CU Presents Magazine Spring 2013

Page 1

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THE RAKE’S PROGRESS by Igor Stravinsky

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College of Music Vocal Advisory Board Lawrence Anderson 4HY[OH *VMÄU ,]HUZ JOHPY Lissy Garrison Jeffrey Gemmell

Leigh Holman Bob Kapelke Mikee Kapelke Glenny LeGendre

P. Douglas McLemore Kathleen Ness Ann Oglesby Patti Peterson

Shirley Riggs Stephanie Rudy Daniel Sher Reed Williams

$UWLVW 6HULHV á 7DNĂ€FV 4XDUWHW á &8 2SHUD á +ROLGD\ )HVWLYDO &21&(57 ,1)250$7,21

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Pre-Concert Conversations You are invited to attend informative pre-concert conversations 45 minutes prior to each Artist Series performance. All talks will be held in Macky’s room 102 and are free of charge. Opera pre-performance chats will be held in the Loge of Macky Auditorium one hour prior to the show.

Discounts Discounts are available for seniors (65 and over), youth (18 and under) and groups. Special discounts are also available for CU faculty, staff, and students. Only one discount per order. Discounts do not apply to Holiday Festival. Some discounts not available night of performance. Please call 303-492-8008 for more information. 17th St.

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bi Seating is available in each concert ke pa hall for concertgoers in wheelchairs, th those with other special needs, and for their companions. To request Euclid special seating in advance, call the )V_ 6MĂ„JL H[ UNIVERSITY Drop-off and handicap parking is CLUB available near Imig Music Building and Macky Auditorium.

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Recording Devices Recording devices and taking of photographs are strictly prohibited. Please switch off cellular phones, beepers, or electronic watches BEFORE entering the auditorium.

(SS ZHSLZ HYL Ă„UHS ;PJRL[Z TH` IL L_JOHUNLK MVY HUV[OLY L]LU[ PM YL[\YULK [V [OL [PJRL[ VMĂ„JL UV SH[LY [OHU [OL SHZ[ I\ZPULZZ KH` WYPVY [V [OL WLYMVYTHUJL 5V YLM\UKZ ^PSS IL made for differences in ticket price, and an upgrade fee may apply. A $5 handling fee will be charged for all exchanges, except for those made by subscribers. Exchanges are subject to availability.

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Mark Adamo’s

Little Women Choral work includes *HU[H[L +VTPUV, commissioned by the Choral Arts Society of Washington and introduced at the Kennedy Center in 2000: .HYSHUK, for Francisco Nuùez and the Young People’s Chorus of New York, introduced in 2006; and No. 10: :\WYLTL =PY[\L, recorded by Seattle’s Esoterics and released in spring 2008. Mark Adamo began his education at New York University, where he subsequently taught composition; as a freshman in the Dramatic Writing Program, he received the Paulette Goddard Remarque Scholarship for outstanding undergraduate achievement in playwriting. He went on to earn a Bachelor of Music Degree J\T SH\KL in composition from the Catholic University of America in Washington, D.C., where he was awarded the Theodore Presser prize for outstanding undergraduate achievement in composition. His music is published by G. Schirmer. For further information please visit www.markadamo.com.

Music by

While Mark Adamo has composed a substantial

folio of chamber, choral and orchestral music, the Philadelphia-born composer-librettist’s principal work has been for the opera house. Commissioned for a 1998 première by Houston Grand Opera, Little Women, after the UV]LS I` 3V\PZH 4H` (SJV[[ ^HZ [OL Ă„YZ[ VWLYH MVY ^OPJO Adamo composed both music and libretto; it has been nationally telecast on the PBS series Great Performances, released on CD by Ondine Records, and heard in over 70 national and international engagements from New York to Mexico City, Minneapolis, Adelaide, Tel Aviv, Calgary and Tokyo, including two for which Adamo served as stage director. His second opera, Lysistrata, or The Nude Goddess, after Aristophanes, was commissioned and introduced to comparable critical acclaim by Houston .YHUK 6WLYH MVY P[Z Ă„M[PL[O HUUP]LYZHY` ZLHZVU PU 4HYJO 2005 and made its East Coast dĂŠbut in March 2006 at New York City Opera, where Adamo was composer-in-residence from 2001–2005. In January 2009, San Francisco Opera announced it had commissioned Adamo to compose both score and libretto for an opera entitled ;OL .VZWLS VM 4HY` Magdalene, of which the company plans a première in June 2013. (KHTVÂťZ Ă„YZ[ JVUJLY[V -V\Y (UNLSZ! *VUJLY[V MVY /HYW HUK 6YJOLZ[YH, was introduced by the National Symphony Orchestra under Leonard Slatkin in June 2007; the slow movement of the concerto, 9LNPUH *VLSP, appears on Eclipse Chamber Orchestra’s recording of Adamo’s orchestral work MVY 5H_VZ ^OPJO PUJS\KLZ [OL Ă„YZ[ YLJVYKPUNZ VM his Late Victorians, his symphonic cantata for singing voice, speaking voice, and chamber orchestra: (SJV[[ 4\ZPJ, from Little Women, for strings, harp, celesta, and percussion; and the 6]LY[\YL [V 3`ZPZ[YH[H.

Mark Adamo (b.1962)

Libretto by Mark Adamo after the novel by Louisa May Alcott

World Premieres Houston Grand Opera, March 13, 1998

At the University of Colorado Boulder Music Theatre—directed by Leigh Holman and Christopher Zemliauskas, April 25, 26, 27, 28, 2013

Other Operas by Mark Adamo Little Women (1998) (]V^, a 10-minute chamber opera (1999) Lysistrata, or The Nude Goddess (2005)

Selected Other Works by Mark Adamo Late Victorians (1994, rev. 2007) -V\Y (UNLSZ, Concerto for Harp and Orchestra (2006) (SJV[[ 4\ZPJ (from the opera Little Women (1999, revised 2007) 9LNPUH *VLSP (2007) Overture to Lysistrata, (2006) .HYSHUK (2006) *HU[H[L +VTPUV! ,[\KL VU 7ZHST (1999, rev. 2009) 4H[L^HU 4\ZPJ (1995, rev. 2009) ;OL 7VL[ :WLHRZ VM 7YHPZPUN (1995, rev. 2009) :\WYLTL =PY[\L (1997, rev. 2009) 7PLK )LH\[` (1995, rev. 2009) .VKÂťZ .YHUKL\Y (1995, rev. 2009)

