirke Mechem, Libby Larsen, Lori Laitman, Herschel Garfein, Robert Aldridge, Daniel Kellogg, Alberto Caruso and Dave Mason. As the founder and artistic/general director of CU Boulder’s New Opera Workshop, she continues to passionately promote the creation, collaboration and production of new American works. Philip Hesketh, Guest Conductor The British conductor Philip Hesketh studied at the Guildhall School of Music in London. His life as a professional musician began as a cellist, playing for many of that city’s great orchestras and companies. He began conducting symphony orchestras in 1991, becoming musical director
of The West London Sinfonia and The Richmond Orchestra and receiving invitations to conduct as a guest in Britain and around the world. In 2001 he made his debut in The Royal Opera House, Covent Garden, conducting The Royal Ballet in The Nutcracker and, in 2004, became musical director of the French opera festival Opéra de Baugé. Opera now plays a large part in his life: in the summer before coming to Boulder he conducted productions of Verdi’s Rigoletto in France and Puccini’s La bohème and Tosca in London. After West Side Story, he will return to London to fulfill a busy winter schedule of concerts. As well as performing, Hesketh is much in demand as a communicator on all aspects of classical music. He is very keen to break down traditional barriers, both between audiences and performers and between classical music lovers and those who have yet to discover the pleasure that it offers. Ron Mueller, Technical Director Ron Mueller has been with Eklund Opera for 20 seasons. His past Eklund Opera productions include The Rake’s Progress, La Traviata, Sweeney Todd and Dead Man Walking. His other professional credits include Skylight Opera, Boulder Ensemble Theatre Company, Crested Butte Music Festival, Colorado Shakespeare Festival and Boulder Dinner Theatre. Jeremy Reger, Head Vocal Coach International pianist and educator Jeremy Reger maintains an active performing and coaching career. He has served on the music staff of Virginia Opera, Eugene Opera, Hawaii Opera Theater, Mill City Opera, Minnesota Opera, Skylark Opera and Aspen Opera Theater. He recently joined the CU Boulder faculty as a vocal coach. Previously, he taught at the Music Academy of the West, at Christopher Newport University, in Recife, Brazil, and at Indiana University. He has played in the Virginia Symphony, the Williamsburg Symphonia, the Carmel Symphony and the Terre Haute Symphony. Reger earned a doctorate in collaborative piano from the University of Michigan under Martin Katz. Tom Robbins, Costume Designer Tom Robbins has been with Eklund Opera for 28 seasons. His past Eklund Opera credits include Sweeney Todd, Don Giovanni, Anything Goes,
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West Side Story ∙ Oct. 26-28
Artistic and production staff
West Side Story ∙ Oct. 26-28
Susannah, Carousel and The Rake’s Progress. His other professional credits include Bonfils Theater, Opera Colorado and Colorado Ballet. Chad Boltz, Head Hair Stylist Chad Boltz is a Denver-based hair stylist and award-winning National Educator for John Paul Mitchell Systems. He holds a degree in vocal performance from the College of Music and credits his ease on the hair stage to the lessons he learned at CU. Boltz is thrilled to work with Tom, Leigh and the cast and crew of this production. Jenna Krenzelok, Hair Stylist Assistant Jenna Krenzelok is a recent graduate of Paul Mitchell the School Denver. She already has experience working backstage with top industry talent, including Paul Mitchell's Global Artistic Director Robert Cromeans. She is excited to be able to work on this production with Chad Boltz and the amazing cast and crew! Mary Kettlewell, Production Assistant A recent graduate of the master’s program in voice at the University of Colorado Boulder, Kettlewell began working as temporary production assistant to Eklund Opera this past September. As a performer, roles that Kettlewell has performed with Eklund Opera include Dalinda (Ariodante), Valencienne (Die lustige Witwe), Second Lady (Die Zauberflöte) and Rosalinda (Die Fledermaus). Kettlewell also has a passion for new opera, and during her time at the university she participated in CU’s New Opera Workshop, performing the roles of Miriam in Mark Adamo’s The Gospel of Mary Magdalene and Selena in the musical workshop of Jake Heggie’s If I Were You. This November Kettlewell will be featured as the soprano soloist in Handel’s Messiah with the Choral Union ensemble directed by Paul Crabb at the University of Missouri-Columbia. She is currently pursuing a certificate in arts administration at the University of Colorado Boulder. Erin Hodgson, Assistant Director Erin Hodgson has appeared with the Minnesota Opera in Turandot and Rusalka. Hodgson graduated with a bachelor’s degree in music from Oberlin Conservatory studying under Salvatore Champagne. Erin is a second-year master’s student at CU Boulder. She premiered with Eklund Opera as the role of Mrs. Lovett in Sweeney Todd last semester. This will be her third directing credit with Eklund Opera— her assistant directing premiere with Eklund Opera was The Merry Widow, and she was the Associate Director for Ariodante.
