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2017-2018 Season
BOULDER BALLET Friday May 18 @ 7:30pm | Saturday May 19 @ 7:30pm | Sunday May 20 @ 2:00pm
Giselle
May 18–20 Dairy ARTS Center www.thedairy.org
ETERNAL SPIRIT - One Night Only! Thursday, March 15, 7:30pm Boulder Adventist Church
Four Great Cantatas, Four Extraordinary Soloists
Boulder Bach Festival Orchestra, Chorus & Soloists perform J.S. Bach's BWV 4 Christ lag in Todesbanden BWV 50 Nun ist das Heil und die Kraft BWV 61 Nun komm, der Heiden Heiland Josefien Stoppelenburg BWV 63 Christen, ätzet diesen Tag
Abigail Nims
Derek Chester
Ashraf Sewailam
LA VENEXIANA - SEASON FINALE One Night Only!
Thursday, May 24, 7:30pm , Boulder Adventist Church BBF presents baroque orchestra, vocal quartet, and soprano Josefien Stoppelenburg, performing exquisite works by Venetian baroque composers, including Antonio Lotti, Giovanni Gabrieli, Tarquinio Merulo, and Vivaldi. Zachary Carrettin and Adam LaMotte (baroque violin), Guy Fishman (baroque cello), Ysmael Reyes (fauto traverso), Mario Aschauer (chamber organ) and other luminaries in the field of early music are joined by Front Range virtuosi in a spellbinding program of seldom-heard masterpieces.
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Spotlight: From barrio to barre..................6 Calendar......................................................8 Spotlight: Baroque Briliance....................22 Faculty Tuesdays Schedule......................24 Artist Series Donors..................................26 TakĂĄcs Society Donors.............................30 Eklund Opera Donors...............................32 CU Presents Personnel............................34
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Spotlight From barrio to barre Growing up as a b-boy on the streets of Los Angeles, Victor Quijada never thought of Hip-Hop as an art form.
“That’s just what we were, we were hip-hoppers,” he says. “It wasn’t something we went to the dance studio to do. It was just the way that we moved, the way we talked, the music we listened to, the way we dressed, the way that we expressed ourselves.” Back then, Quijada danced to get attention. A few years later, he enrolled at Los Angeles County High School for the Arts, and he learned about dance’s potential to change the world. “It was a very amazing moment for me to kind of realize that maybe my dancing … could possibly have the power to do more than what I was using it for,” he says. As a young adult, Quijada showed so much artistic potential that no less a figure than Twyla Tharp admitted him to her company—despite his total lack of ballet experience. He spent his early 20s practicing at the barre by day and ducking into clubs by night, wondering whether he could someday merge his two passions. And that’s how, in 2002, RUBBERBANDance was born. “It’s not just a cut-and-paste of ballet vocabulary, hiphop vocabulary or break vocabulary,” says Quijada of his Montreal-based company, which performs mostly his own choreography. “It’s … everything that I’ve known and experienced to this moment.” Quijada’s company admits dancers with wildly different backgrounds, styles and stories. They identify as Latin American, Asian, African American and First Nations. Some, like Quijada, come from the streets, while others are classically trained. The idea, says Quijada, is that everybody’s background is equally valuable to the company—because it lends the troupe a style and stage presence seen nowhere else. “The surprise is in how [Quijada] combines things, and in the weightless, unaccented but deeply virtuosic content and phrasing of his dances,” says the Vancouver Sun. “Here is a true original.” RUBBERBANDance
Saturday, March 24, 7:30 p.m. at Macky Auditorium Tickets $20 and up
Victor Quijada
Click: MCGUCKIN.COM Visit: 2525 ARAPAHOE AVE. BOULDER, CO 80302 Call: (303) 443-1822
Upcoming Events
RUBBERBANDance
Embracing Artistic Director Victor Quijada’s unusual journey from the streets of Los Angeles to the barre, Montreal-based RUBBERBANDance uses the spontaneity of Hip-Hop, the refinement of ballet and the expressiveness of contemporary dance to create fresh, dynamic works. Saturday, March 24, 2018, 7:30 p.m.
Quicksilver Baroque Ensemble
This game-changing chamber ensemble, “revered like rock stars within the early music scene” (The New York Times), breathes new life into centuries-old sounds with brilliant, historically-informed talent. Quicksilver Baroque’s concert shines a spotlight on hidden gems by Castello, Merula and other long-forgotten 17th-century Italian and German composers. Friday, April 20, 2018, 7:30 p.m.
2018–19 Season Tickets on sale April 2, 2018 8
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UPCOMING CONCERTS Sunday, April 29, 4 p.m. Monday, April 30, 7:30 p.m.
The Grammy Award-winning string quartet has been moving audiences and selling out concerts for three decades at CU Boulder. Their irresistible blend of virtuosic technique and engaging personality has led The Guardian (London) to proclaim, "The Takács Quartet are matchless, their supreme artistry manifest at every level."