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Synopsis (Setting: Massachusetts during the Civil War) Prologue The dark attic of the March house. Jo, distraught, greets her friend Laurie. He’s just married Jo’s younger sister Amy; but has he only married Amy to stay near Jo? Worse: Laurie adores Amy—nothing is as it was—and the opera spirals back in time to show why Jo tried to keep it that way. Act I, Scene 1 The attic, two years ago. Jo and her sisters Meg, Beth, and Amy make games of their chores. Laurie tauntingly tells Jo that his tutor, John Brooke, keeps Meg’s glove because he loves her. Jo, alone, sketching a story, fearfully denies that Meg might love him too. Act I, Scene 2 In front of the March house, weeks later. Brooke courts Meg. Jo urges the family to reject him. Cecilia, the girls’ aunt also scorns Brooke: but Meg, resolved, accepts him. Her family celebrates; but Jo accuses Meg of abandoning her. Act I, Scene 3 The March garden, the following summer. Meg and Brooke adapt their parents wedding vows. A feverish Laurie pleads for Jo’s love. She spurns OPT" Z[\UN OL ÅLLZ )L[O ZLJYL[S` PSS JVSSHWZLZ HZ Meg cries for help. Act II, Scene 1 ;OL VMÄJLZ VM [OL Daily Volcano, a New York City ÄJ[PVU [HISVPK VUL `LHY SH[LY A triumphant Jo sells a story; back at her boarding house, she writes her increasingly atomized family. A new acquaintance, Fredrich Bhaer, invites her to the opera. Act II, Scene 2 Simultaneously, Jo’s boarding house; the March parlour; sunny Oxford lawn. 1V HUK )OHLY LUNHNL PU ÅPY[H[PV\Z KLIH[L ^OPSL PU Oxford, Amy tests Laurie’s feelings for Jo. Beth rages at the piano. Bhaer ardently recites Goethe to Jo: then Alma’s desperate telegram interrupts [OLT 1V ÅLLZ [V *VUJVYK

Act II, Scene 3 Beth’s bedroom, three sleepless nights later. Beth dozes as her family keeps vigil. Jo bursts in; Beth bids her family leave. Beth urges Jo to accept her impending death. Act II, Scene 4 Before the March house, the following spring. Cecilia baits Jo with Amy’s letter about loving Laurie. Jo wearily admits Bhaer may have abandoned her. Cecilia urges Jo to choose solitude; refusing, Jo retreats to the attic. Act II, Scene 5 The attic. As in the beginning, Jo, distraught. Laurie, appearing, again reminisces; but now Jo rejects the past. Her sisters materialize as memories: Jo, in emotional exorcism, celebrates and releases them. Bhaer—her future—appears: Jo extends her hand to him.

CU NOW Excerpts from A Wrinkle in Time an opera by Libby Larsen libretto by Bradley Greenwald Based on the award-winning ZJPLUJL ÄJ[PVU UV]LS I` 4HKLSLPUL 3»,UNSL CU New Opera Workshop is an interactive workshopstyle performance featuring acclaimed opera composers working with CU singers on new operas, on their way to professional world premieres. This summer’s performance will feature excerpts from Libby Larsen’s ( >YPURSL in Time. The full-length premiere will be with the Fort Worth Opera under General Director Darren K. Woods. Both Mr. Woods and Ms. Larsen will be attending the workshop this summer to offer insight into their vision of bringing the opera from the book to the stage. June 9 at 2 p.m.: ¸4HRPUN :LUZL VM :V\UK! =VJHS Works by Libby Larsen” June 14, 15 at 7:30 p.m.: ( >YPURSL PU ;PTL June 16 at 2 p.m.: ( >YPURSL PU ;PTL ATLAS Black Box Theater TICKETS: $15 general admission (no discounts) 303.492.8008 or cupresents.org

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Little Women An opera in two acts Music and Libretto by Mark Adamo after the novel by Louisa May Alcott published by G. Schirmer, Inc. Commissioned by Houston Grand Opera, David Gockley, General Director, c. 1998

&$67 2) &+$5$&7(56 (in order of appearance)

Jo Meg Beth Amy Alma Cecilia Laurie Brooke Bhaer Gideon Dashwood

)ULGD\ 6XQGD\ Kristyn Christman-McCarty Leigh Joseph Christina Pezzarossi Adara Towler Julie Silver Shannon Kaye Max Hosmer Adam Ewing Michael Aiello Malcolm Ulbrick Zac Garcia

7KXUVGD\ 6DWXUGD\ Anna Engländer Emily Moses Angela Born Kirsten Kamna Halley Pearlstein Emily Sinclair Christian Sanders Adam Ewing Michael Aiello Malcolm Ulbrick Zac Garcia

4XDUWHW RI )HPDOH 9RLFHV Charlotte Haertling, Nicole Wilke, Melanie Shaffer, Victoria Peña Act 1: Prologue Scene 1 - The Attic Scene 2 - The path in front of the March house Scene 3 - The March garden Act 2 :JLUL ;OL W\ISPZOPUN VMÄJLZ VM ;OL Weekly Volcano H ÄJ[PVU [HISVPK IHZLK PU New York City

Scene 2 - Mrs. Kirke’s boarding house, New York City: the March house: on tour in England Scene 3 - Jo’s corridor in the boarding house/ Oxford Scene 4 - Beth’s bedroom Scene 5 - The path in front of the March house

Little Women will run approximately two hours with one twenty-minute intermission.

Music Director 6WDJH 'LUHFWRU Associate Director Set Designer Lighting Designer Costumer Technical Director

Christopher Zemliauskas /HLJK +ROPDQ Chelsea Lewis Bruce Bergner Jane Spencer Tom Robbins Ron Mueller

Recording devices and cameras are strictly prohibited. LITTLE WOMEN, April 25, 26, 27, 28, 2013

Orchestra Violin I Molly Jensen KahYee Lee 9VIPU (SÄLYP Violin II Rachel Sliker Michaela Borth Viola Alex Vittal Cassandra Mueller

Oboe Ingrid Anderson

Cello Mathieu D’Ordine Megan Knapp

Clarinet Jason Olney

Bass Mitch Montealegre

Bassoon Michael Christoph

)OXWH Whitney Kelley

+RUQ John Gough

Keyboard John Cockerill Yen-Meng Tung +DUS Sara Corry Percussion Carl Dixon Chris Martin

Production and Technical Staff Music Director/Conductor Assistant Conductor Musical Preparation Rehearsal Pianists Stage Director Stage Director’s Teaching Assistant Associate Director Chorus Master Opera Production Assistant and Outreach Coordinator Orchestra Manager Set Design Lighting Design Costume Designer Costume Assistant Make Up Designer Costume Assistants Wig and Hand Prop Master Opera Technical Director Assistant Technical Director Stage Manager Assistant Stage Manager Carpenters and Electricians Scenic Artist Master Electrician and Board Operator Props and Crew apprentice Followspots Supertitles Designer Supertitles Operators

Christopher Zemliauskas Joshua Horsch Christopher Zemliauskas, Mutsumi Moteki Allan Armstrong, Yen-meng Tung, Naoko Suga Leigh Holman Chelsea Lewis Chelsea Lewis Gregory Gentry Chris Martin Cassandra Mueller Bruce Bergner Jane Spencer Tom Robbins Linda Walters Sara Opstad Kimmy Crawford, Victoria Peña Tom Robbins Ron Mueller Jeff Rusnak Hally Albers Kate Boyles Cooper Braun-Enos, Dan Sjastaad, Benjamin Smith, Jennifer Melcher Cooper Braun-Enos Kimberly Crawford Jeff Rusnak, Ben Smith Chelsea Lewis Halley Pearlstein, Shannon Kaye