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Javier Abreu, Assistant Director Puerto Rican tenor Javier Abreu has been described as a commanding force on stage, incorporating a rich, sweet and agile voice with ample dramatic skills. Opera News described him as “a natural Rossini singer," and The Washington Times stated, "His high, supple lyric voice possesses great conviction." Last season's performances include the world premiere of Bless Me Ultima with Opera Southwest, a return to Opera Orlando as Ramiro in La cenerentola, Lindoro in L’italiana in Algeri with Blackwater Valley Opera in Ireland, and a debut with Chicago Opera Theater as the title role in Il Pigmalione, and Beppe in Rita by Donizetti. Recent performances include Orpheus in Offenbach’s raucous Orpheus in the Underworld with Virginia Opera, Almaviva in Il barbiere di Siviglia with Florida Grand Opera, and debuts with the Prototype Festival in American Lyric Theater’s concert of La Reina, Arizona Opera as Fenton in Falstaff, South Bend Symphony Orchestra for Carmina Burana, and Mill City Summer Opera in Sweeney Todd. In the 2016-17 season, he returned to Florida Grand Opera for Before Night Falls as well as American Lyric Theater for roles in The Life and Death(s) of Alan Turing. A champion of contemporary opera, Abreu has premiered the roles of Pepe in Before Night Falls with Fort Worth Opera, Castleman in The Long Walk with Opera Saratoga, Ruffiano in The Inspector with Wolf Trap Opera, and El enano de Salnés in La cabeza del bautista with Gran Teatro del Liceu in Barcelona. He has garnered critical acclaim for his portrayals of Rossini’s leading men with New Jersey Opera, Nashville Opera, Lyrique en Mer, Opera de Oviedo, Theater Basel, Teatro Municipal de Chile, Austin Lyric Opera, New York City Opera, The New Israeli Opera, and the Stuttgart Staatsoper. He has also appeared with some of the world leading orchestras, including the Pittsburgh Symphony, Naples Philharmonic, Phoenix Symphony, Louisville Symphony, and the Lexington Philharmonic Orchestra, to name a few. This season's performances include Philip Glass’ In The Penal Colony with San Francisco’s Opera Parallèle, Ferrando in Mill City Opera's Cosi fan tutte and a return to Pittsburgh Opera as Ernesto in Don Pasquale. Joel Atella, Production Stage Manager Joel Atella is a native of Fort Collins, Colorado, and is thrilled to be working his first season with the Eklund Opera Program. Atella graduated with distinction from the Eastman School of Music with a degree in voice performance. Since 2008 he has maintained a freelance career as a stage
West Side Story ∙ Oct. 26-28
manager, assistant director and tour manager. Highlights include tour managing for Itzhak Perlman and his In the Fiddler’s House Tour, two seasons as the resident assistant director for San Diego Opera, and working as stage manager for Yuletide Celebration with the Indianapolis Symphony. Other companies include Santa Fe Opera, Opera Colorado, Chautauqua Opera, Opera Omaha, Opera Southwest and Syracuse Opera. A 2005 Presidential Scholar in the Arts, Atella is a passionate advocate of the power of music, live theatre and opera. Stephen Bertles, Choreographer This production of West Side Story marks Bertles’ 18th production as choreographer at CU. Some favorites include: Fledermaus, Carousel, Marriage of Figaro, The Merry Widow, and La bohème to name a few. His first production here was West Side Story over 10 years ago, and he is thrilled to recreate this wonderful show to mark the birthday of Leonard Bernstein. Never say “can’t” but instead—I’ll try! Thank you to all the performers here who have tried their best to dance like they have never danced before.