SWEENEY TODD
ARIODANTE
March 16–18, 2018
April 26–29, 2018
The Demon Barber of Fleet Street pays a visit to CU Boulder for the first time ever! Stephen Sondheim’s wildly popular musical transports audiences to Victorian London, where a long-exiled haircutter and a struggling baker conspire for revenge...and delicious meat pies.
THE COMEDY OF ERRORS
In Shakespeare’s unforgettable farce, two pairs of identical twins and a troupe of madcap characters make for one hilarious night of music, magic and mistaken identities.
March 14–18, 2018
The king’s daughter is happily betrothed to a prince—until another man forges a plan to tear them apart for his own benefit. Handel’s searing, emotional tale of obsession and betrayal comes to life on the intimate Music Theatre stage.
THIRD ANNUAL HAIR NEW PLAY FESTIVAL Come see how the next generation of theatre artists views and imagines the world we live in. Each of these exciting, peer-reviewed new plays will receive a staged reading with an audience talkback and discussion with the playwright.
April4 4–8 2018
Let your hair down and let the sun shine in: “Hair” is coming to Boulder! Seize this rare opportunity to celebrate the 50th anniversary of everyone’s favorite tribal loverock musical.
FRESH: SPRING 2018
Enjoy a potential mix of Hip-Hop, aerial, fusion forms and improvised offerings crafted by undergraduate and graduate dance students.
April 27 and 28, 2018
April 13–22, 2018
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The New Art: Music Beyond Words
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April 27 and 28
Boulder’s Progressive School Since 1970
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2/3–CIRQUE GOES TO THE MOVIES
2 PM and 7:30 PM at Macky Cirque de la Symphonie with music from Harry Potter, Star Wars, Mission Impossible, Titanic and more, plus aerialists, acrobats, and contortionists!
Charles Wetherbee, violin Cleo Parker Robinson Dance Ensemble Stefan Jackiw, violin Works by Vaughan Williams, Sibelius & Prokofiev
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4/7–A SONG FOR SWANS 7:30 PM at Macky 7:30 PM at Macky
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QUICKSILVER
BAROQUE ENSEMBLE April 20, 2018
QUICKSILVER: APRIL 20, 2018
Quicksilver Baroque Ensemble STILE MODERNO
Strange and Wonderful Music from the 17th Century Robert Mealy and Julie Andrijeski Violins and co-directors David Morris Viola da gamba Greg Ingles Trombone Dominic Teresi Dulcian Avi Stein Harpsichord and organ Charles Weaver Guitar and lute
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26th Annual Conference of the Society for Seventeenth-Century Music Hosted by the CU Boulder College of Music
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Sonata decimaquarta Dario Castello (fl. early 17th century) from Sonate Concertate in Stil Moderno, Libro II, Venice 1629 Sonata à 4 in D minor from the Ludwig Partiturbuch, Gotha 1662
Antonio Bertali (1605–1669)
Sonata quinta à 4 from Sonate, opera seconda, Venice 1651
Massimiliano Neri (c.1621–c.1670)
Polnische Sackpfeiffen from the Rost MS, Baden-Baden c.1660
Johann Schmeltzer (c.1623–1680)
Sonata No. 2 à 4
Matthias Weckmann (1616–1674)
Canzon No. 21 in C Major Johannes Vierdanck (1605–1646) from Ander Theil geistlicher Concerten, Rostock 1643
QUICKSILVER: APRIL 20, 2018
Program
INTERMISSION Sonata à 5 in F Major Johann Rosenmüller (1619–1684) from Sonate à 2, 3, 4, e 5. Stromenti da arco & altri, Nuremberg 1682 Sonata à 3 in G minor
Johann Kaspar Kerll (1627–1693)
Sonata decima from Sonate Concertate in Stil Moderno, Libro II, Venice 1629 Sonata No. 7 à 5 from Sacroprofanus concentus-musicus, Nuremberg 1662 Sonata à 2 in F Major from the Rost MS, Baden-Baden c.1660
Dario Castello
Johann Schmeltzer
Johann Kaspar Kerll
Sonata duodecima from Sonate Concertate in Stil Moderno, Libro II, Venice 1629 | 303-492-8008 | cupresents.org |
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Dario Castello
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Program Notes length. The strongly rhetorical adagio that follows builds to a grand climax. We then hear The 17th century is often called the “early an elaborate duet for the two violins, who trade modern period” by historians, a useful term virtuoso passagework. After some festive triple that reminds us what a transformative moment sections, the sonata finishes with an extended this was in Western cultural history. This was coda with a long-held bass note over which the moment when Europe became modern. the soloists sketch some wonderfully warped New technologies were emerging, our modern melodic phrases. economic system was developing and the Earth was no longer at the center of the This kind of highly sectionalized work—with universe. Among these cultural revolutions abrupt transitions, passionate harmonies and was one in music, as composers began to quirky dance rhythms—is the heart of the 17thinvent a nuove musiche or stile moderno. This century sonata. Italian composers brought this self-consciously “modern” music delighted style across the Alps to the Holy Roman Empire, in dramatic oppositions and vivid emotional where several virtuoso violinists sought refuge statements in striking contrast to the smooth from the wars and plagues of mid-century Italy. One of these migrants was Antonio tapestry of renaissance polyphony. Bertali, who arrived in Vienna around 1624 and Tonight’s concert is an examination of this became Kapellmeister to the Emperor in 1649. modern music, as it was invented by virtuoso His Sonata à 4 was included in an anthology instrumental composers, first in Italy and then prepared by the Gotha musician Johann in Germany. It’s also an exploration of their Ludwig as a gift for the highly intellectual Duke new invention, the sonata: a pure instrumental Anton Ulrich of Braunschweig. work, a piece simply meant to be “sounded,” with no agenda but the imagination of the Massimiliano Neri (not to be confused with the composer and no standard formal shape male model of the same name) was possibly except the passionate give-and-take of friends the most