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Dean, College of Music CU Presents Executive Director Operations Manager Marketing Director Programs and Scheduling Manager Graphic Designer )V_ 6MÄJL 4HUHNLY )V_ 6MÄJL (ZZPZ[HU[Z Accounting Technician Photography

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Daniel Sher Joan McLean Braun Nick Vocatura Laima Haley Myra Jackson Karen Schuster (UKYL^ 4L[aYV[O *PHYH (Y[LT :[HYSH +V`HS 4LSHUPL :OHMMLY Nancy Quintanilla Casey A. Cass, Glenn J. Asakawa, Patrick Campbell

)URP WKH &RPSRVHU Mark Adamo

Little Women, that indispensable chronicle of growing up female in post-Civil War New England, has most often materialized on stage and screen as the romance of a free-spirited young writer torn between the boy next door and a man of the world. Closer reading of Louisa May Alcott’s novel suggested to me a deeper theme: that even those we love will, in all innocence, wound and abandon us until we learn that their destinies are not ours to control. So I cut and shaped the libretto so that Jo’s love for her sisters regained the power it wielded in [OL VYPNPUHS" HUK PTHNPULK H Ă„UHSL PU ^OPJO 1V H[ SHZ[ accepts that even sincerest love and strongest will cannot stave off change and loss. Procedurally, the score uses early twentieth-century Russian acting method to freshen German 3LP[TV[P] [LJOUPX\L! P[Z TH[LYPHSZ YLĂ…LJ[ T` SV]L VM Ă„VYH[\YH vocal writing, pan-chromatic harmony, and American theatre-song forms. I made up two main motives 1VÂťZ ¸7LYMLJ[ (Z >L (YLš HUK ¸;OPUNZ *OHUNL š Ă„YZ[ heard as Meg’s Scene 2 aria) as well as themes for all the characters and certain dramatic actions. (For example, there’s an “abandonmentâ€? theme, a lament for orchestra spun from those two main motives, and a “sisters’ sonority,â€? as much a timbral as a melodic idea, that embodies the close rapport Jo so wishes to preserve.) But the motives neither narrate the story nor comment on it in the Wagnerian manner: they drive in the script what the renowned acting [LHJOLY <[H /HNLU JHSSZ HJ[PUN ¸ILH[Zš¡ZWLJPĂ„J psychological actions, closely (or barely at all) matched to the actual stage gestures, that track the progress of the characters as much if not more than do the events of the story. I wanted these mostly tonal themes to appear and intertwine as audibly as I could make them as the opera unfolded—perhaps against an orchestral backdrop utterly distinct in texture, harmony, and line from the thematic foreground. So, for those scenes driven by language and story, rather than music and psychology, I concocted a variant of

18th-century YLJP[H[P]L ZLJJV— crisply minimal, but THKL MYVT H [^LS]L [VUL TLSVK` [OL Ă„YZ[ OVYU ZVSV in the Prologue) that not only spiked the harmonies under the non-thematic dialogue, but also gave Jo the makings of her wild storytelling ZJOLYaHUKV sections in her Act One scena, “Perfect As We Are.â€? This long solo, which portays Jo’s divided feelings by disrupting her long-lined F-major cantilena with JHYLLUPUN KVKLJHWOVUPJ JVTLK` ILZ[ L_LTWSPĂ„LZ the score’s overarching principle—that even the most disparate materials can (and should!) belong together if the dramatic design is sound. To Nietzsche is attributed the quote: “An artist chooses his subjects; that is his way of praising.â€? Certainly I was surprised, as I composed an opera about people far removed in time, space, and gender from my own life, how much of my own feelings, memories, and family history found its way into Little Women -VY Ă„YZ[ Z\NNLZ[PUN [OL PKLH [V TL 0 V^L a debt of gratitude to Elaine Walter, and for bringing to the stage the opera that resulted with such care and commitment, I owe a debt of gratitude to David Gockley, Christopher Larkin, ad Peter Webser; for their valuable and imaginative commentary on the opera as it developed. I thank Carlisle Floyd, John Corigliano, William M. Hoffman, Messrs Gockley and Webster, and Michael Korie; for his heroic work on the documents of this score, I thank Kent Ashcraft; and for her friendship, as well as for her unstinting support of my work, I thank Susan Carlyle; but for [OL [Y\[OZ VM SV]L HUK JV\YHNL 0 OH]L [YPLK [V YLĂ…LJ[ in this piece, I thank above all my parents, Julie and Romeo Adamo, to whom Little Women is lovingly dedicated. —Mark Adamo

I

)URP WKH 6WDJH 'LUHFWRU /HLJK +ROPDQ

was raised as an only child in Tennessee with grandparents back here in Colorado. In my home, I was one of three—the other two being adults. I never read Alcott’s Little Women as a young girl, and I found the idea of directing the piece for CU Opera a daunting challenge. (New York director, Rhoda Levine who directed the piece for New York City Opera was slated for the task but had to withdraw due to personal reasons.) I dived into the story with gusto and found it a piece that even an only child could understand. Jo’s sisters are her anchors. They are the “known,� the foundation, all that represent security. Jo is a girl that dreams of being an artist and dreams of travel— but at the same time is afraid of losing all that is safe and familiar to her.

Also important to her: nature. The seasons. Her writing. Her sisters. Bruce proposed a brilliant design with the attic positioned as the “soul� of the environment and pages of Alcott/Jo’s writing surrounding the playing area with a “big hug�—Jo’s tight hug that just does not want to let go.

I like Jo. She is a tomboy, she makes up stories and acts them out, she writes, she is not afraid to be forthright even when society tells her it is not the feminine thing to do. She is also a woman with deep emotional feeling and H[[HJOTLU[ :OL PZ HSZV Ă…H^LK @LZ¡0 SPRL 1V

If you’ve read Little Women, relive it with Adamo’s sometimes beautiful, sometimes haunting, and always theatrical music. If you haven’t, immerse yourself in a witty, touching and at times, heart-wrenching story. Enjoy the next couple of hours with us at the theater.

0U [OL JVTWVZLY (KHTVÂťZ V^U ^VYKZ ¸;OL JVUĂ…PJ[ VM Little Women is Jo versus the passage of time.â€? Ultimately, she must accept that things must change. Bruce Bergner, scenic designer and I sat down to discuss the piece. We both agreed that he piece was from Jo’s point of view and that we wanted to create an environment that represented all that was important to her. I knew her haven of creativity, the attic, should be the most detailed of her surroundings.

Special thanks to my associate director, Chelsea Lewis, who has brought so much of her artistry and heart to this piece. She understands it on such a deep level. I am certain that I learn far more from my students than they ever learn from me.