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Canadian Brass
Christmas Time is Here Monday, Dec. 17, 7:30 p.m. Macky Auditorium
Starting at $20 at cupresents.org
BOULDER PHILHARMONIC ORCHESTRA MICHAEL BUTTERMAN, MUSIC DIRECTOR
Photo: Timothy Greenfield-Sanders
Midori ORCHESTRA RESIDENCIES PROGRAM
The Boulder Phil & Greater Boulder Youth Orchestras (GBYO) are proud to announce a 2018 residency with Midori, worldrenowned violinist & educator. Midori’s residency is a special program that aims to strengthen the ties of the American youth orchestra to its local adult orchestra, as well as bolster relationships with performers, staff and the community.
RESIDENCY HIGHLIGHTS:
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
BoulderPhil.org · GreaterBoulderYO.org
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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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Faculty Tuesdays Series Fall 2018
Virtuosity for Two
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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NOV. 9, 10, 11, 2018
E M PLOY EE BENEF I T S S M A L L BU S I NES S
MARCH 22, 23, 24, 2019
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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)
Maria and Jesse Aweida Barbara Allen Shirley Carnahan Cathy Cloutier Laima and Damon Haley Jo Hill Maryan Jaross Pam Leland Judah and Alice Levine Gail and Thomas Madden Greta Maloney and Bob Palaich Deborah McBride Paul and Kay McCormick Gail and Judy Mock Jacqueline Muller David and Nancy Parker Becky Roser and Ron Stewart Karmen Rossi and Eric Lewis Zoe and Paul Stivers Geoffrey Tyndall Candace and George Williams, Jr.
· cupresents.org · 303-492-8008
In-kind Sponsors
Perfect Taste THE
DINING TO COMPLEMENT THE PERFORMANCE WELCOME TO
FERMENTOPIA Chef-driven Menu and Belgian-Inspired Beer delivering Tradition with a Twist
GLUTEN FREEDOM
YOU NAME IT, WE GOT IT! GLUTEN-FREE PIZZA, PASTA & SANDWICHES AND FOR ALL YOU “PIZZATARIANS” WE HAVE AWESOME VEGAN CHEESE TO PUT ATOP YOUR VEGGIE PIE
thesink.com • 303-444-7465
Taste the Tradition! West of Macky just across Broadway
14th and Pearl 720-406-7548 www.tandcakesboulder.com
1125 Pearl Street, Boulder • wfbrews.com • 303-447-2739
DINE IN TAKE-OUT DELIVERY CATERING 303.604.9200 MARTINOS-PIZZERIA.COM
happy hour
CEL EBR AT E T HE E V ERY DAY
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Dinner and theatre go together like the Takács Quartet and Boulder. Make sure your restaurant advertising is part of that equation.
www.ColoradoArtsPubs.com 303.428.9529
303.443.1188
Pearl St. Patio Bar & Lounge Happy Hour Everyday 3-6pm 1136 Pearl St., Boulder www.boulderjapango.com
Worshipping • Exploring spirituality weekly in worship, with our Theologian-in-Residence program, Together and on our beautiful indoor labyrinth. Supporting Supporting the arts with our ensembles-inthe Arts • residence, art exhibits in the Sanctuary Gallery, and Arts for Kids’ Souls summer camp. Welcoming EVERYONE • Working for social justice and equality for all. JOIN US FOR SUNDAY WORSHIP AT 10:30 AM Rev. Matthias Krier, Pastor
CHURCH Loving God by loving others
1421 Spruce Street in downtown Boulder 303.442.3770 www.fumcboulder.org
Is the person in seat D3
your next client? Just look around. Your ticket to successful advertising is one call away.