widely traveled of our composers. Born of Italians working at the Munich court, in conversation. he spent many years in Venice as organist at This program is framed by works from one San Marco. He later moved to Vienna, where he remarkable figure who wrote some of the was ennobled by the Emperor, before ending most striking flights of 17th-century musical his career as Kapellmeister for the Elector of imagination—yet apart from his music, we Cologne. His Sonata quinta from his 1651 set know absolutely nothing about Dario Castello. of sonatas is typical of his work, with some There are no records that someone with that extremely tricky rhythmic games for the whole name even existed in Venice during the early ensemble to negotiate. decades of the century, or that (as he claims on the title pages of his two books of sonatas) Along with the high arts of the sonata, the he ever worked at San Marco. Judging by musicians of the courts also offered their some musical details they share, it’s clear that audiences some less-refined pleasures. he was a close colleague of Monteverdi. But Johann Schmeltzer, the first German all that we know of Castello today is through Kapellmeister to the Imperial court in his sonatas, which (unusually for the time) Vienna, spent much of his career providing were reprinted—proof that his contemporaries entertainment for the music-loving Leopold I, who was fond of musical bizarrie. thought they were something special. Schmeltzer’s wonderfully vivid portrait of Castello’s Sonata decimaquarta begins with Polish bagpipers knits together a number of a little epigram, a statement and its answer, folk tunes, interspersed with more courtly which is then discussed by the ensemble at material. Its ending is particularly eccentric: By Robert Mealy
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Italian opera singers there, he moved to Vienna where he became organist to the Emperor.
Next, we move to the far northern reaches of Germany. Matthias Weckmann studied with Heinrich Schütz in Dresden, from whom he received training in the latest Italian styles. He later became the director of music at the Jacobikirche in Hamburg, where he organized a series of weekly concerts with distinguished musicians who performed “the best things from Venice, Rome, Vienna, Munich, Dresden, etc.” Undoubtedly, his own fiercely dramatic ensemble sonatas were heard among these foreign pieces. His Sonata No. 2 is full of quirky gestures, with a wonderful sequence of visionary sonorities at its close.
Next up, we hear one of Castello’s more outrageous sonatas, the Sonata decima from his second book of sonatas “in the modern style.” Its form actually follows the classical structure of a public speech, with an introduction, a statement which is then elaborated, a discussion of opposing ideas and a final closing speech. Castello puts this discourse in vivid musical figures, full of virtuosic passagework and declamatory solos, finally closing with a disconcerting trill in parallel fourths.
Considered one of the greatest violinists of his time, Schmelzer’s published works include Our first half closes with an inventive canzona by several volumes of ensemble sonatas, as well another student of Schütz, Johann Vierdanck, as solo sonatas. His mid-century collection who spent most of his career in Denmark and of ensemble pieces, the Sacro-profanus Friesland. One of the earliest pieces on our concentus musicus, includes several five-part program, this canzona uses the syncopated works, among them the highly atmospheric dance rhythms of the Renaissance to create a sonata performed tonight. festive atmosphere. Kerll’s Sonata à 2 appears in a huge manuscript With Johann Rosenmüller, we come to a major anthology of 157 trio sonatas assembled composer whose unexpected life events led by a cleric, Franz Rost, probably for the use to some interesting musical developments. of the Margrave of Baden-Baden. In this Rosenmüller was the leading musical figure in sonata, Kerll explores the extravagance of Leipzig in his day. He was about to take over the Italian sonata—with extended solos for as Thomaskantor (the same job Bach would both violins—but places all this virtuosity in have 30 years later) when he was arrested a context of characteristically South German for homosexuality. He managed to escape lyric melancholy. from prison and flee to Venice. This dramatic trajectory transformed his musical style as The program closes with one last piece by well as his career. In his Leipzig days, his Castello, perhaps his most theatrical sonata instrumental music was largely dance suites for in a collection full of vivid works. His Sonata the university students; once he got to Venice, duodecima opens with an old-fashioned he discovered the power of operatic melody Renaissance theme, tossed back and forth and theatrical gesture. His late set of sonatas among the players. But suddenly we find published in 1682 combine heartbreaking ourselves in a kind of ensemble recitative, adagios with beautifully well-wrought fugues. with all the instruments declaiming a wordless rhetoric together. After this charged adagio, we In a similar way, J.K. Kerll’s Sonata à tre move into a syncopated triple-time dance; then combines the Italian taste for extravagant solos comes a series of passionate solo episodes, with excellent German craftsmanship in his broken up by brusque interjections. The work imitative passages. Kerll learned the Italian style rounds out with a return to the opening material firsthand: he studied with Valentini, one of the and closes with a spectacular coda that features first Italians to become court Kapellmeister in a classic Venetian device—a brilliant series of Vienna, and later traveled to Rome to work with echo effects that recall the grand spaces of San Carissimi. Kerll began his career at the court Marco where it was first heard. in Munich, but, after a violent dispute with the | 303-492-8008 | cupresents.org |
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QUICKSILVER: APRIL 20, 2018
a tune fragment played in unison that peters out to nothing.