Little Women Concludes Opera Season

Without our support and attendance, their efforts go unrewarded. Remaining constant in our support of the arts, most especially those involving vocal music whether opera or choral, provides our students with great educational experiences. Where else will they have the opportunity to experience the diversity of performances for which they audition.

CU Opera caps its season with one more literary related production—Little Women. Based on the novel by Louisa May Alcott, this production tells a tale focused on family life, the struggles related to growing up along with all the trials and tribulations during the Civil War days. Alcott’s story emerged on screen in the 1994 re-make staring Sarah Sarandon and Winona Ryder. Beyond the printed page and screen, this tale has been transformed into a musical presentation as well as an operatic one. In what some call an artistic “double feature,� this spring the university provided two campus-based productions of the Little Women story—CU Theater and Dance Department and CU Opera. The Theater and Dance Department presented the Broadway musical version during a fourshow run earlier this April. Leigh Holman directs the CU Opera production of Little Women with Christopher Zemliauskas conducting. While our student performers may change their costumes to meet the operatic content of their current production, their passion for singing remains constant. So too does the commitment from the student performers in the pit.

CU NOW, the next opera production audiences will enjoy, occurs June 14-16. College of Music singers in conjunction with composer Libby Larsen, will workshop excerpts from ( Wrinkle in Time, in the Atlas Black Box Theater prior to its fulllength premier with the Fort Worth Opera. Stay tuned for next season’s CU Opera Program productions. Expect to be pleased when the announcement occurs. Just don’t look for the elephants from (PKH.

4HY[OH 4HY[` *VMĂ„U ,]HUZ ,K + Chair, Vocal Music Advisory Board

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At Frasier Meadows, each of our residents has a unique story to tell — just like you. Ellen has great memories from her days as a concert cellist. Come join our community and add your story to those of the other vibrant residents here. Learn more about our campus and our continuum of care at frasiermeadows.org, or call 303-499-4888.

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More than 100 rarely exhibited ceramics from the museum’s celebrated southwestern collection, with aerial photographs of ancient southwestern ruins providing a visual frame of reference.

UNIVERSITY OF COLORADO

MUSEUM of NATURAL HISTORY

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The Company Michael Aiello (Friedrich Bhaer) Past roles with CU Opera: Pistola, -HSZ[HMM; Nick Shadow, ;OL 9HRLÂťZ 7YVNYLZZ; Simone, .PHUUP :JOPJJOP; Figaro (cover), 3L UVaaL KP -PNHYV; Elder Ott, :\ZHUUHO. Past roles with CU Opera New Opera Workshop: Mr. Reed, 3\KSV^; Guildenstern, 9VZLUJYHU[a HUK .\PSKLUZ[LYU (YL +LHK; Mr. Benet, 7YPKL HUK 7YLQ\KPJL. Scholarships/Honors: Dale Johnson Opera Scholarship, Barbara Doscher Graduate Voice Scholarship, Dennis Jackson Opera Scholarship. Michael is a student of Julie Simson. Bruce Bergner (Set Design) CU Theatre/Dance faculty member since 1998. CU scene design credits include 4HYPZVS ;^LSM[O 5PNO[ ;OL *OLYY` 6YJOHYK :OL 3V]LZ 4L ;OL .YHWLZ VM >YH[O ;OL 3HYHTPL 7YVQLJ[ 7`NTHSPVU ;OL 0SS\ZPVU ;OL :RPU VM 6\Y ;LL[O, and 3V]LÂťZ 3HIVYÂťZ 3VZ[. Professional design credits include over 150 shows in venues across the United States. Awards PUJS\KL Ă„]L 2LUULK` *LU[LY (*;- H^HYKZ MVY L_JLSSLUJL PU :JLUL Design, The James Ostrander Award for Best Scene Design of the Season, and Camera Eye and Ovations nominations for Best Design of Season. Bruce has designed locally at the Colorado Shakespeare Festival, Opera Colorado and the Colorado Light Opera in recent seasons. Bruce’s designs have been exhibited at the prestigious Prague Quadrennial in Czechoslovakia, at conferences with the United States Institute for Theatre Technology and at CU’s Heritage Center Museum. Angela Born (Beth) Past roles with CU Opera: Suor Genovieffa, :\VY (UNLSPJH; Susanna (cover), 3L UVaaL KP -PNHYV; Barbarina, Le UVaaL KP -PNHYV; Mrs. Hayes, :\ZHUUHO; Julie (cover), *HYV\ZLS. Past roles elsewhere: Musetta, 3H )VOuTL, Loveland Opera Theatre; Mimi, 3H )VOuTL, Illinois Wesleyan University; Hanna, Ballymore, Illinois Wesleyan University. Scholarships/Honors: Finalist in Denver Lyric Opera Guild Competition, 2013; Recipient of Barbara M. Doscher Scholarship, 2012; Recipient of Denver Lyric Opera Guild Scholarship, 2011. Angela is a student of Julie Simson. Kristyn Christman-McCarty (Jo March) Past roles with CU Opera: Quickly, -HSZ[HMM; Mother Goose (cover), ;OL 9HRLÂťZ Progress. Past roles elsewhere: Third Lady, +PL AH\ILYŀ[L, Hillman Opera Company, Fredonia, NY; The Voice, Les Contes d’Hoffmann- Hillman Opera Company. Scholarships/Honors: Lauren Miller Memorial Scholarship in Choral Excellence, Class of 1955 Scholarship for Excellence as a Music Educator. Kristyn is a student of Julie Simson. Anna Engländer (Jo March) Past roles with CU Opera: Baba the Turk, ;OL 9HRLÂťZ 7YVNYLZZ; Cherubino, 3L UVaaL KP -PNHYV; La Ciesca, .PHUUP :JOPJJOP; La Suora Zelatrice, Suor Angelica; MezzoSoprano soloist, Bernstein’s Mass; Mrs. Ott, Susannah. Past roles elsewhere: Suzuki, 4HKHTH )\[[LYĂ…`, Opera Futura in Correggio, Fiorenzuola and Cesena, Italy. Honors and scholarships: 1st Place winner, National Association of Teachers of Singing, West Central Region; University of Colorado at Boulder Anderson competition; Anthony & Dorothy Riddle Lyric Theatre Performance Prize. Anna is a student of Julie Simson. Adam Ewing (John Brooke) Past roles with CU Opera: Gianni Schicchi, .PHUUP :JOPJJOP; Count (cover), 3L UVaaL KP -PNHYV; Celebrant, Bernstein’s Mass; Poet, 3\KSV^ (CU-NOW). Past roles elsewhere: Leander, ( 3V]L MVY ;OYLL 6YHUNLZ; Spalanzani/ Schlemil, 3LZ JVU[LZ KÂť/VMMTHUU; Elder MacLean, :\ZHUUHO, Indiana University. Scholarships/Honors: Ekstrand Competition, Honorable Mention, 2011. Adam is a student of Patrick Mason.