303.428.9529 sales@pub-house.com ColoradoArtsPubs.com
1421 PEARL ST
boulderartsandcrafts.com
3 0 3 - 4 4 3 - 3 6 8 3
J E W E L R Y
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H E A T H E R
G U I D E R O
That moment you
TURN your EVENINGS INTO OPPORTUNITIES.
Explore your passions. Reach your goals. Own your journey. evening.colorado.edu • 303.492.5148
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
Member ($100–$249)
Phil and Leslie Aaholm Christine Arden and David Newman Neil Ashby and Marcia Geissinger Maria and Jesse Aweida Ingrid Becher Gil and Nancy Berman Kevin and Diana Bunnell Shirley Carnahan Charlotte Corbridge Barbara and Carl Diehl Margret Hamilton and Charles Proudfit Nancy and Keith Hammond Catharine and Richard E. Harris John D. and Ruthanne J. Hibbs
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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· cupresents.org · 303-492-8008
REINVENT
REDESIGN
REMODEL
YOUR BOULDER INTERIOR DESIGN TEAM
VISIT OUR NEW DESIGN CENTER LOCATION
5400 Spine Rd, Suite A, Boulder, CO 80301 Monday - Friday 9am - 5pm Evenings & Weekends By Appointment
(303) 652 -1727 | DSInteriorSolutions.com
You know me, I think there ought to be a big old tree right there. And let’s give him a friend. Everybody needs a friend. Bob Ross
Serving Boulder County & North Metro Denver We offer: • Non-Medical In-Home Care • FREE Assisted Living Referral Services
Always Best Care Senior Services
(720) 494-8407
taddikentree.com 303.554.7035
www.AlwaysBestCare-BoulderCounty.com All offices are independently owned and operated.
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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· cupresents.org · 303-492-8008
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
WE DESIGN ONE OF A KIND KITCHENS AND BATHS AND WE LOVE IT.
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Policies
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
cupresents.org · 303-492-8008
Photography credits: Alliance Artist Management, Glenn Asakawa, Ascaf, Colin Bell, Felix Broede, Christian Daellenbach, Christopher Duggan, Christopher Jones, Joe Martinez, Ian McMorran, Takashi Okamoto, Sian Richards, Amanda Tipton and Max Whittaker 34
Accessibility
· cupresents.org · 303-492-8008
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B u r g e s s G r o u p a t Co l o r ad o L a n d m ar k , Re a l t o r s i s o n e o f B o u l d e r Co u n t y ’s t o p - p r o d u c i n g r e a l e s t a t e fi r m s . Ca t h e r i n e a n d h e r t e a m h a ve s o l d m a ny o f t h e ar e a ’s m o s t p r e s t i g i o u s p r o p e r t i e s , i n c l u d i n g i c o n i c C h ar l e s H ae r t l i n g h o m e s , e l e g a n t C h a u t au q u a e s c a p e s , s p ac i o u s h o r s e p r o p e r t i e s , a n d g a t e d l a ke c o m m u n i t y e s t a t e s . B u r g e s s G r o u p h a s d e e p l o c a l m ar ke t k n ow l e d g e a n d d r i ve s t ow ar d o n e c l e ar g o a l : p r ov i d i n g t h e h i g h e s t q u a l i t y l u x u r y r e a l e s t a t e s e r v i c e s , w i t h u n p ar a l l e l e d c o n c i e r g e s u p p o r t a n d e x p e r t g u i d a n c e e a c h s t e p o f t h e w ay. Ca l l u s t o d ay fo r a f r e e, n o o b l i g a t i o n c o n s u l t a t i o n . b u r g e s s g r o u p r e a l t y.c o m
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303-506-5669