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Biographies “Revered like rock stars within the early music scene” (New York Times), the QUICKSILVER BAROQUE ENSEMBLE brings together leading historically-informed performers in North America today. Described as “drop dead gorgeous with a wonderful interplay of timbres” (Early Music America) and praised as “irresistible” (Fanfare Magazine), Quicksilver vibrantly explores the rich chamber music repertoire from the early modern period to the high baroque. The ensemble has been featured at numerous music series and prestigious festivals, receiving critical acclaim, standing ovations and repeat invitations. Recent appearances include Carnegie Hall, Virginia Arts Festival, Mostly Mozart Festival at Lincoln Center, Toronto Consort Guest Artist Series, Chamber Music in Historic Sites (Los Angeles), Boston Early Music Festival, Vancouver Early Music Festival, Early Music Now (Milwaukee), Dumbarton Oaks (Washington), Houston Early Music, Early Music Hawaii, Music Before 1800 and San Diego Early Music Society. Quicksilver’s debut recording, “Stile Moderno: New Music from the Seventeenth Century,” was described as the “breakthrough of the year...breathtaking” (Huffington Post) and “convincing...terrific” (Early Music—Oxford Journal). Quicksilver’s recording “Fantasticus: Extravagant and Virtuosic Music of the German Seventeenth Century” has been named one of The New Yorker’s Ten Notable Recordings of 2014, praised as “fantasticus, indeed” (Gramophone) and a “recommended purchase” (Osterreichische Musikzeitschrift/Austrian Music Journal). Quicksilver’s recording “The (very) First Viennese School” is forthcoming next season. One of the America’s most prominent historical string players, ROBERT MEALY is a frequent soloist and orchestral leader, serving as principal concertmaster at Trinity Wall Street and the orchestra director of the Boston Early Music Festival Orchestra (BEMF); he has received a Grammy Award for his work with BEMF. He has also led the Mark Morris Dance Group Music Ensemble in performances here and in Moscow, accompanied Renée Fleming on the David Letterman Show, and recorded and toured a wide variety of repertoire with many distinguished ensembles, both here and in Europe. Committed to education as well as performing, Mealy directs The Juilliard School’s distinguished Historical Performance Program. From 2009 to 2015, he taught at Yale University, directing the postgraduate Yale Baroque Ensemble and the Yale Collegium Musicum. Prior to that, he taught at Harvard University for more than a decade, where he founded the Harvard Baroque Chamber Orchestra. In 2004, Mealy received Early Music America’s Binkley Award for outstanding teaching and scholarship. He has recorded more than 80 CDs on most major labels. JULIE ANDRIJESKI is among the leading baroque violinists and early music pedagogues in the United States. In addition to co-directing Quicksilver, she maintains an active performance schedule, playing with the Atlanta Baroque Orchestra (Artistic Director), New York State Baroque (Concertmaster), Apollo’s Fire (Principal Player) and Les Délices. As a full-time senior instructor at Case Western Reserve University and the Cleveland Institute of Music, Andrijeski leads classes in historical performance practices, teaches lessons in baroque violin and directs the baroque music and dance ensembles. Her combined skills in music and dance often culminate in workshops and special teaching engagements at schools such as the Oberlin Conservatory, Indiana University, The Juilliard School, the University of Colorado Boulder and at several summer workshops. Andrijeski’s article on violin performance in the early baroque era is published in “A Performer’s Guide to Seventeenth-Century Music” (Indiana University Press, 2012). She has received Early Music America’s Binkley Award for outstanding achievement in performance and scholarship, and was named Creative Workforce Fellow by Cuyahoga Arts & Culture, supporting her research and performance of 17th-century music in manuscript. GREG INGLES enjoyed formative study at the Interlochen Center for the Arts and the Oberlin Conservatory, subsequently serving as solo trombonist with the Hofer Symphoniker in Hof, Germany. Ingles returned to the United States to study at SUNY Stony Brook, where he received his master’s degree and doctorate in music. Concurrently, Ingles was adjunct trombone professor at Hofstra University. He’s is a member of Piffaro, Quicksilver and Ciaramella and has been a guest artist with American Bach Soloists, Chatham Baroque, Concerto Palatino, Orchestra of the Renaissance, I Furiosi, Handel and Haydn Society and Tafelmusik. One of Ingles’ most interesting projects was with the Globe Theater in its Broadway debuts of Twelfth Night and Richard III. As music director of the early brass ensemble Dark Horse Consort, he enjoys unearthing rarely heard masterworks. Ingles is lecturer in sackbut at Boston University and teaches at the Madison Early Music Festival.