www.cupresents.org

Zac Garcia (Dashwood) Past roles with CU Opera: Keeper of the Madhouse, Father Trulove Cover, ;OL 9HRLZ 7YVNYLZZ; Elder McLean, :\ZHUUHO; Marco, .PHUUP :JOPJJOP; Bartolo/Antonio, Le UVaaL KP -PNHYV; King Claudius, 9VZLURYHU[a HUK .\PSKLUZ[LYU HYL Dead; Maometto, 0S [LH[YV KP -YP\SP; Norton (cover), 3H *HTIPHSL di Matrimonio. Scholarships/Honors: Anderson Competition Winner 2010 and 2011, Don and Maria Johnson Scholarship, Ritter Scholarship. Zac is a student of Patrick Mason. &KDUORWWH +DHUWOLQJ (Quartet) Past roles with CU Opera: Novice, :\VY (UNLSPJH; Chorus, 3L UVaaL KP -PNHYV. Scholarships/Honors: Anderson Scholarship Competition Winner, 2013. Charlotte is a student of Jennifer Bird-Arvidsson. /HLJK +ROPDQ :[HNL +PYLJ[VY ^VYRZ Z[LHKPS` PU [OL ÄLSKZ VM 6WLYH HUK Musical Theatre. She joined the faculty of the University of Colorado Boulder as Director of CU Opera in 2009 and is currently celebrating her fourth year of highly successful and award-winning seasons. The National 6WLYH (ZZVJPH[PVU 56( YLJLU[S` H^HYKLK *< HZ ÄYZ[ WSHJL ^PUULY MVY two consecutive years in the live-performed operatic scenes competition. Most recently, Holman co-directed 4HKHTH )\[[LYÅ` with Paolo Panizza for Opera Futura and La cambiale di Matrimonio for the Piccolo Festival both in Northern Italy. In 2010, Holman founded CU NOW (CU New Opera Workshop) with Patrick Mason—a program pairing established composers and CU singers to produce newly composed operas. In the third summer season, they presented 3\KSV^, an opera by Lori Laitman and David Mason based on Mason’s historical novel of the same name. In previous years they presented operatic works by Kirke Mechem, Herschel Garfein, Robert Aldridge and Daniel Kellogg. This past April, Holman was engaged at Stonybrook in New York directing Mozart’s +PL ,U[M…OY\UN H\Z KLT :LYHPS in a new production designed by New York scenic designer Peter Dean Beck. This past June she traveled back to Boulder to stage direct )Y\UKPIHY with the Colorado Music Festival conducted by Michael Christie. In addition to directing, Holman teaches acting for singers and is the ensemble director for the CU Opera Theatre Singers. She is married to Doyle Johnson, and they have a frolicsome Border Collie/Aussie mix named Sam. 0D[ +RVPHU (Laurie) Past roles with CU Opera: Fenton, -HSZ[HMM; Sellem, ;OL 9HRLZ 7YVNYLZZ; Edoardo, 3H *HTIPHSL KP Matrimonio, Rinuccio, .PHUUP :JOPJJOP; Don Basilio/Don Curzio, 3L UVaaL KP -PNHYV. Past roles elsewhere: Gastone, 3H ;YH]PH[H, Townsend Opera Players; Milkman, )Y\UKPIHY, Colorado Music Festival; Cascada, ;OL 4LYY` >PKV^, Bear Valley Music Festival. Scholarships/Honors: 3rd Place, Denver Lyric Opera Guild Competition; California State University Stanislaus 2009-2010 Concerto/Aria Competition Winner, 2nd place Winner in Musical Theatre for San Joaquin Valley NATS. Max is a student of Patrick Mason. Leigh Joseph (Meg March) Past roles with CU Opera: Meg Page, -HSZ[HMM; Barbarina, 3L UVaaL KP -PNHYV; Suor Dolcina, :\VY (UNLSPJH; Ensemble, ;OL 9HRLZ 7YVNYLZZ :\ZHUUHO *HYV\ZLS. Honors/ Scholarships: Don and Maria Johnson Scholarship, Anderson Competition Winner, 2012, Classical Singer Undergraduate Competition, Regional Winner. Leigh is a student of Jennifer BirdArvidsson.

Kirsten Kamna (Amy March) Past roles with CU Opera: Nannetta, -HSZ[HMM; Lauretta, .PHUUP :JOPJJOP; Flower Girl, 3L UVaaL KP -PNHYV. Past roles elsewhere: Pamina, ;OL 4HNPJ -S\[L, Astoria Music Festival; Miss Wordsworth, (SILY[ /LYYPUN 7HJPÄJ 3\[OLYHU University; Adele, +PL -SLKLYTH\Z 7HJPÄJ 3\[OLYHU <UP]LYZP[` Scholarships/Honors: Barbara Doscher Scholarship Recipient, Denver Lyric Opera Guild Finalist, Coeur d’Alene Young Artist Competition Winner 2011. Kirsten is a student of Jennifer BirdArvidsson. Shannon Kaye (Cecilia March) CU Opera Debut! Past roles elsewhere: Second Lady, +PL AH\ILYÅ [L, Opera Theatre of the Rockies, Colorado Springs; First Nursemaid, :[YLL[ :JLUL, Opera Theatre of the Rockies Colorado Springs; Madame Lidoine, +PHSVN\LZ VM [OL *HYTLSP[LZ, Opera Theatre of the Rockies Vocal Arts Symposium. Honors/Scholarships: Seventh Place, Denver Lyric Opera Guild; First Place, National Association of Teachers of Singing Competition. Shannon is a student of Joel Burcham. Emily Moses (Meg March) Past roles with CU Opera: Meg Page, -HSZ[HMM. Past roles elsewhere: Prince Charming, *LUKYPSSVU, Miami University Ohio; Zita, .PHUUP :JOPJJOP, Miami University Ohio. Emily is a student of Julie Simson. Ron Mueller (Technical Director) 15 Seasons with CU Opera. Selected past CU productions: 3H ;YH]PH[H >LZ[ :PKL :[VY` Dead Man Walking. Other professional credits: Skylight Opera, University of Wisconsin-Milwaukee, Colorado Shakespeare Festival, Boulder Dinner Theatre. +DOOH\ 3HDUOVWHLQ (Alma March) Past roles with CU Opera: Quickly, -HSZ[HMM; Baba the Turk (cover), ;OL 9HRL»Z 7YVNYLZZ. Past roles elsewhere: Meg Page, -HSZ[HMM, American Singers’ Opera Project, Winston-Salem, NC; La Principessa, :\VY (UNLSPJH, University of Delaware Opera Theatre, Newark, DE; Prince Orlofsky, Die -SLKLYTH\Z, University of Delaware Opera Theatre. Scholarships/ Honors: Member of Pi Kappa Lambda National Music Honor Society, Second Place in Senior Women’s Division of Delaware NATS. Halley is a student of Julie Simson. Victoria Peña (Quartet). Past roles with CU Opera: Zulma, 3»0[HSPHUH PU (SNLYP (Rossini scenes); Maestra de novizie, :\VY (UNLSPJH; Street Singer, Bernstein’s Mass. Victoria is a student of Joel Burcham. Christina Pezzarossi (Beth March) Past roles with CU Opera: Alice Ford, -HSZ[HMM. Past roles elsewhere: Cathleen, 9PKLYZ [V [OL :LH, Rimrock Opera, Billings, MT. Scholarships/Honors: Viola Vestal Coulter Foundation Voice Scholarship. Christina is a student of Julie Simson. Tom Robbins (Costume Designer) 21 Seasons with CU Opera. Selected past CU productions with CU Opera: +VU .PV]HUUP (U`[OPUN .VLZ :\ZHUUHO *HYV\ZLS 6[OLY WYVMLZZPVUHS JYLKP[Z! )VUÄS»Z ;OLH[LY 6WLYH Colorado, Colorado Ballet. Christian Sanders (Laurie) Past roles with CU Opera: Fenton, -HSZ[HMM; Tom Rakewell, ;OL 9HRL»Z 7YVNYLZZ. Past roles elsewhere: Welko, (YHILSSH, Santa Fe Opera; Laurie, Little Women, Opera Academy of California, San Francisco; Luiz, ;OL .VUKVSPLYZ, San Diego Lyric Opera. Scholarships/Honors: Regional Finalist Rocky Mountain Regional MONC Auditions 2012, Winner Musical Merit Competition of San Diego 2011, National Semi-Finalist Classical Singer Magazine Competition 2011. Christian is a student of Julie Simson.