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DOMINIC TERESI is principal bassoon of Tafelmusik, Boston Early Music Festival and Carmel Bach Festival, and a member of Quicksilver and Juilliard Baroque. He has also enjoyed engagements with Le Concert d’Astrée, Orchestre Révolutionnaire et Romantique, Smithsonian Chamber Players, American Bach Soloists, Philharmonia Baroque, Handel and Haydn Society, Arion, I Furiosi, Ensemble Caprice and Eybler Quartet. Teresi was a featured artist on CBC Radio, performing a live radio concert of bassoon concertos and sonatas, and has appeared as a concerto soloist throughout Europe, Australia and North America. He teaches historical bassoons and chamber music at The Juilliard School and also teaches at the Tafelmusik Institutes and American Bach Soloists Academy. Teresi has presented research on the dulcian at the Musikinstrumentenbau-Symposium in Saxony-Anhalt. He holds a master’s degree and artist diploma in modern bassoon from Yale University and a doctorate in early music from Indiana University. AVI STEIN is the artistic director of the Helicon Foundation and associate organist and chorusmaster at Trinity Church Wall Street. He teaches continuo accompaniment and chamber music at The Juilliard School. He will direct Juilliard’s production of Purcell’s Dido and Aeneas next spring. Stein performed on the 2015 Grammy Award-winning recording by the Boston Early Music Festival of Marc-Antoine Charpentier’s La Descente d’Orphée aux Enfers and La Couronne de Fleurs, and has performed throughout the United States, in Europe, Canada and Central America. He directed the young artists’ program at the Carmel Bach Festival and has conducted a variety of ensembles, including the Opera Français de New York, OperaOmnia, the Amherst Festival opera and the 4x4 Festival. Stein studied at Indiana University, the Eastman School of Music and the University of Southern California, and was a Fulbright scholar in Toulouse, France.
QUICKSILVER: APRIL 20, 2018
DAVID MORRIS, viola da gamba, is a member of The King’s Noyse, the Galax Quartet, Quicksilver, the Sex Chordae Consort of Viols and the New York State Baroque Ensemble. He has performed with the Boston Early Music Festival Orchestra, Tragicomedia, Tafelmusik, Philharmonia Baroque Orchestra, American Bach Soloists, Musica Pacifica, the Boston Symphony Orchestra, Mark Morris Dance Group and Pacific Musicworks in Seattle. Morris was co-founder and musical director of the Bay Area baroque opera ensemble Teatro Bacchino, and has produced operas for the Berkeley Early Music Festival and the San Francisco Early Music Society series. Morris received his undergraduate and master’s degrees in music from the University of California, Berkeley and has been a guest instructor in early music performance practice there, as well as at the University of California, Santa Cruz; the San Francisco Conservatory of Music; Mills College; Oberlin College; the Madison Early Music Festival and Cornell University. He has recorded for Harmonia Mundi, New Albion, Dorian, New World Records, Drag City Records and New Line Cinema.
CHARLES WEAVER performs on early plucked-string instruments both as a recitalist and as an accompanist. Chamber music appearances include Quicksilver, Early Music New York, Piffaro, Chamber Music Society of Lincoln Center, the Folger Consort, Blue Heron, Musica Pacifica and the Boston Early Music Festival Chamber Ensemble. Weaver is on the faculty of The Juilliard School, where he teaches Historically Informed Performance on Plucked Instruments. In 2016, he was the assistant conductor for Juilliard Opera’s production of Cavalli’s La Calisto. He also works with the New York Continuo Collective: an ensemble of players and singers exploring 17th-century vocal music in semester-length workshop productions. Weaver has taught at the Lute Society of America Summer Workshop, the Madison Early Music Festival and the Western Wind Workshop in ensemble singing. He is associate director of music at St. Mary’s Church in Norwalk, Connecticut, where he specializes in renaissance polyphony and Gregorian chant.
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2018–2019 Season Season tickets on sale now!
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COLORADO MAHLERFEST ORCHESTRA – KENNETH WOODS (conductor), STACEY RISHOI (mezzo-soprano), BRENNEN GUILLORY (tenor) Pre-concert lecture by Maestro Woods one hour before each performance Join us the week of May 14–20 for a chamber concert, masterclass, symposium, and more!
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Spotlight Baroque Brilliance
Photo by Tatiana Daubek
Fake news wasn’t born yesterday. In fact, it’s been around as long as humans have. Nearly 300 years before this hot topic appeared all over TV, newspapers and social media, George Frideric Handel wrote an opera about the consequences of spreading lies. In “Ariodante,” Princess Ginevra resists the advances of the powerful Duke Polinesso—and the duke gets his revenge by telling everyone that the princess has been unfaithful to her true love. “The story is modern and relevant,” says Eklund Opera Director Leigh Holman. “It’s about a young woman who is subjected to public shaming because she rejected a man, and the rumors hurt not only her but also many of those around her. Given the public shaming and revenge that takes place on social media these days, this opera feels surprisingly modern.” “Ariodante,” running April 26-29 in CU Boulder’s Music Theatre, is just one of many chances audiences have to hear baroque brilliance on campus this season. A monthslong early music celebration kicks off in February with a free Faculty Tuesday performance by Elizabeth Farr, who performs some of her favorite harpsichord music from 17th- and
18th-century masters. Then, in early April, CU’s Early Music Ensemble tackles a variety of works from the 16th through 18th centuries. And on Friday, April 20, the Artist Series concludes with a visit from Quicksilver Baroque Ensemble. The game-changing chamber group, “revered like rock stars within the early music scene” (The New York Times), is set to perform hidden gems by Castello, Merula and other long-forgotten 17th-century composers. Though baroque music is hundreds of years old, Holman says, “it sounds new to our romantically inclined ears.” Our popular culture, she explains, is inundated with classical music that’s lush and moody—think Rachmaninoff and Debussy—so the sounds of the baroque seem refreshingly light, bright and rhythmic. “The music actually sounds ‘popular,’ in a sense, and I think that’s why it appeals to so many 18- to 30-year-olds,” Holman says. “It has pulsation and movement. It’s as alive as a beating heart.” Early Music Ensemble
Friday, April 6, 4 p.m, Grusin Music Hall · Free
Quicksilver Baroque
Friday, April 20, 7:30 p.m. at Macky Auditorium · Tickets $20 and up
Ariodante
April 26–29 in the Music Theatre · Tickets $20 and up
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Global performance. World-class entertainment. You have to be here.
Faculty Tuesdays 7:30 p.m., Grusin Music Hall � Free and open to the public
MARCH 06 Beethoven for Piano and Violin Dusinberre/Korevaar
Following their 2010 Decca recording of Beethoven’s last two piano and violin sonatas, David Korevaar and Edward Dusinberre continue their exploration of Beethoven in this concert featuring works from earlier in his life, including virtuosic sonatas for violin and piano and the beloved “Spring” sonata.
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Claude Debussy 100 Years Later Cooperstock/Bird/Requiro/Terwilliger
Pianist Andrew Cooperstock and colleagues celebrate the 100th anniversary of French composer Claude Debussy’s death with solo and chamber works that are colorful, rhythmic and both traditional and forward-looking.
20 España en el Corazón
Bird/Chellis/Garland/Cremaschi
Join singers Jennifer Bird, Matthew Chellis and Andrew Garland, as well as pianist Alejandro Cremaschi, on a musical journey to Spain. The program includes zarzuela arias and Spanish songs.
APRIL 03 Double Standards Walter/Casey/Johnson
Douglas Walter, Brian Casey and Robert Johnson perform jazz standards with a twist. We will take classics from the American Songbook—”Body and Soul,” “In a Sentimental Mood,” “All the Things You Are”—and will mix it up with classics of the future such as “Feliz” by Denverite Carmen Sandim or “Three Views of A Secret” by Jaco. A swinging, tune-filled night!
More info at cupresents.org Can’t make it? Watch the online livestream at our website!
CU @ BOETTCHER
A NIGHT WITH THE CU WIND SYMPHONY 7:30 p.m., April 30, 2018 Boettcher Concert Hall Denver Performing Arts Complex
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Artist Series
The Artist Series presents performances of fine music and performing arts to which the community would otherwise not have access. The highest quality emerging and internationally recognized artists provide 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.