Melanie Shaffer (Quartet) Past roles with CU Opera: Laysister, :\VY (UNLSPJH; Chorus, 3L UVaaL KP -PNHYV. Past roles elsewhere: Dorabella, *VZy MHU [\[[L; Dorothée, *LUKYPSSVU, Abilene Christian University Opera. Melanie is a student of Julie Simson. Julie Silver (Alma March) Past roles with CU Opera: Alice Ford, -HSZ[HMM; Mrs. MacIntosh, 3\KSV^; Nella, Zita, .PHUUP :JOPJJP; Suor Angelica (cover), :\VY (UNLSPJH. Past roles elsewhere: Suor Angelica, :\VY (UNLSPJH; First Lady, ;OL 4HNPJ -S\[L; Gertrude, /HUZLS HUK .YL[LS, Lawrence University, Appleton, WI. Scholarships/Honors: Voice Performance Scholarship; Barbara Doscher Scholarship; Finalist, Chicago NATS 2010. Julie is a student of Joel Burcham. Emily Sinclair (Cecilia March) Past roles with CU Opera: Donna Anna, +VU .PV]HUUP. Past roles elsewhere: Roggiero, Tancredi, Caramoor International Festival, New York; Lucia (cover), 3\JPH di Lammermoor, Opera Colorado, Denver; Konstanze, Die ,U[M OY\UN H\Z KLT :LYHPS, Opera Company of Brooklyn, New York. Scholarships/Honors: District Winner/Regional Finalist, Metropolitan Opera National Council Auditions; Second Prize, Washington International Competition; Encouragement Award, Gerda Lissner Foundation. Emily is a student of Patti Peterson. Adara Towler (Amy March) Past roles with CU Opera: Nannetta, -HSZ[HMM. Past roles elsewhere: Susanna, 3L UVaaL KP -PNHYV, University of Tennessee Opera Theater, Knoxville; Badessa, :\VY (UNLSPJH, University of Tennessee Opera Theater, Knoxville. Scholarships/Honors: 2nd place at National Association of Teachers of Singing Competition, 1st place at Knoxville Young Classical Singers Competition. Adara is a student of Jennifer Bird-Arvidsson. Malcolm Ulbrick (Gideon March) Past roles with CU Opera: Nick Shadow (cover), ;OL 9HRL»Z 7YVNYLZZ; Figaro, 3L UVaaL KP -PNHYV; Olin Blitch, :\ZHUUHO; Billy, *HYV\ZLS. Past roles elsewhere: Count Carl Magnus Malcolm, ( 3P[[SL 5PNO[ 4\ZPJ, Opera Theatre of the Rockies; Dr. Bartolo, ;OL )HYILY VM :L]PSSL, Music Academy of the West. Scholarships/Honors: 3rd Place National Opera Association Collegiate Scene’s Competition for ;OL 9HRL»Z Progress (Nick Shadow). Malcolm is a student of Patrick Mason. Nicole Wilke (Quartet) Past roles with CU Opera: Choruses of -HSZ[HMM ;OL 9HRL»Z 7YVNYLZZ :\VY (UNLSPJH 3L UVaaL KP -PNHYV. Honors/Scholarship: Anderson Competition Winner- 2013. Nicole is a student of Patti Peterson and Jennifer Bird-Arvidsson. Christopher Zemliauskas (Conductor) is the Assistant Musical Director of the Opera Program at CU-Boulder, where his duties include preparing singers for recital work and opera roles, collaborating with other faculty on recitals, teaching diction classes, and serving as Chorus Master for the opera productions. Mr. Zemliauskas has also been the associate conductor and chorus master for Central City Opera, where he has recently conducted performances of >LZ[ :PKL :[VY` :\ZHUUHO ;OL )HSSHK VM )HI` +VL +VU .PV]HUUP 3H ;YH]PH[H, and Massanet’s *LUKYPSSVU. As a co-artistic director of FusionChamber, a new music ensemble, he has conducted performances of Pierrot Lunaire by Schoenberg, and Eight Songs for a Mad King and Miss Donnithorne’s Maggott by P.M. Davies. He is also an active chamber musician in the Boulder area, plays with the Colorado Symphony Orchestra, and has been Symphony Conductor for the Boulder Youth Symphony. l

$Q ,QYLWDWLRQ -RLQ WKH 7UDGLWLRQ RI ([FHOOHQFH The CU Opera Program is recognized UH[PVU^PKL HZ VUL VM [OL Ă„ULZ[ programs of its kind in the country. Its Z\JJLZZ PZ H YLĂ…LJ[PVU VM V\[Z[HUKPUN faculty, exceptionally gifted students, professional production standards, and, ultimately, the successful placement of students after graduation in the professional world. Attesting to its achievements, the CU Opera Program is HTVUN [OL LSP[L ML^ HUK Ă„YZ[ WLYMVYTPUN HY[Z KPZJPWSPUL to hold the prestigious “Program of Excellence Awardâ€? given by the Colorado Commission on Higher Education. This rarely accorded honor places CU Opera among the most exceptional education programs in the State. It was made based on the high quality of teaching in voice, the impressive placement and career success of voice

graduates, and the enthusiastic support for the voice program demonstrated in audience attendance and greatly appreciated contributions. You are invited to be a part of the tradition of excellence that has come to characterize CU Opera. Your support is pivotal to maintaining the stature of this seminal program. There are many ways to play a leading role, and gifts of all sizes are important and appreciated. We invite you to consider our range of giving opportunities: ŕ Ž )LJVTL H TLTILY VM -YPLUKZ VM *< 6WLYH ŕ Ž 7YV]PKL H JVYWVYH[L ZWVUZVYZOPW [V \UKLY^YP[L H performance ŕ Ž ,Z[HISPZO H ZJOVSHYZOPW M\UK [V Z\WWVY[ V\Y [HSLU[LK students To explore the role you can take in supporting CU Opera, WSLHZL JVU[HJ[ V\Y +L]LSVWTLU[ 6MĂ„JL H[