ARTIST SERIES ADVISORY BOARD Gil Berman Rudy Betancourt Joan McLean Braun Shirley Carnahan
John Davis Diane Dunn Mike Gallucci Laima Haley
BENEFACTOR Paul Bechtner Foundation Mary Lamy Greg Silvus
SPONSOR
Anonymous Gil and Nancy Berman Sue Blessing Diane and Dick Dunn Louise Pearson and Grant Couch Lisa and Tom Price Ellen and Joshua Taxman
PATRON
Anonymous Janet Ackermann and Scott Wiesner Joan McLean Braun Ruth Carmel Kahn Center Copy Boulder, Inc. Chris and Barbara Christoffersen Maggie and John McKune Doyen and James Mitchell Toni and Douglas Shaller
Daryl James, President Maryan K. Jaross Ruth Kahn
Andrew Metzroth James Mitchell Jerry Orten
SUPPORTER Mike and Carol Gallucci Heidi and Charles Lynch Janet and Scott Martin Bob and Sandy McCalmon Judy and Alan Megibow Cedric Reverand Mikhy and Mike Ritter Alicia and Juan Rodriguez Karmen Rossi and Eric Lewis Douglas and Avlona Taylor Evelyn Taylor Ann and Larry Thomas Ann and Gary Yost
CONTRIBUTOR
Anonymous Ellen and Dean Boal Noel and Pauline Clark Martha Coffin Evans and Robert Trembly Norma Ekstrand and Tom Campbell Tara and Steve Kelly Ranelle Lang and Robert Hammond Joan and Harold Leinbach Elizabeth and Gary Rauch Theodore and Ruth Smith Heather Van Dusen
Erika Randall Courtney Rowe Robert Shay
MEMBER
Barbara Allen Maria and Jesse Aweida Shirley Carnahan Cathy Cloutier Lissy Garrison Merrill and Leslie Glustrom John Graham and Lorin Lear Laima and Damon Haley David and Jo Hill Maryan Jaross Pam Leland Gail and Thomas Madden Paul and Kay McCormick Deborah McBride Janet and Hunter McDaniel Gail and Julie Mock Jacqueline Muller Barbara and Irwin Neulight Nancy and David Parker Becky Roser and Ron Stewart Karmen Rossi and Eric Lewis Randall Rutsch Zoe Stivers Lloyd Timblin Geoffrey Tyndall George and Candace Williams Allan and Marta Wolfe
CORPORATE SPONSORS
IN-KIND SPONSORS
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Takács Society
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 Albert and Nancy Boggess Lyle Bourne and Rita Yaroush Norma Johnson Fund Gary and Judith Judd in memory of Fay Shwayder Peg and Chuck Rowe
SPONSOR
Marda Buchholz PJ Decker and B.A. Saperstein Carol Lena Kovner Lisa and Thomas Price David and Janet Robertson Takács String Quartet Marion Thurnauer and Alexander Trifunac
PATRON
Pamela Barsam Brown and Stanley Brown Thomas and Carol Cech Chris and Barbara Christoffersen L. Frear Eileen and Walter Kintsch Ray LaPanse Kathleen Sullivan John and Carson Taylor
SUPPORTER
Bill and Louise Bradley Christopher and Margot Brauchli Patricia Butler Anne Heinz and Ran Yaron Gerald and Doree Hickman Kaye Howe Robert Kehoe Paul and Nancy Levitt Jane Menken and Richard Jessor Virginia M. Newton Neil and Martha Palmer Anita and Arthur Polner Mikhy and Mike Ritter Susan and David Seitz Anthony and Randi Stroh Lawrence and Ann Thomas
CONTRIBUTOR
Virginia and Stanley Boucher Noel A. and Pauline A. Clark Alison Craig and Stephen Trainor Richard and JoAnn Crandall Carolyn and Don Etter Steve Goldhaber and Mariana Vertenstein Liz and Jon Hinebauch Bruce and Kyongguen Johnson Joan and Harold Leinbach Patricia and Robert Lisensky Albert and Virginia Lundell Lise Menn Antonia and Timothy Piwonka-Corle M. L. Sandos Lori and Bob Schuyler Andrew Skumanich Helen Stone Berkley Tague Patricia Thompson
MEMBER
Phil and Leslie Aaholm Christine Arden and David Newman Neil Ashby and Marcia Geissinger Maria and Jesse Aweida Ingrid Becher Kevin and Diana Bunnell Shirley Carnahan Penny Chenery Charlotte Corbridge Barbara and Carl Diehl Robbie Dunlap Bob and Jean Fischer Mary and Lloyd Gelman Kenneth and Dianne Hackett David Hammer Keith and Nancy Hammond Catharine and Richard E. Harris Katherine and Stuart Haskins Ruthanne and John D. Hibbs Marian and William Hoffman Margaret and Bob Kamper Caryl and David Kassoy Mireille Key Elizabeth Knoelker Keith Kohnen
Heidi and Jerry Lynch Judy and Harrie Lewis Gail and Thomas Madden Caroline Malde Professor John McKim Malville and Nancy Malville Ralph and Nancy Mann Kim Matthews Peter and Doris McManamon Christopher B. Mueller Joan and Ronald Nordgren Margaret Oakes Wayne and Julie Phillips Charles Proudfit and Margret Hamilton Richard Replin and Elissa Stein Joanna and Mark Rosenblum Becky Roser and Ron Stewart JoAn Segal Ruth M. Shanberge Todd and Gretchen Sliker Grietje Sloan Carol and Arthur Smoot Janice and Charles Squier Barbara Tamplin Arthur and Laurie Travers Leanne and Christopher Walther Lucy Warner James and Nurit Wolf William Wood Mary and Peter Van Etten Betty Van Zandt In loving memory of Norma Johnson, a longtime beloved supporter of the Takács Quartet
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. 30
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Where Classical Theatre Lives The Playboy of the Western World
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March 29 - April 8, 2018 May 24 - June 3, 2018
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Friends of Eklund Opera 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