)ULHQGV RI &8 2SHUD 0HPEHUVKLS %HQHĂ°WV HDFK OHYHO LQFOXGHV DOO RI WKH EHQHĂ°WV RI WKH ORZHU OHYHOV

Benefactor $5,000 and above

Patron $1,000 - $2,499

Contributor ($250 - $499)

ŕ Ž 7YP]H[L WLYMVYTHUJL I` *< 6WLYH cast members

ŕ Ž 0U]P[H[PVU [V =07 YLJLW[PVU HUK ZWLJPHS performance

Sponsor $2,500 - $4,999

Supporter $500 - $999

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ŕ Ž *< 6WLYH :LHZVU [PJRL[Z (including CU NOW)

ŕ Ž 6WLYH *S\I PU]P[H[PVU H[ L]LY` 6WLYH production ŕ Ž 6UL WHPY VM JVTWSPTLU[HY` [PJRL[Z [V LP[OLY the fall or spring CU Opera production in Macky

Member $100 - $249 ŕ Ž 7YVNYHT YLJVNUP[PVU ŕ Ž 0U]P[H[PVU [V WYP]H[L :LHZVU Preview Event

)ULHQGV RI &8 2SHUD September 1, 2011 through April 10, 2013 Benefactor Academy Retirement Community Anonymous Donor Boulder Rotary Club Anonymous Donor Robert Graham Ann Oglesby and Denny Brown The Schramm Foundation Alan and Marty Stormo Sponsor Denver Lyric Opera Guild Patron Eleanor Caulkins Chris and Barbara Christoffersen Betsy and Albert Hand Robert and Mikee Kapelke Alan and Martha Stormo Elizabeth and George Ulbrick

Supporter A Friend Anonymous Philip and Yvonne DiStefano James and Sally Kneser Richard And Donna Meckley William and Valorie Mooney Dave and Ann Phillips Larry and Debby Preble Lawrence Thomas and Ann Brennan Thomas Contributor Lawrence and Annette Anderson Lawrence H. Anderson Jason and Elizabeth Baldwin Walter and Mary-Ruth Duncan 4HY[OH *VMĂ„U ,]HUZ HUK 9VILY[ ;YLTIS` 00 Jeanine Forman-Ham Curtis and Mary Hill James Frazier Lloyd and Mary Gelman Ellen and JohnGille Myra Jackson Marion and Frank Kreith Harold and Joan Leinbach Patricia and Robert Meyers Paul Ozanich Dan and Boyce Sher

Theodore and Ruth Smith Theresa Szczurek and Richard Davis Peter Wall Rochelle and Lee Woods Member Anonymous Judith Auer and George Lawrence Karen and William Bell Judith and James Bowers Stephen Dilts J. Michael Dorsey Steve Goldhaber and Mariana Vertenstein Betsy and Albert Hand Janet Hanley Kuniaki and Yoshiko Hata Barbara and John Hill Norma and Phil Heinschel Linda Johnson Pam Jones and Mark Bianchi Donald and Eleanor King Richard and Lucretia Koeppe C. Nicholas and Mollie Lee Patricia and Robert Lisensky Heidi and Jerry Lynch Bruce and Jeanette Mackenzie Janet and T. Scott Martin

Marian Matheson Byron and Catharine McCalmon Denise McCleary and Paul Von Behren Margaret Oakes Robert and Marilyn Peltzer Dennis Peterson Kim and Richard Plumridge Gail Promboin and Robert Burnham Silvia Riley Alicia and Juan Rodriguez Stephanie and Alan Rudy Shaya Stillman and Dorsey Delavigne Walter Taylor Joyce Thurmer Wendy and John Trigg Richard and Caroline Van Pelt Tina and Thomas Vessels

&RUSRUDWH )RXQGDWLRQV DQG (QGRZPHQW 6XSSRUW The following have permanent endowments established in recognition of CU Opera, its donors and its students.

&RUSRUDWH DQG )RXQGDWLRQ 6XSSRUW Academy Retirement Community Aetna Foundation, Inc. Blackhawk Trust Boulder Valley Rotary Club Colorado Academy of Lifelong Learning Denver Lyric Opera Guild Frasca Food & Wine JAS Ventures Polk Family Charitable Fund Louis and Harold Price Foundation The Schramm Foundation

Nancy and Ted Anderson Music Awards Daryl and Lauren Boyle Music Theater Scholarship Daryl and Lauren Boyle Voice Scholarship DeWitt and Billie Marie Brennan Memorial Music Scholarship )LY[VU *VMĂ„U .YHK\H[L :JOVSHYZOPW PU =VPJL )LY[VU *VMĂ„U -LSSV^ZOPW -\UK Viola Vestal Coulter Foundation Voice Scholarship in Honor of Harold A. Norblom Wilma and Perry Louis Cunningham Scholarship in Voice Barbara M. Doscher Scholarship Wallace F. Fiske Performance Awards Ann and Gordon Getty Foundation

Dennis Jackson Opera Scholarship Dale R. Johnson Opera Scholarship Lacy CU Opera Endowment Ed and Kay McDowell Opera Endowment Claudia Boettcher Merthan Vocal Scholarship Trudi Mielziner Graduate Opera Scholarship Charlotte Orr Reid Memorial Vocal Scholarship Gregory Philip Ranno Excellence in Music Scholarship Anthony and Dorothy Riddle Lyric Theater Performance Prize William Earl Rose, Sr. Scholarship Fund Galen & Ada Belle Files Spencer Foundation Beth and Bill Suitts CU Opera Endowment Howard B. Waltz Music Scholarship Paula Marie and H. Rolan Zick Endowment

Special thanks to Norcostco Costume Compay for providing the costumes.

University of Colorado Boulder 9RLFH &KRUDO )DFXOW\ Jennifer Bird-Arvidsson Joel Burcham Nicholas Carthy

Gregory Gentry Jeffrey Gemmell Leigh Holman

Patrick Mason Mutsumi Moteki Patti Peterson

Julie Simson Christopher Zemliauskas

Maria Age 6: Artist Age 21:

Introduction to Studio Art

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Cheers To CU Opera

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CU Opera Student Angela Born performs at The Academy

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CU OPERA G reat repertoire, lavish scenery, amazing voices, and outstanding value— WKHVH DUH WKH KDOOPDUNV RI &8 2SHUD 'LUHFWRU /HLJK +ROPDQ DQG 0XVLF Director Nicholas Carthy bring you the best of classical and contemprary opera in three fascinating productions each season, and in the summer CU New Opera Workshop.