The Academy Charitable Foundation, Inc. David Allen and Carol DeBaca Stephen Dilts Philip and Yvonne DiStefano Paul and Kristina Eklund Robert Stuart Graham The Louis and Harold Price Foundation
PATRON
Ann Cairns and Larry Bangs Barbara and Chris Christoffersen Michael Dorsey and Carolyn Buck Mary and Lloyd Gelman John Hedderich Albert and Betsy Hand Toni and Douglas Shaller Al and Marty Stormo Wright Family Foundation
SUPPORTER
CONTRIBUTOR
Judith Auer and George Lawrence Judy and Jim Bowers Eleanor Burch DePuy Martha Coffin Evans and Robert Trembly Marilyn and Bruce Fredrickson Ellen and John Gille Bob and Mikee Kapelke Joan and Harold Leinbach Heidi and Jerry Lynch Claudia Boettcher Merthan Ann and Dave Phillips Cynthia and Dave Rosengren M. L. Sandos Cynthia and Paul Schauer Theodore and Ruth Smith Helen Stone Ann and Larry Thomas Ken and Ruth Wright in memory of Mayme Lacy
Donald and Beverly Eklund* Ellen and John Gille Jack Finlaw and Gregory Movesian Kelton Family Foundation* Dennis Peterson Mikhy and Mike Ritter William Stark
MEMBER
Heather and Brian Byrne* Charlotte Corbridge Xan and John Fischer Lissy Garrison* Janet Hanley William and Ann Kellogg Norman Lane Patricia and Robert Lisensky Megan Marino Marian Matheson Cathy and Byron McCalmon Corinne McKay Margaret Oakes Robert and Marilyn Peltzer Kim and Rich Plumridge Gail Promboin and Robert Burnham Alicia and Juan Rodriguez Becky Roser and Ron Stewart Peg and Chuck Rowe Ruth Schoening Carol and Arthur Smoot Linda and Jim Stinson Barbara Tamplin Walter Taylor Gretchen Vanderwerf and Gordon Jones Peter Wall Ann and Gary Yost *Gifts given in honor of Paul Eklund and Kristina Cizmar’s marriage—wishing you many years of happiness!
THE EKLUND OPERA PROGRAM
Recognizing the importance of the arts and live vocal performance in an increasingly distracted world, longtime Boulder resident Paul Eklund made a generous gift in October 2014 to help establish a $2 million endowment at the CU Boulder College of Music. Funding from the endowment helps support three opera productions each academic year, the CU New Opera Workshop and an opera scenes program for new students. From left: Paul Eklund; Leigh Holman, Director of Opera; Robert Shay, College of Music Dean
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Personnel Joan McLean Braun Laima Haley Andrew Metzroth Jessie Bauters Daniel Leonard Jill Kimball Sabrina Green Analise Iwanski Noelle Limbird Maureen Bailey Jack Dorfman Madi Smith Jack Barsch Elise Campbell Michael Casey Indigo Fischer Adrienne Havelka Megan Quilliam Curtis Sellers Karen Van Acker Christin Woolley Michael Johnston Jeni Webster Kevin Harbison
Executive Director Marketing and PR Director Operations Director Associate Director of Communications Marketing Manager Public Relations Manager Publications Specialist Graphic Design Assistant Marketing and PR Coordinator Social Media Content Creator Video Producer Video Producer Website Editor Box Office Manager Box Office Services Manager Box Office Assistant Box Office Assistant Box Office Assistant Box Office Assistant Box Office Assistant Box Office Assistant Financial Manager Membership Benefits Coordinator Recording Engineer
MACKY AUDITORIUM Rudy Betancourt Matthew Arrington Sara Krumwiede JP Osnes Richard Barrett Trevor Isetts Rojana Savoye Devin Hegger
Director Assistant Director for Patron Services Assistant Director for Administration Assistant Director for Production Production Manager Production Manager House Manager Assistant House Manager
EDITORIAL TEAM Jill Kimball Sabrina Green
DEAN'S CABINET Robert Shay James Austin
Joan McLean Braun Steven Bruns John Davis Courtney Rowe Alexander George David Mallett
COLLEGE OF MUSIC ADVISORY BOARD Mikhy Ritter, Chair 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 Doree Hickman
Daryl James Maria Johnson Caryl Kassoy Robert Korenblat Erma Mantey Ben Nelson Joe Negler Susan Olenwine Tom Price Becky Roser Firuzeh Saidi Stein Sture Jeannie Thompson Jack Walker Celia Waterhouse
Program Editor Program Design/Layout
Patron Info Accessibility and Parking
Macky Auditorium is fully wheelchair accessible; ADA-accessible parking is available nearby. Please call the Box Office as early as possible to make arrangements. 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. 34
Dean Associate Dean for Enrollment Management and Undergraduate Studies Assistant Dean for Concerts and Communications Associate Dean for Graduate Studies Associate Dean for Faculty Affairs and Operations Interim Assistant Dean for Advancement Executive Assistant to the Dean Assistant Dean for Budget and Finance
CU Presents Box Office cupresents.org � 303-492-8008
Photography and video recordings Ticket Sales are final; no refunds. of any type are strictly prohibited during the performance.
Food is permitted in the seating areas of Macky Auditorium but is prohibited in other campus venues unless otherwise noted. Smoking is not permitted anywhere. CU Boulder is a smoke-free campus!
@cupresents · cupresents.org · 303-492-8008
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.
PEARL STREET MALL | 303.443.1084
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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