La Bohème

Hansel and Gretel

Side by Side by Sondheim

by Giacomo Puccini

by Engelbert Humperdinck

by Stephen Sondheim

In the Latin Quarter of Paris, Rodolfo the idealistic poet falls in love with Mimi, a frail but resolute milliner. Around their tender love story, Puccini depicts the exuberant lives of struggling young artists, expressing joie KL ]P]YL, love and ultimately heartbreak.

Engelbert Humperdinck’s opera /HUZLS HUK .YL[LS features the classic tale of two children, the witch and the gingerbread house set to beautiful melodies.

The musical is in the form of a revue, with various sections tied together by being from a particular Sondheim musical, or having a common theme, and all of it tied together by the Narrator. He explains what show the songs are from, and in some cases provides background on why a song was written. He also notes comparing and contrasting Sondheim themes for the audience.

October 25, 7:30 p.m. October 26, 7:30 p.m. October 27, 2 p.m. Macky Auditorium OPERA SCENES December 9, 7:30 p.m. Music Theatre Free and Open to the Public

March 14, 7:30 p.m. March 15, 7:30 p.m. March 16, 2 p.m. Macky Auditorium

SEASON TICKETS ON SALE NOW

April 24, 7:30 p.m. April 25, 7:30 p.m. April 26, 7:30 p.m. April 27, 2 p.m. Music Theatre

303.492.8008 www.cupresents.org www.cupresents.org 303.492.8008

thrill

experience experience feel thethethe

11/10 11/10

10/2 Armitage Gone! Dance 12/15 12/15

11/8 Van Cliburn Gold Medalist 11/20 MOMIX - Botanica

1/17 1/17

2/14 2/14

12/15 Turtle Island & Tierney Sutton A Solstice Celebration 1/17 Chick Corea & Béla Fleck 2/13 Venice Baroque Orchestra

3/53/5

2/24 TAO - Phoenix Rising 3/19 Fahrenheit 451 by Aquila Theatre

3/21 3/21

4/18 4/18

n Seasots ticke le on sa ! now

4/5 Eddie Palmieri Salsa Orchestra Plus CU Opera, Takács Quartet, & Holiday Festival

cupresents.org

303.492.8008

2013–2014 Season

THE

Perfect Taste DINING TO COMPLEMENT THE PERFORMANCE Boulder’s Classic Diner

Celebrating 19 years in Boulder

Breakfast and lunch served all day

q. ft. of Rea S lit 0 y 89

casa alvarez A Generous Taste of Old Mexico!

Su rro der unded by Boul 1605 Folsom (just north of Arapahoe) • 303.442.9689 www.villagecoffeeshopboulder.com

Happy Hour 4 p.m.-7 p.m. join us before or after the performance! WWW.CASAALVAREZcolorado.COM

Locally owned 3161 Walnut St. Boulder, CO 303-546-0630

Bart Young Photography

Located in the heart of downtown, Boulder ChopHouse & Tavern features a classic steak menu with ever-changing local and organic ingredients. Join us on our patio, in our bar, for happy hour, or any night for dinner. 921 WALNUT STREET | 303.443.1188 | CHOPHOUSE.COM

BOULDER’S

ORIGINAL BREWPUB

HAPPY HOUR | LATE NIGHT PATIO | BEER TO GO 1123 Walnut Street 303.447.1345 walnutbrewery.com

Fair Trade Organic In-house Micro-roasted Coffees Founded by musicians, Supporting musicians Come play with us! Hours (6-6 weekdays, 7-6 weekends)

dine from our seasonal menu and enjoy an incredible meal in an intimate and casual atmosphere. eclectic american cuisine

956 West Cherry Street Louisville, CO 80027 720.259.1723 www.paulscoffeeandtea.com

Reservations (303) 651-3330 101 Pratt Street, Longmont www.sugarbeetrestaurant.com

Connect with us

Authentic Thai 3033 28th St. Boulder, CO (303) 444-3133 www.thaishihouse.com

Best Thai and Sushi Under One Roof!

The Cheesecake Factory features an extensive and creative menu of more than 200 dishes made fresh from scratch, along with more than 50 low-calorie “SkinnyLicious™” dishes and 50 signature cheesecakes & desserts. Enjoy lunch, dinner, late night dining and Sunday Brunch.

1401 Pearl Street • Suite 100 • Boulder, CO 80302

303-546-0222 www.TheCheesecakeFactory.com

BOULDER PIANO GALLERY IS A HUB OF MUSICAL ACTIVITY IN BOULDER COUNTY AND THE PREMIER PLACE TO PURCHASE A FINE QUALITY NEW OR USED PIANO

• A beautiful 100-seat hall available for teacher recitals, master-classes, workshops and other events. • A full line of Kawai acoustic and digital pianos, German hand-made Schimmel pianos, Yamaha Clavinova and Arius digital pianos and their new hybrid Avant Grands. Now home to the magnificent hand-made Shigeru Kawai grand pianos! • A current selection of over 40 rebuilt/reconditioned pianos in all shapes and sizes. • Piano technical services. • Piano printed music in partnership with Lafayette Music. We greatly appreciate your past patronage and look forward to being of service in the future! Paul Jarvis, Owner

3111 Walnut Street • Boulder, CO 80301 • 303-449-3177 • www.boulderpianogallery.com

Corporate Meetings Weddings Holiday Parties Social Galas Non-profit Events

Rembrandt Yard Event Center & Art Gallery

Boulder’s premiere Event Center and Art Gallery combine upscale, contemporary elegance with affordable rates. The Rembrandt Yard can accommodate a variety of events including a corporate meeting, wedding reception or cocktail party for up to 500. Located in the heart of downtown Boulder, Rembrandt Yard has magnificent views of the Flatirons and beautiful local artwork displayed through-out. Contact us today and let Rembrandt Yard make your next event a masterpiece!

1301 Spruce Street, Boulder, CO 80302 • 303.301.2972 • events@rembrandtyard.com • www.RembrandtYard.com

RSL

a division of Rock Solid Landscapes, Inc.

OUTDOOR LIVING

• Outdoor Living Areas including Outdoor Kitchens, Fireplaces, Fire Pits, and More • Flagstone & Paver Patios and Walkways • Retaining Walls & Seat Walls • Water Features • Tree, Shrub and Perennial Planting • Irrigation Systems • Outdoor Lighting

303.772.4736 • www.rslinc.net • info@rslinc.net 3686 Stagecoach Road North Unit A • Longmont, CO 80504

FOR THE GENERATION THAT’S SEEN IT ALL,

A NEW GENERATION OF HEALTH CARE.

You’ve seen, and lived, through it all. Family, career, grandkids - maybe even a great-grandchild or two. You deserve a level of medical care that takes it all into consideration. Introducing the first and only ER in Colorado just for seniors. At Exempla, our medical staff is trained extensively in geriatric care. Our Senior ER is a quieter, less stressful environment, with senior-specific amenities and private patient rooms. Rest assured. Exempla knows seniors.

www.TreatMeMyAge.com

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